FEATURE: The Masses Against the Middle-Classes? Is There An Identifiable Working-Class Vote in Music?

FEATURE:

 

The Masses Against the Middle-Classes?

ALL PHOTOS/IMAGES (unless credited otherwise): Unsplash 

Is There An Identifiable Working-Class Vote in Music?

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THE last time I looked at the issue of class in music…

was last year - and a time when I was starting to see a few working-class bands working their way into the industry (although, not as many as there should be!). I have been looking at the change in music and whether things have improved over the past few years. It seems 2015 was a pivotal year when a lot of commentators were reacting to the mainstream: too many middle-class artists providing rather boring and generic music. One great article, back in 2015, saw Stuart Maconie write for the New Statesman - an article I quoted when writing about class last September. He addressed the Pop artists gaining most traction and whether their voices reflected the working-class and had an iota of truth to them – or they were geared more towards those with wealth and privilege. His findings suggested wealth and that gaudiness dictates our views and what life is all about:

“…Returning to pop. The piqued Blunt was in the vanguard of a gradual but now almost total cultural shift by which popular music has become as essentially bourgeois as the Boden catalogue. When I worked at the NME in the early 1990s, writers from leafy suburbs would affect proletarian tropes, trousers and vowels to ingratiate themselves with Oasis, New Order or Happy Mondays. Nowadays, adroit navigation of the wine list or the ski slope is probably a more useful way into a band’s confidence…

 IN THIS PHOTO: Florence Welch/Florence + the Machine (although one of music's very best, she seems indicative of the middle-classes who still have a majority say in the mainstream)/PHOTO CREDIT: Vincent Haycock

As the writer Simon Price put it wryly, it’s only a matter of time before a pop version of the infamous Johnson/Osborne/Cameron Bullingdon Club photo surfaces, featuring several leading members of future indie-rock acts looking supremely entitled in frock coats and wing-collared shirts.

This is easily dismissed (especially from above) as chippiness or, in Blunt’s terms, “jealousy”. To be fair, I should point out that I am referring to mainstream rock and pop. Grime, hip-hop and dubstep are still rooted in an urban milieu of zero-hour contracts and pound shops. It has been suggested that as much of 60 per cent of the pop charts of recent years has been occupied by privately educated musicians but this seems highly debatable”.

That piece was written several years back and seemed to nail what many people were trying to say. Whilst the viewpoint then – that the percentage of middle-classes in music was huge – was exaggerated for dramatic effect; there was truth to suggest the profile of the working-class musician was but a memory. There were working-class acts working in areas like Grime and Hip-Hop – talking about their lives and the struggle they faced – but they were/are in the minority. Noel Gallagher, in 2015 too, talked about music and whether he felt working-class artists had a voice:

“…The singer-songwriter, who found fame with iconic Manchester band Oasis has blamed the recession on the reason people from poorer backgrounds struggled to find success in the industry.

He said: “I think with the recession and all that there’s a few things that have happened.

 IN THIS PHOTO: Noel Gallagher (2015)/PHOTO CREDIT: Nadav Kander

"It’s not possible for a working class people to sustain a music career if they don’t make it if they don’t have record labels and stuff.

"That’s become more difficult because of the recession. And you know the smaller type venues and rehearsal spaces they are all closing down now and becoming posh restaurants and flats. And that has taken the spaces for these bands or kids in bands to grow".

Another great article, like Stuart Maconie’s, examined working-class music and the changes we have experienced through the years. The article looked at The Jam as, perhaps, one of the archetypal bands who fought that tension between the suburbs and those in the cities. Those, like The Jam, who located a space just shy of London’s wall and found it hard to find relatability. Whilst we associate The Jam with a working-class Punk aesthetic; is it more complex than a binary view: those who have a certain lifestyle and work in particular jobs; the split between wealth and scraping by?!

“What's clear to me is that all of this gets down to the fundamental question of whether or not art, including music, is a reflection of society or the means of its transformation. The commonsense answer is both, but increasingly it seems that music is valued much less as a transformative force in our pervasively commodified culture.

 What does that mean for working class music? It means a working class that doesn't see or hear its own reflection. It means that the combination of youth, work, community and protest in the Jam's music is less able to escape its past, and that such a combination today faces an enormous challenge if it tries to change the present. There are working class voices, but they struggle to be heard. The first step might be for them to articulate themselves as such, to reclaim by their own terms what it means for them to be working class”.

I am not sure what provoked the raft of class-based journalism but it was clear the mainstream was overly-toff at the time. With your James Blunts and Mumford & Sons whining about love and their wretched lives; where were those artists who were talking about what life was like for those who are less-well-off?! In 2018, I have to re-judge those opinions and ask whether things have changed. There have been few pieces written since then that pitch new angles and hint at improvements. In simple terms, my viewpoint is this: the situation is broadly the same! I feel Pop is becoming broader in terms of its sounds and there are artists at the forefront that are less snooty and off-putting than those that infested the scene back in 2015. Maybe, back then, a certain sense of wealth and posh-ness came from the speakers and in the magazines.

If the voices are less plummy and middle-class then I am hearing no real adjustment in terms of the themes creeping into music. Love dominates, still, and that is a classless subject: you can get sh*tted on whatever your standing and, when it is all said and done, how much is the average listener going to learn about the world that they do not already know?! Genres like Grime and Hip-Hop, that Maconie alluded to, are still on the boundaries and there are few British standouts that are getting their faces on the front of magazines. The U.S. is a political musical nation but there are not the same class-lines and structures we have in Britain. There is the working and middle-classes in America but it is less divisive and notable in music. Here, now, there is a need to rebel against those who have taken us out of the E.U. and voted Tory. We here about the NHS struggling and Labour prophesying how the nation is being geared towards the needs of the middle-aged and middle-classed voter. We are in a more fraught and divided world than 2015 and, in terms of music, there is that desire to articulate the common stress and offer some suggestions. New Punk/Alternative bands like Shame, IDLES and Cabbage are my go-to examples when I look at working-class sounds and something approaching substantial.

IN THIS PHOTO: The Jam/PHOTO CREDIT: Martyn Goddard

I feel the mainstream has turned inwards and prides confession and maturity over anything social, political and daring. Long gone are the throes of Punk and acts like Sex Pistols; where are the modern cuts of The Jam and bands like Oasis – the type that kept it real, tossed one off at the press and actually sung songs that bonded the nation? If the percentage of middle-class musicians has not necessarily increased in the past few years; are we living in an age where class is being blurred and we are viewing music in other terms – its emotional resonance or how it affects us psychologically? I will quote two more passages from Maconie’s examination of the working-classes/music but, right now, take a look at music as an open market and buffet. We are more unwell and mentally ill than we were as recently as a few years back; the sort of political unrest that provoked Punk bands to rise and saw real fire come into music is present in 2018 – so why no rebellion and revolution? Is there a fear that labels will not stand for their artists going ‘off script’ and not conforming with the brief?! Artists are so dictated to and controlled now: every single gets its release date and there are set dates for teaser clips and performances. Music, at mainstream-level, is becoming too synthetic, business-minded and meticulous.

There is little room for an artist to express their own mind and change the game. Imagine is someone like James Bay, not that he would, decided to tackle Brexit and why working-class youngsters felt they were getting stiffed by the middle-aged population who will be dead before the damage caused has a chance to settle in?! Not only would that raise eyebrows but it could signal career death! Stuart Maconie mentioned education and class and boiled it down to this: are we hung up on where someone studied and whether that equates to good/better music?

“Does it matter? Surely Noel Gallagher is no better than Nick Drake just because he went to a Burnage comp rather than Marl­borough? Of course not. But pop culture should reflect the lives of its people in all their vibrancy, challenge and hurly-burly, not the rarified interests and experiences of a few. Most modern indie bands’ lyrics seem to be either turgid chunks of half-digested philosophy or indulgent disquisitions on the singer’s fragile emotional microclimate. It is telling that the last alternative bands to emerge with lyrics that observed the world around them wittily and pungently were Kaiser Chiefs and Arctic Monkeys, both from working-class backgrounds in Yorkshire”.

Maconie looked at education and grants today – “The children of the middle and upper classes are beginning to reassert a much older order. In the arts generally – music, theatre, literature for sure – it is clear that cuts to benefits, the disappearance of the art school (where many a luminous layabout found room to bloom) and the harsh cost of further and higher education are pricing the working class out of careers in the arts and making it increasingly a playground for the comfortably off” – and the reason I liberally take from his article is because it rings true to the present-day. The mainstream should be a market where everyone can express themselves freely but, with such a predisposition towards confessional lyrics and the same shallowness that has reigned for decades, there are no big movements and shifts.

Rock/Alternative, once the bastion and pulpit of working-class anger and one-finger-to-the-man music is no longer viable. Guitar music is dying and bands, more and more, are experimenting with sound and trying to take music in new directions – rather than exploring issues that affect the working-class. There are, to be fair, working-class artists in music and a few who manage to speak about subjects like unemployment, the Government’s greedy hands getting into every crevice and lack of funding for the arts. Whereas we lure after wealth an in an Instagram-ready, filter-heavy society of pouting photos and big advertising; that sits on the face of the dirt-stained working-class ideal of labouring hard and earning an honest day’s wage. The struggle is still there (in society) but it seems the breakthrough and coup we need is still in the distance. Tastes have shifted so we no longer have a Britpop movement – where working-class bands like Oasis could strike – and the former leaders like Arctic Monkeys have got richer and can no longer legitimately talk about things they did back on their debut. Throw into the agenda the fact artists seem to be poorer and it is harder to make a living – has streaming helped us? – venues are closing down and the working-class are being priced from areas where the music scene is strong (thus, not being heard) and it all contributes.

There are other reasons to suggest music is still for those with more wealth and social standing. At the very least, those working-class artists with a true voice and something meaningful to say are at the edges and working hard to make some in-roads. The more and more we hear of Brexit and our P.M. spouts off about ‘promises’ and what she can do for this country, the more I yearn for bands and artists to come along and give her a musical kick up the arsehole. Money and labels still have too much say on what artists perform and how they sell themselves – that whole business of ‘selling themselves’ makes me rather unwell! I am a working-class writer and feel the only way I can get heard is having a blog where I do not get paid. I cannot get hired by a paper like The Guardian because I do not have the relevant education and contacts to get a foot in the door. The press is still, largely, comprised of the well-educated and middle-classes. Music is not much better off and the reason I wanted to re-examine class and social change is (because we) are in a moment when the working-class feel more anonymous and voiceless than ever before.

Do we refute class labels and insist on more fluidity and less labelling in music? Is the fate of the working-class improved and starting to gain traction? Is enough being done by the masses to ensure we have a more balanced and inspiring market? I would say that, if anything, we have taken steps back since 2015 (a year that saw a lot of class-based anger) and are in greater need of reprisal and improvement. I do not think working-class voice and respect will change music and make the world a better place. It is not about radically shifting the globe and trying to live in the past. I know Oasis, The Jam and The Beatles – who seemed to define what a working-class band is all about – can never exist in this time, regardless of who rules the nation. What I DO want is a foot – my shoes are getting a lot of sh*t on them! – up the bottom of those at the top who have the power to redress the issue and vaccinate against the vapid and calorie-less mainstream that could do with an overhaul. Those who struggle to pay the bills or are seeing their liberties removed; the lives of the young men/women on the London streets; the fight people have in the North to get attention from the politicians in the South – where are their stories being told?! Whilst we might pass on to the next generation some good music and genuine quality; how many important and relevant songs/artists will we offer them? Will they listen to modern music and feel like artists get who they are (the working-class) and have their finger on the pulse of Britain?! Is it more likely, though, that, as we get more and more divided and poor as a nation; music is getting more obsessed with ‘likes’, wealth and those who sing about themselves/cliché love stories?! I have the feeling that, three years from now, I am going to be writing the same article again but, this time, with tears in the eyes and a deflated heart. For my sanity and hopes for music, that rather Dystopian and bleak prediction is…

HORRIFYING to imagine.

FEATURE: Vinyl Corner: Supergrass – In It for the Money

FEATURE:

 

Vinyl Corner

ALL IMAGES/PHOTOS: Getty Images/Press

Supergrass – In It for the Money

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THIS is a feature that recommends albums…

that sound perfect when you buy them on vinyl and let a record player bring the glorious grooves to life. It may sound odd, you’d think, to include Supergrass’ In It for the Money in that category. The album is only twenty-one-years-old but, in my mind, it is a modern classic. I am a huge fan of the band and was sad to see them split after Diamond Hoo Ha (to be fair, a stupid name for an album!). In 1997, after the success of their debut, NME were ready to call In It for the Money “More fun than watching a wombat in a washing machine”. Whilst that imagery seems cruel to the point of calling in the authorities; it does provoke a certain smile! I was alive and bonding with music when Supergrass released their debut, I Should Coco. In a year where Blur and Oasis were battling it out for chart supremacy; Supergrass came into Britpop with their own brand – something that sat outside the camps of Blur and Oasis. Recorded in Cornwall, two years after the band started life together, it was an instant hit and resonated with critics. That early success, in some part, would have been down to the incredible success of Alright – a song that not only soundtracked the summer but seemed to define the generation.

The bands influenced – Buzzcocks, The Jam and The Kinks – can be heard in the album’s best moments. From the stomp of Mansize Rooster to the stabbed and nervy guitars of Lenny – it is a packed and explosive album with so much invention and life. Although it is a top-heavy album – all five of its singles are included in the opening six songs – there is plenty to recommend in the closing half. It gets trippier and more mind-bending when you reach songs like She’s So Loose and We’re Not Supposed To: an album of two halves that sits together wonderfully. The three-chord, fun songs that went into their debut sat nicely with the signs of the time. Oasis had their sophomore release whilst Blur were entering a new phase of their career post-Parklife. It was a competitive and exciting time in British music – Supergrass were the new boys and, as such, could have easily mimicked what was at the forefront. After I Should Coco scored big and gained legions of fans; the band could have traded off the songs and toured for many years. There was pressure to follow up on their debut and, in the process, keep their sound true. In It for the Money, in 1997, if you compare it with what was happening with Blur and Oasis seemed to carry on their work.

Both bands were changing (Oasis less successful than before; Blur embracing U.S. Rock and getting darker) and Supergrass were thinking about their own sound. Whilst there are similarities between the two albums; In It for the Money is a more confidence and daring album than the debut. One might think they’d embrace a darker and more adult sound but, if anything, there is even more fun and juvenile energy than I Should Coco. Supergrass had disruptions and problems when recording. Sessions were interrupted with their drummer Danny Goffey going back to London – they recorded in Sawmill Studios, Cornwall – to play with his and Pearl Lowe’s band Lodger caused some problems. Supergrass' management was unhappy and told Goffey it was unacceptable. Gaz Coombes, Supergrass’ lead, and Goffey were arguing in the press regarding the lyrical meanings behind In It for the Money’s standout (in my mind) track, Going Out – whether press intrusion and privacy inspired the words. Only two songs were written prior to entering the studio and the band spent an age coming up with the album’s title – the final decision might have been a cheeky nod to their status and what they were in music for! Early tensions and delays could/should have ground things to a halt. If anything, that sort of energy motivated the band to produce something close to a masterpiece!

In It for the Money is slightly less top-heavy than the debut and starts and ends with bigger bangs. In It for the Money and Richard III are perfect one-twos that get you invested and prove their debut album was no fluke – the latter became a big hit and was always destined for singalong festival crowds. Those looking for a similarly-gleeful Alright found plenty to love in songs like Tonight and Going Out. Tonight has that party atmosphere and seems to burst from the speakers. Few bands would have been bold enough to add a variety of instruments into the traditional guitars-bass-drum set-up. Tonight sees horns parping; organs can be heard on Going On – Late in the Day has acoustic guitar; piano can be heard in other moments. The album’s opening trio of songs gets the mood up and seems to set up the party. Late in the Day, track-four, comes after-dark and is the young band showing maturity and tenderness. It is a beautiful number that showed the range and sense of flexibility the band were employing in their work. From there, it is on with a new day and plenty of fun! Going On is a pure Beatles-esque blast of imagination. It has big horns and organs; the chorus is catchy and the lyrics cryptic – you’d have to ask Gaz Coombes to see what the true meaning is!

Later songs like Cheapskate and Hollow Little Reign are minor hits but show the band were not all about punchy songs designed for summer raves and parties. Supergrass could have displayed a boyish charm and rebellious sense of mischief and won plenty of hearts that way. Even on their opening two albums, they were keen to show they were more than style and the sort of glee Alright sported. With fewer weaker turns and bigger performances from the band; In It for the Money was a huge success and outsold I Should Coco (Gaz Coombes, you’d imagine with tongue slightly in cheek, said it meant the band could sleep at night!). The guys would follow In It for the Money with their eponymous L.P. in 1999 – another creative turn that did not impress the critics as much; little of the energy that we saw on the first two albums – and had the public on-board. The depths and qualities of the record are perfectly distilled in a review from AllMusic:

“On its second album, the cleverly titled In It for the Money, Supergrass brought the songs to the forefront, slowing the tempos considerably and constructing a varied, textured album that makes the band's ambition and skill abundantly clear. From the droning mantra of the opening title track, it's clear that the band has delved deeply into psychedelia, and hints of Magical Mystery Tour are evident throughout the album, from swirling organs and gurgling wah-wahs to punchy horn charts and human beatboxes. In fact, Supergrass has substituted the punky rush of I Should Coco for such sonic details, and while that means the band only occasionally touches upon the breakneck pace of its debut (the hard-driving "Richard III"), it also deepens its joyful exuberance with subtle songs and remarkably accomplished musicianship. There might not be a "Caught by the Fuzz" or "Alright" on In It for the Money, but that's not a problem, since the bright explosion of "Sun Hits the Sky" and the nervy "Tonight" are just as energetic, and the album features introspective numbers like the gorgeous "Late in the Day" and "It's Not Me" that give it substantial weight”.

The reason I love In It for the Money is (because it) was a brilliant revelation back in 1997: in 2018, we mourn the loss of Supergrass but find new layers to enjoy in the band’s sophomore record. I am including it in my Vinyl Corner feature because it gains new energy and wonder when you hear it on a record player. Drop the vinyl on and get some good speakers. Lay back and close your eyes…let all the music wash over you and bask in the glories of Supergrass. Oddly, all that bristling tension and management dissatisfaction seem to come out in some of the songs. You picture the band recording and the kind of mood at various moments. However you view the album and whatever significance it holds to you; it is worth exploring it with new eyes now. Some albums from the 1990s have not dated and seem a little out-of-step in today’s market. Supergrass’ second album not only defines the times back then but seems to sit perfectly comfortable in the here and now. I feel more band should take guidance from In It for the Money. It seems rather sad to think we might never see anyone with the talent and personalities of Supergrass in music. If new acts can take strands from Supergrass’ finest album and work it into their own material, it would make music so much more interesting. I will leave things there – because I am keen to get back to the album! – but would recommend everyone get In It for the Money on vinyl, find forty-three spare minutes and…

LET it do its work.

FEATURE: Spotlight: Mabel

FEATURE:

 

Spotlight  

 Mabel

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WE have been promised this wave of Pop…

PHOTO CREDIT: Jamie Morgan for DAZED

that is supposed to eradicate the sugary and inane stuff you hear on some radio stations and replace it with something more personal, appealing and deep. I am a fan of newcomers like Sigrid and Billie Eilish – two names that keep coming up on these pages – and am a new convert of Mabel. If you think you recognise the face then that might be because of her mother: the legendary Swedish-born artist Neneh Cherry. Mabel McVey, the twenty-two-year-old, is mononymously known as ‘Mabel’ and inherits a lot of her mother’s talent. Both performed at this week’s Biggest Weekend and it showed the offspring of Neneh Cherry possesses the same fortitude, command and talent as her mother. It might not be a surprise to find Mabel is already on the road and travelling intercontinentally. When Neneh Cherry was growing up, she moved around Europe and was used to living in different environments: Mabel has that sort of D.N.A. in her blood that means the transitions and travel is part of who she is – even if the jetlag, according to her Twitter feed, is a bit of a bitch! So far, after being born in Malaga; Mabel has lived in Sweden and is based in London. It is a rather hectic and busy time in her life: she will see even more countries and people. All of this might sound like I am pitching Mabel to be the next Michael Palin but, in truth, it shows how worldly and cultured she is.

IN THIS PHOTO: Mabel with her mother, Neneh Cherry

That maturity and strength goes into her music. There is a Venn diagram in Pop that separates the fluffier, commercial brand with the more introspective and independent sort. Mabel, in many ways, is in that intersect – the same sort of blends and brand her mother honed and owned in her early days. I do not like to keep bringing family into things but there is a correlation to the sort of eclecticism found on Raw Like Sushi (the 1989 debut from Neneh Cherry). It has been a busy past couple of years for Mabel. Her E.P., Bedroom, was released last year and found a lot of positive feedback. Like a lot of Mabel’s material; it found willing artists to revisit songs and add their own spin. It usually takes a while for an artist to get to the stage where others want to remix and rework songs: Mabel’s instant and alluring sound has found reinventive passion in Shura, Cadenza and TIEKS. Not only has Mabel stridden proudly alone but she is easily able to hook up with other artists, including Not3s and Kojo Funds and make it work. Whether sparring with someone else or going it alone; the material you get from Mabel is a lot stronger and more nuanced than the normal Pop fare. Fine Line, released earlier this year, was another collaboration with Not3s – they seem like natural sparring partners and, in My Lover, there is contrast and two sides to their bond.

Whilst it is good to hear Mabel have a natural grace and modesty – sharing the spotlight with others – I suspect there is a commercial aspect to hooking with others and getting into the forefront. That may sound cynical but, when one duets or works with others, there is a culture of artists riding high on Spotify playlists and helping one another out – pushing streaming figures up and getting into new markets. I am a fan of Mabel and see that huge potential inside her. When her debut album comes out; it would be good to see the young artist show more of who she is and ride out front. She has a raw and real passion that makes her a much more defiant and intriguing artist than, say, Dua Lipa or Anne-Marie. I am not a fan of the latter and find Dua Lipa’s best work is ahead of her. When I venture into the Pop market, I am searching for something that goes against the commercial and cheap and, in a way, reminds me of the glory days of Pop – back years ago when it was a lot of fun but conveyed a message. Mabel is not someone who writes for a limited audience and is always checking to see how many stations are spinning her music. She writes music that means a lot to her and brings everyone together.

Another collaboration, with RAYE and Stefflon Don, saw Cigarette burn a hole into the senses – a more potent and meaningful than Girls (which saw Rita Ora join with Charli XCX, Cardi B and Bebe Rexha and, in the process, gain controversy because of its apparent light-hearted and cheap approach to homosexuality). Set aside all the collaborations and the defining work, in my view, is her 2017 mixtape, Ivy to Roses. Tight, short titles – like Roses, Passionfruit and Ivy – presented a mixture of romance and anger (Begging and Weapon). It is, in fact, a mixtape that shows two sides to the stunning artist. There is the more alluring and soulful tones that sit with street-level grit. That is unsurprising given Mabel’s background the market. She must have grown up around an array of artists and, living with Neneh Cherry, some of that might have been physical interaction. There is little contrived and calculated when it comes to her projections. The material brings together her childhood tastes and the music she is discovering now. I hear elements of Neneh Cherry in her work but Soul legends and R&B icons like Beyoncé. Her music can be described as ‘Pop’ but you would be hard-pushed to compare it with anything out in the market.

Projecting forward and I think there will be some big changes for the Polydor-signed hopeful. Even if the hook-ups with big artists has been designed, one suspects, to boost profile and get her name among the market leader as soon as possible…I feel it is her own voice and family ties that make her happier and most fulfilled. Her 2015 debut single, Know Me Better, was promising and hinted at what was to come. 2017’s Finders Keepers came with an eye-catching video and her work alongside producer Joel Pott has brought her to new audiences. There are whispers of a debut album but no title and release date has been set. Whether Mabel decides to start from scratch and write ten/eleven new songs for the L.P. or incorporate already-released cuts I am not sure. There are at least four tracks from her mixtape I would have on the album. I would stray away from collaborations too much – maybe one near the middle of the record – but Ivy and Low Key (from Ivy to Roses) would sound great near the top. Obviously, there will be so many different producers ready to work with Mabel but, unless it is an album as complex and hard-hitting as Lemonade (Beyoncé); there is little need to clog the album with too many bodies.

Some personal production from Mabel might give the songs the personality and drive they warrant; maybe writing with one or two others would be a good move – although she is capable of penning fantastic music herself. It is exciting seeing what her album could sound like but, if it is anything like her previous work, it will be a colourful and genre-fusing bag that mixes in 1990s-influcned Soul/R&B with modern Pop and some old-skool vibes. Not to come back to the mother well but Mabel has that family knowledge and fountain of experience. She has her mum to consult with and, who knows, maybe work alongside! I am excited to see what an album might sound like but, in a year that has seen some rather ho-hum efforts, I feel Mabel can make a big mark. Maybe Pop’s new breed like Sigrid and Dua Lipa have made steps and impressed critics. I have listened to their work and there is something charming and thrilling about it. I feel Mabel exceeds their benchmark and adds new light and lease to the Pop market. She is broader and more intuitive than her peers; less needy when it comes to other producers and bodies – even if many have been involved in her career – and crystal in what she wants to achieve and how far she needs to go. The remainder of this year sees her hit festivals (including Wireless) and get her new material out there. I think 2019 will be her biggest year and take her music to a new level. When/if there is an album out, I feel that will show to people she is one of the most promising and original artists…

WORKING in music right now.

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Follow Mabel

Facebook:

https://www.facebook.com/mabelmcvey/

Twitter:

https://twitter.com/Mabel

Instagram:

https://www.instagram.com/mabelmcvey/

SoundCloud:

https://soundcloud.com/mabelmcvey

Spotify:

https://open.spotify.com/artist/1MIVXf74SZHmTIp4V4paH4

YouTube:

https://www.youtube.com/channel/UCodP65FAmmdVWTaGFD5Qz-Q

FEATURE: Sweet Dreams: A Music Icon at Seventy: The Stevie Nicks Playlist

FEATURE:

 

Sweet Dreams: A Music Icon at Seventy

IN THIS PHOTO: Stevie Nicks/PHOTO CREDIT: Danny Clinch for Interview Magazine (2017)

The Stevie Nicks Playlist

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IT seems odd to think Stevie Nicks…

PHOTO CREDIT: Getty Images/Press

is even capable of ageing and growing old at all! She seems to have this eternal and faultless aura that preserves her and entrances the senses. Whilst age is only a number; with her seventieth birthday today, I felt it only right to celebrate and mark her extraordinary life in music with a playlist. Nicks has, as part of Fleetwood Mac and a solo artist, crafted some of the most memorable songs from all of music. From the soothe and beguiling beauty of Dreams to the strut and confidence of Edge of Seventeen – songs that show what a versatile and extraordinary talent she is. I have compiled a collection of Nicks' greatest songs that, I hope, do her justice! With Fleetwood Mac touring and still going, we have not heard the last of Nicks by any means. Her talent and essence is timeless and ever-required; an iconic human figure whose brilliant music will inspire musicians and willing hearts…

IN THIS PHOTO: Stevie Nicks/PHOTO CREDIT: Peggy Sirota for Rolling Stone (2015)

FOR decades to come.

FEATURE: Profit and Loss: In Spite of the Money in Music, Where Is the Soul and Equality We All Desire?

FEATURE:

 

Profit and Loss

ALL PHOTOS/IMAGES (unless credited otherwise): Unsplash 

In Spite of the Money in Music, Where Is the Soul and Equality We All Desire?

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SOCIAL media can be a great barometer…

IN THIS PHOTO: Carly Wilford/PHOTO CREDIT: Tom Jamieson

when it comes to opinions regarding the music industry. A D.J. contact of mine, Carly Wilford, noticed the (vast) amount of money in the music industry and came to a conclusion: there seems to be a lack of soul that needs to be counteracted. Apart from the most profitable and popular musicians; there is a lot of other money coming in that shows a divide and split. I will look at class and how there is a gulf between working-class acts struggling and wealthier talent gaining traction and having the most influence – that will come later tomorrow. Streaming services and revenue on sites like Spotify meaning the music industry continues to grow and has continued to experience growth. Early last year, when streaming hit a peak and helped create a turnaround, the figures and facts were laid out:

“The once-ailing music industry has hit a “historical tipping point”, recording its second year of growth and revenues of $15.7bn (£12.2bn) in 2016, according to a report.

An in-depth look into the health of the music industry by the International Federation of the Phonographic Industry (IFPI) has shown that in 2016 there was 5.9% growth, mainly attributed to the mass adoption of streaming across the world.

It is a vastly different story from the previous 15 years, where record labels saw a decline of 40% in revenue as piracy took its toll, physical sales declined and record shops went out of business.

In its early years, streaming was derided by many musicians and observers as the final nail in the industry’s coffin. However, with 112 million paying subscribers to services such as Spotify, Apple Music and Tidal, which ensured growth in streaming revenue went up by more than 60% last year, it has now been hailed as the saviour of music.

Executives in the industry said a “spirit of optimism” had emerged, as they witnessed the rapid increase in people willing to pay for streaming services, which cost an average of £9.99 a month”.

It is good to see streaming services succeed and the music industry overcoming its once-ailing status.  Vinyl sales are up and more revenue is coming in from gigs and festivals. We know more people are going to the biggest festivals and it seems, despite the fact some venues are closing, there is an appetite for music in the open. The fact, too, people are balancing the digital with physical makes me hopeful the industry will keep on growing and expanding. Record sales are going up and we are at a point where the black days are past – even if there are still hurdles and a way to go before there is big profit and security. If you think smaller music labels are gaining more traction then there are findings (released last year) that show where the wealth lies:

“If you're a music fan, it probably seems like there are literally hundreds of music labels out there scattered across the world. New record companies are created every day to cater to niche audiences and music styles, right? Yes, but...

These companies are just subsidiaries of major labels. In reality, there are just three major record labels. All the others actually live under their corporate umbrellas.

There used to be four major labels—EMI was once one of them—but Universal Music purchased EMI in 2012. So where once there were the Big Four, now there's just the Big Three.

The Big Three

The Big Three record labels are:

Sony BMG

Universal Music Group

Warner Music Group

These labels can make up almost 80 percent of the music market or even more depending on the year, although it was estimated to be about two-thirds in 2016”.

There are takeover talks and movements all the time – the legal and industry-wide ramifications of illegal or unwise takeovers can be huge:

“Universal Music expressed interest in purchasing EMI in 2012 and made an offer of $1.9 billion. Consumer watchdog groups released a report encouraging the government to halt the deal on June 14, stating that the buyout would cause major issues within the industry. They felt that this new mega power would be able to disrupt pricing, costing consumers significant amounts of money.

A congressional hearing was held on the issue, and it was examined by European authorities as well. After several months of debate, American and European regulators approved the takeover of EMI. Universal Music gained access to the work of some significantly major artists, including the Beatles, Pink Floyd, Lady Gaga, and Kanye West”.

I still see the music industry as a reverse of Robin Hood: the rich seem to keep taking and profit and never give to the less-well-off. Maybe it is not a reverse of Robin Hood but something that needs a heroic figure to balance the scales. I do not judge the richest musicians like Taylor Swift, Kanye West and their like – they have earned their money legitimately and continue to succeed and push the industry forward.

There is that aspect of mainstream commercialism that links to T.V., film and advertising. Long-standing commercial acts like Justin Timberlake have been the subject of endorsements and deals since he burst onto the scene. Is there a danger of this commercial success – does it mean other artists lose out?

“Value is subjective, and discounting artistic endeavors because they are popular and earn a lot of money implies that the consumer’s preference is wrong. Maybe consumers do sometimes get it wrong, and there are otherwise brilliant works that never really see the light of day. But art is not a zero-sum game, where one’s success comes at the expense of everyone else’s. The artistic merit of work that experiences commercial success, such as that of Timberlake or any number of modern pop stars, is not diminished by its profitability”.

I have not talked about technology companies and how they profit from music; the sort of riches that we see from deals behind closed doors. You can argue this money is all earned fairly and the artists/companies who generate big money have worked hard to get it. That is a debatable proposition but, setting that aside, there is that huge chasm between the biggest artists/labels and everyone else. A lot of the money earned is going back into the business but so much is lining pockets and being used on advertising and needless developments.

You have to wonder how a deal involving a big artist doing an advert for a technology company, which earns everyone loads, profits everyone else in music. My concerns around music’s disproportionate wealth distribution mirrors the revenue gained by giant companies like Google and Samsung. They make an ungodly amount every hour and even come out and say they struggle to spend the money and do something good with it. We all know there are these titans making money and that is true in the music industry. I am not suggesting there is equal distribution with regards profit but there is cheapness and shallowness that leaves a bad taste. There are benevolent artists who give money to charities/causes but what are the companies and big labels doing?! Music is all about soul and feel: I feel it is being lost and there are so many people struggling to do their best work because of lacking funds. The U.S. and U.K. are the two biggest music markets in the world and our industry is in no danger of struggling anytime soon. Although last year’s profits are not immense; there is enough money circulating that can aid and benefit music. From funding mental-health study and help for musicians to helping finance more music programmes in schools; provide education around race and gender in music and establish a foundation that financially assists musicians who struggle to make ends meet and succeed – all of this is achievable and would give music more heart and nourishment.

I feel every corner of music has cracks and paper that needs fixing and reparation. Every week we read about some venue struggling to stay afloat or another controversy; some cause that could benefit from some money and love – who is there to bail them out and provide that recourse?! Musicians themselves can do their best to give soul and passion to the people: they are only capable of so much and cannot do it alone. I am seeing these big divides and wonder whether, by making small compromises, the big labels and companies – who earn a lot from endorsements and advertising – could pledge a small cut of their profits to a benevolence fund. Maybe a bespoke charity could be set up where money is distributed to a variety of people/causes and help make a big difference. The industry will only survive and inspire if the people making the music, the new generation specifically, are able to keep their footing and find support. We keep hearing about sexism in music and race issues; the gap between the poorer newcomers and those at the top of the tree. Money could be invested to provide better education and awareness to those perpetrating sexist/racist ideals; a safety net given to those musicians who feel the pinch. I know there is not enough money to help everyone but there is a soullessness and crass sense of exploitation that is going unchallenged.  Advertising and big-money deals are part of the music machine- they always have been and, sadly, always will.

I am not proposing a bloodless coup to rectify this disparity and extravagance: a greater conscientiousness from those in power would help see a smoother lineage of redistribution and help affect a trickle-down economy in music. At the moment, it seems the majority of profits are at the top of the pyramid; there is scant finance at the bottom and those in the middle fare well or badly. Artists are struggling more than ever and, if they are stressed because of low payment and lacking paid gigs, they are unable to attend gigs and make their best work. The financial pot of music is a complex and ever-changing brew: one moment it is healthy and fired; the next sees trouble and ominous warnings. I can bandy words like ‘soul’ and ‘heart’ around all I want but they mean a lot – the lifeblood and essence of music is not money and popularity but the human and psychological cogs and motions that go run from the wannabe Garage band in the U.S. to those embarking on worldwide tours to millions. I see the richest and most prominent sectors of music as a flaunting and sexy woman who teases people and gets what she wants because of her looks. There is that same shallow-minded approach to people and not giving a f*ck regarding those struggling and worse-off. Maybe that is a poor metaphor – but gets the mind working! – but I am tired of seeing something essential being sucked out of music. Greater distribution of musical wealth will not solve every problem and lead to a revolution – it may, in fact, only see small changes to start. It is that START that needs to happen as, right now, all the money in the world is not being given to all those in the world. So many good things can happen if we look at the gaps in wealth and tackle those who have the power to change things for the better. If we ignore that, and assume things will solve themselves, then the industry we all know and love…

GOES begging beyond the point of true dignity.

FEATURE: Education in Reverse: Twenty Years of The Miseducation of Lauryn Hill – and Why Its Author’s Presence Is Needed at the Forefront of Music

FEATURE:

 

Education in Reverse

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

Twenty Years of The Miseducation of Lauryn Hill – and Why Its Author’s Presence Is Needed at the Forefront of Music

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IF you have bought a ticket for this article…

IN THIS PHOTO: Lauryn Hill

thinking it is nostalgia-free and low in sugar then I am afraid there are no refunds – I can give you store credit or give you a discount on the next piece! It is not all nostalgic, mind: I want to look at an album that turns twenty later this year and still, in 2018, draws sighs of affection among new artists. There is a disclaimer when it comes to explaining Lauryn Hill’s absence and lack of activity in the years following her debut solo album – tax issues and a spell in prison is hardly going on a resume that includes some of the best music of this generation. I remember when the album came out – 25th August, 1998 – and being strange to that world. I was fifteen when the album arrived and newly open to the power and potency of a woman who seemed to lust after change and consciousness. The fate and life of the American black population in the 1990s was, if anything, less fraught and unsure compared to today. The Miseducation of Lauryn Hill is not only about social injustice and the quest for morality. It deals with victory in love and not being trampled on; purity and religion; a better world and the importance of teaching – a veritable life-lesson and seminar from someone who, at the time, was twenty-three. Such a confident and complete album does not usually arrive from someone so young: the fact Hill has recorded two albums with the Fugees (1994’s average introduction, Blunted on Reality, and 1996’s masterpiece, The Score) gave her a good grounding to step out on her own.

Look at the classic cuts from The Score – Ready or Not, Fu-Gee-La and Killing Me Softly – and Lauryn Hill is at the forefront; it is her voice and authority that gives the songs so much presence and scintillation. It is a shame the Fugees split: the fact Hill continued on her own was no surprise to anyone. Before I go on to dissect her solo album and why the twenty-year gap has been notable; Lauryn Hill has announced plans for a tour to promote the twentieth anniversary of The Miseducation of Lauryn Hill:

 “Lauryn HIll is celebrating the 20th anniversary of her landmark album The Miseducation of Lauryn Hill with a tour of the UK and Europe.

The rapper will begin in Oslo, Norway, on 15 November and take in dates across Belgium, France, the UK and Ireland, Luxembourg, Holland, Denmark and Sweden.

"This album chronicled an intimate piece of my young existence," Hill said. "It was the summation of most, if not all, of my most hopeful and positive emotions experienced to that date. I loved and believed deeply in my community's ability to both love and heal itself provided it received the right amount of support and encouragement.

"Our world today, both complex and changing, is in need of the balance between moral fortitude and cathartic expression. I hope the love and energy that permeated this work can continue to inspire change with love and optimism at the helm”.

PHOTO CREDIT: Anthony Barboza/Getty Images

Those plans sound great and the interest garnered will ensure some sell-out shows and a triumphant return. I wonder whether that moment back in the limelight will provoke Hill to get back into the studio and record again. There are other impassioned black artists who are talking about their nation and the need for change – Beyoncé, Kendrick Lamar and Childish Gambino among them. We are in a time when the tones and reflection on Lauryn Hill’s debut solo album are still inspiring musicians today. I am interviewing a lot of musicians and, either nostalgically or presently, they are learning and being enriched by the record. It has that glorious sense of the past but is ever-relevant and wonderful. The Miseducation of Lauryn Hill looks at the breakup of the Fugees and Hill’s pregnancy – with Jamaican entrepreneur Rohan Marley – and was recorded, mainly, in Kingston. The album won numerous awards and, as of 2013, it had sold more than nineteen-million copies worldwide. In addition to winning five Grammys; the record numerously appears in the ‘Best Albums of the 1990s’ and is seen by some as one of the finest records ever. Although there was some legal wrangle surrounded creative rights and accreditations of New Ark (Vada Nobles, Rasheem Pugh; Tejumold Newton and Johari Newton) – that was settled in an expensive lawsuit – the album promoted Hill to a new level and meant the world’s eyes were on her.

Hill’s incredible delivery skills and her songwriting clarity meant (the album) resonated with critics. Not only is social balance and women’s rights present in the album; faith and the presence of God weave its way through every track. Laying the groundwork for the Neo-Soul genre/rise and putting Hip-Hop into the mainstream; songs like Doo Wop (That Thing), Lost Ones and Everything Is Everything were radio favourites and are played regularly today. Lost Ones is a battle against a cheating man – or possibly someone used to getting their way – as Hill, almost boxer-like, weaves and throws her punches. It is a tough and swaggering song that shows Hill as a passive, if victorious, party; Doo Wop (That Thing) has those blissful horns and sense of bliss- the standout of the record and, perhaps, Hill’s definitive cut. Some truly underrated/reviewed tracks such as When It Hurts So Bad and Every Ghetto, Every City show their brilliance twenty years forward and prove what an intelligent and mature Hill was. Of the fourteen tracks on the album, ten are solely written by Hill – she solely produced twelve of the tracks off the record. It is a command and impressive confidence that meant few other voices tampered and temporised her voice. Setting aside legalities and how many other musicians contributed music/words – Hill’s viewpoint was that contracts were meaningless; it was all about love and collaboration – it is her vibrancy and endless curiosity that makes the record such a milestone.

In a year where Madonna’s Ray of Light, Beastie Boys’ Hello Nasty and Massive Attack’s Mezzanine awed critics and enthralled the world; it would have been easy to overlook and relegate an album from Lauryn Hill (Fatboy Slim, Garbage and Elliott Hill released near-career-best records in 1998). 1998, like so many years from the '90s, was a staggering year for albums. You only need do a quick Google search – ‘The best albums of 1998’ – to realise how good we had it. Lauryn Hill’s sole solo album stood aside because of its spirituality and sense of keen observation. It competed with the great albums of that year – I forgot to mention Robbie Williams, Neutral Milk Hotel; Beck, Pulp; Manic Street Preachers… - and inspired new songwriters to go into the business. The Miseducation of Lauryn Hill is personal and seeking but looks outward and embraces the wider world. Larger themes, such as bitter romantic tangles and personal enlightenment, could be easily understood and digested. Hill’s rhythms and raps go from fired and on-top to soulful and tender. Maybe the ‘womanist lens’ of the record, retrospectively, is more empowering and purposeful regards female artists…but that would be limiting and ignorant. The record, then and now, brought everyone in and was about everyone.

It is the extended ‘career break’ post-1998 that befuddled many. The period between 2000-2001 is explained on Wikipedia:

“Hill began writing a screenplay about the life of Bob Marley, in which she planned to act as his wife Rita.[12] She also began producing a romantic comedy about soul food with a working title of Sauce, and accepted a starring role in the film adaptation of Toni Morrison's novel Beloved;[12] she later dropped out of both projects due to pregnancy.[12] She also reportedly turned down roles in Charlie's Angels (the part that went to Lucy Liu), The Bourne Identity, The Mexican, The Matrix Reloaded and The Matrix Revolutions.[12]

During 2000, Hill dropped out of the public eye. The pressures of fame began to overwhelm her.[12][21] She disliked not being able to go out of her house to do simple errands without having to worry about her physical appearance.[12][37] She fired her management team and began attending Bible study classes five days a week; she also stopped doing interviews, watching television and listening to music.[37] She started associating with a "spiritual advisor" named Brother Anthony.[12] Some familiar with Hill believe Anthony more resembled a cult leader than a spiritual advisor,[12][60] and thought his guidance probably inspired much of Hill's more controversial public behavior.[60]

She later described this period of her life to Essence saying "People need to understand that the Lauryn Hill they were exposed to in the beginning was all that was allowed in that arena at that time… I had to step away when I realized that for the sake of the machine, I was being way too compromised. I felt uncomfortable about having to smile in someone's face when I really didn't like them or even know them well enough to like them."[61] She also spoke about her emotional crisis, saying, "For two or three years I was away from all social interaction. It was a very introspective time because I had to confront my fears and master every demonic thought about inferiority, about insecurity or the fear of being black, young and gifted in this western culture."[61] She went on to say that she had to fight to retain her identity, and was forced "to deal with folks who weren't happy about that."[61]

In July 2001, while pregnant with her third child, Hill unveiled her new material to a small crowd, for a taping of an MTV Unplugged special.[12][62] An album of the concert, titled MTV Unplugged No. 2.0, was released in May 2002 and featured only her singing and playing an acoustic guitar.[62] Unlike the near-unanimous praise of Miseducation, 2.0 sharply divided critics. AllMusic gave the album 4 out of 5 stars, saying that the recording "is the unfinished, unflinching presentation of ideas and of a person. It may not be a proper follow-up to her first album, but it is fascinating."[63] Rolling Stone called the album "a public breakdown"[12] and Robert Hilburn of the Los Angeles Times said the album's title opened Hill up for jokes that she had become unhinged.[64] NME wrote that "Unplugged 2.0 is a sparse and often gruelling listen, but there is enough genius shading these rough sketches to suggest that all might not yet be lost." With the mixed reviews and no significant radio airplay, 2.0 debuted at number three on the Billboard 200,[65] but then quickly fell down the charts[64]and ended up selling less than 500,000 copies in the U.S.[12] Neither the album nor its songs placed in the 2002 Pazz & Jop Critics Poll.[66] Her song "Mystery of Iniquity" was nominated for a Grammy Award for Best Female Rap Solo Performance[67] and used as an interpolation by hip-hop producer/songwriter Kanye West for his single "All Falls Down", as sung by Syleena Johnson”.[68]

Between 2004-2009, Hill did sporadic gigs and some brief tours; On 6th May, 2013, Hill was sentenced by Judge Arleo to serve three months in prison for failing to file taxes/tax fraud and three months house arrest afterwards as part of a year of supervised probation.

PHOTO CREDIT: Unsplash

That is a lot of information to take in but, between maternal responsibilities and some brief appearances, there has been not a lot from Lauryn Hill in the past twenty years. There has been the odd collaboration and one-off song – for various causes and charities – and some cancelled gigs…it takes us to now and the anniversary tours. Maybe it will be another one-off and it will not lead to a follow-up: many are hustling for a response to the brilliance of The Miseducation of Lauryn Hill. The times are different in terms of commercial needs and the musicians around: the political and social situation (in the U.S.) has grown worse and desirous of those songwriters who can assess the troubles and what needs to be done. If Hill, back in 1998, was more focused on spiritual alignment and women’s struggles; there was political dissatisfaction and an acute understanding of the role, or lack thereof, the black population played in the world. Maybe the pressure and celebration of her album caused too much expectation and meant a follow-up impossible – how does one follow such a titanic and important record?!

One can look at artists who have only recorded one album – Jeff Buckley among them – and mourn the fact there is not to be a second from them. Lauryn Hill’s stock has changed and, maybe, other artists are in a better position to articulate the sort of concerns and issues that were explored back in 1998. I feel the experience and backing Hill has should not be overlooked: she is capable of producing a world-class record that stands the test of time. Maybe we should leave The Miseducation of Lauryn Hill in the past and celebrate what it gave to us – a spectacular revelation from a young woman who had few equals back then. It will be exciting to see what form her tour takes and what reception it garners. In 2014, when she toured the album, critics were confused by the ordering of the songs and the arrangements baffling and obscure. Let’s hope these four years have created clarity and Hill is recharged and ready to strike. She is not sitting back and seeing what is happening to the black population and women in the U.S. There is a sense of injustice and discrimination that will get to her and provoke, I hope, a stunning show. The Miseducation of Lauryn Hill amazed us back in 1998 and, although twenty years has now passed, the messages and sermons laid down are educating new artists and still hugely relevant. Although another record may not be on the cards (soon, at the very least) I hope, when Hill brings her tour to the U.K. later this year, she gets to the stage and reminds us why her only solo album…

PHOTO CREDIT: Unsplash

SHOOK and changed the world of music!

FEATURE: Anergy in the U.K. Is a Lack of Edge in the Industry Holding Back Progression?

FEATURE:

 

Anergy in the U.K.

ALL PHOTOS (unless credited otherwise): Unsplash 

Is a Lack of Edge in the Industry Holding Back Progression?

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ONE piece of musical good news…

IN THIS PHOTO: Jools Holland on the set of Later.../IMAGE CREDIT: Getty Images/BBC

is the return of Later… with Jools Holland. It is a music T.V. show that reminds me of a favourite aunty: it is the same reliable and kind-hearted spirit who will never let you down; the chances of seeing any radical redecoration in the house or an appearance change is unlikely. Jools Holland’s long-standing show is unlikely to tattoo its scrotum and have its artists smash the stage up and drink their own vomit! That is good in a way – the complaints coming through the BBC would jam the switchboards – but one looks for a bit of change and movement. I am not going to stick with the musical-T.V.-paradigm here but it deserves an undressing. One of the biggest criticisms of the BBC’s latest music show, Sounds Like Friday Night, is its complete absence of anything resembling testicles. The music, bar a few credible inclusions, is the rank-and-file Pop sounds the wank-a-dial teeny-boppers look out for and clutch like it’s the newest, shiniest iPhone in the shops – all about fashion and little substance; nothing practical, deep or nuanced. Jools’ brand of music T.V. has been going for years and seen some of the finest artists of our time pass through his doors. It is back on our screens and has just seen Björk play her first T.V. show in over eight years. There is likely to be the usual cavalcade of cool and quality-focused artists that are recording on the smarter end of the spectrum. The set-up is unique in the sense nothing else on the box is doing the same thing.

That winning formula has been present since the start: the amiable host chatting with guests and playing piano (wanted or otherwise) on their songs; a polite audience listening with passion and a basic, ornate little stage rotating the artists and seeing fantastic performances. Sounds Like Friday Night was an opportunity to offer a viable alternative to the excellent, if conservative, option over at Jools Holland’s hang-out. Rather than create a Frankenstein’s Monster with bits of The Old Grey Whistle Test and a lobotomy of Top of the Pops; a showering of MTV in the blood and a screwed-on bolt of VH1 – put it through a lab and crank up the machinery and, after some spark-flying and clattering, out would emerge the daunting and strange beast. The newest BBC incarnation is still in its infancy and, two series down, the critics have had their say – the reviews range from mediocre to hate-filled and blood-pouring-out-of-my-ears-angry. I am in the camp that suggests, although the show caters to a certain audience; in nailing in a rather limited and quality-lacking land grab; Friday night is not a sound I want rattling around my ears! The fact there are only two options available to those who want music T.V. to exist is somewhat extraordinary.

IMAGE CREDIT: Getty Images/BBC

What confuses me most is the difficulty in which one faces when trying to break conventions. I am in the position of pitching a T.V. show to the production companies and am facing resistance by the bucket-load. Many want money and a budget but seem uninterested in the idea I pose. The fact my music T.V. brand would involve more risk – in terms of the musicians and the intense performances – seems to cause a big stumbling block. I am not in a position to pitch to Netflix and Amazon and terrestrial stations are the only way I can get my idea moving. I am a huge fan of the work the BBC puts out and think the perfect place for a music show is there. I worry, when looking at production companies, there is a nervousness going against the grain and green-lighting an idea that strays from the normal path. Conventional shows like Later… with Jools Holland are established and secure; they do their job well and are unlikely to shock the public and change the world. That is all well and good but, considering the likes of The Old Grey Whistle Test ended years ago means we need to update the format and find a modern equivalent. The fact, too, that show was edgy and created some blistering moments means, in many ways, we have gone backwards!

Networks were no less risky and different to how they are now. There have been no major T.V. controversies in music that would justify a level of trepidation and caution that borders on the passive. I will look at a lack of dare that extends beyond T.V. but I wonder whether we will ever see progression and innovation on the screens in the coming years. I may be wrong in my assumptions: somebody may be formulating a T.V. show like mine and it might be close to its first episode. I would be a bit pissed if that were so but glad in a way – having something on the screens that satisfies mine and many people’s needs is better than nothing. There is a definite allergy to a lack of new and inventive music T.V. shows. The cure for this would be to open the mind and not be so restrictive and safe. I can understand how a live T.V. show, given certain circumstances, might cause havoc but, if it was in a later slot, then it would not be seen by minors and those who are impressionable. It would be okay to run a pilot and see what the reaction is. If it is deemed unworkable and a train crash then you could not argue against that.

It is the fact so few people in prominent positions are willing to negotiate and indulge that is holding back new breakthroughs in T.V. You cannot argue there is no need and call for a music T.V. show in a modern age. Many artists rely on that kind of exposure to get a break and have their music reach new people. It (a T.V. show) is a great entertainment and a way of discovering new talent; a relief after the working day and a way of bringing older sounds to the new generation. A broader and multi-limbed music T.V. show could build on what we already have and incorporate all the best elements of bygone shows into a fresh baby. Maybe things will change and executives will take risks. I feel that fear of being edgy and unconventional is spilling into other avenues of music. I listen to the radio and look out at music and there is a chasm of danger. D.J.s are reduced in what they can say and how they express themselves – that does not mean this should spill into music. It seems ancient history looking at the biggest bands and genres explode and change the rules. We have some terrific new artists coming through but the spikiest and most engaging seem to enjoy less airtime and focus than those who keep things simple and soft.

There are guidelines as to what a D.J. can play and how a station operates but I feel, more often than not, there is not enough chance for personal expression and breaking rules. The same seems to come into music: executives and bosses calling the shots; always afraid of the ramifications and results of taking a leap. When I look at criticisms around music T.V. shows and the ‘best’ of the mainstream, it always comes to that rather smooth and serene aspect – nobody really doing anything that would constitute edgy or brash. Why are we living in a time when we need to be so guarded and timid?! There is controversy in the music industry like any other sector; artists are not infallible and there are some who stain the good name of the industry. What greases my jockstrap is the way complaints and feedback comes in but very little changes. I have been pushing my T.V. idea and am not in any position to stop. It may take years but there is a clear demand and outpouring that demands change and something better. Whether that is a Top of the Pops-like show or something with more teeth; so many people are getting discouraged and affected by what we have on our screens and on the radio. Is there a way out of the dilemma?

I feel this antipathy and submission can be abated and reversed. The time has come to answer the calls of the public and start pushing the industry forward. By opening channels for rebellious artists and those with more to say; it will not spoil the status quo and alienate those who like what the mainstream currently offers. There are some great radio stations out there but I feel too much of the playlist is being dictated by markets, brand-new releases and the whims of those who control. I know D.J.s have their own input but there are few who get a big say on what is played and how their show sounds. My biggest gripe comes with music T.V. which is in danger of dying or carrying on without advancement and surprise. I love Later… with Jools Holland and pleased with its longevity and popularity. There is a big enough market for another option; something that builds from what that show does and satisfies the cravings of the people. Let’s hope things change because, where we are now, it is not good enough. It only takes a channel/production company to see potential and understand what people really want from a music T.V. show. If they open that door and let it fly free; it could lead to a movement that spills into other areas of the music industry. If nothing else, it provides a show that the public and critics are calling for. Not answering this protest is one reason why so many people are angry and feel music is unwilling to evolve and bend. Remaining rigid and tepid restricts movement and progress and robs the people of…

WHAT they want and deserve.

FEATURE: The May Playlist: Vol. 4: That Day in February…

FEATURE:

 

The May Playlist

 IN THIS PHOTO: Jorja Smith 

Vol. 4: That Day in February…

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IT is good to see…

IN THIS PHOTO: Maggie Rogers

a new tune from Jorja Smith come out this week. February 3rd is her latest offering and it sits in a playlist that promises a lot of diversity and quality. Alongside Smith's track are cuts from Maggie Rogers, SZA and Anderson .Paak; there are videos from LUMP and Lykee Li; Agnes Obel and Chvrches have some great material out there, too.

Whilst the weekend weather is a bit dodgy and unpredictable; you can guarantee there are some great tracks here to keep the ears busy and entertain the brain – settle down, turn the volume up and enjoy the latest edition of The May Playlist...

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

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Jorja Smith – February 3rd

PHOTO CREDIT: Christian Joy

Maggie Rogers – Fallingwater

PHOTO CREDIT: Venla Shalin/Redferns 

James Blake – Don’t Miss It

Anderson .Paak – Bubblin

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

Lykke Li – deep end

SZA - Garden (Say It Like Dat)

Tyler, the Creator – 435

LUMP – Late to the Flight

PHOTO CREDIT: Raymond van Mill

Pip Blom – Pussycat

Ben Howard - Murmurations

John Mayer - New Light

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

Bastille - Quarter Past Midnight

Silk City (ft. Daniel Merriweather) - Only Can Get Better

Chloe Kohanski – Come This Far

PHOTO CREDIT: Greg Gorman

Jake Shears – Creep City

Crystal Fighters – Boomin’ in Your Jeep

Echo & the Bunnymen – Seven Seas

Grace Savage – The Hunger

James Bay & Alicia Keys – Us

PHOTO CREDIT: Lauren Maccabee

Emily Burns – Cheat

Lauv – Bracelet

Maddie Poppe - Going Going Gone

Agnes Obel – Bee Dance

Chvrches – Graves

PHOTO CREDIT: Lukas Gansterer

Mavi Phoenix – Bite

Jenny Hval – Spells

Jessie  J – Someone’s Lady

Shawn Mendes – Why

Chelsea Cutler – Water on the Bridge

Vistas - Tigerblood

Polar States – Roads

YUNGBLUD – Psychotic Kids

Goldfrapp (ft. Dave Gahan) – Ocean

Call Me Loop – Love the Lie

Fangclub - Knife

KWAYE – I Go

Jade Bird – Furious

FEATURE: Pregnant Pause and Ultrasound: Should Subjects Like Abortion Be Taboo for Musicians?

FEATURE:

 

Pregnant Pause and Ultrasound

ALL PHOTOS (unless credited otherwise): Unsplash 

Should Subjects Like Abortion Be Taboo for Musicians?

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TOMORROW is a historic day…

PHOTO CREDIT: Getty Images

not only for Ireland but the world as a whole! The Eighth Amendment to the Irish Constitution is in the news and causing a lot of discussions right now. For anyone who needs clarification and explanation (as to why abortion is illegal in Ireland), it can be explained thus (thanks to Wikipedia):

“…Abortion had been subject to criminal penalty in Ireland since 1861; the amendment ensured that legislation or judicial interpretation would be restricted to allowing abortion in circumstances where the life of a pregnant woman was at risk. It was approved by referendum on 7 September 1983 and signed into law on 7 October 1983.

The amendment was adopted during the Fine Gael–Labour Party coalition government led by Garret FitzGerald but was drafted and first suggested by the previous Fianna Fáil government of Charles Haughey. The amendment was supported by Fianna Fáil and some of Fine Gael, and was generally opposed by the political left. Most of those opposed to the amendment, insisted that they were not in favour of legalising abortion. The Catholic hierarchy and many lay Catholics supported the amendment, but it was opposed by the authorities of other mainstream churches.[1] After an acrimonious referendum campaign, the amendment was passed by 67% voting in favour to 33% voting against”.

There are exceptions to the law – when the life of the mother is at risk – but the strictness of the Eighth Amendment means many pregnant women have fled overseas to have an abortion. One can look at religious arguments and why many consider all life to be sacred.

That may be true for many people but not ALL life is sacred and precious – not all life is wanted and planned. By forcing women to give birth to unwanted life and, perhaps, raise a child they did not ask for seems to contradiction the notion of ‘pro-life’. If you value the life of all people then the mother should have a say what happens to her body and life. In more rational parts of the world, there is a clear line when a foetus can be aborted – it is a medical and philosophical line that weighs up the danger to the mother and that debate when a foetus turns into a ‘life’. For the most part, the law puts the mother’s life and well-being ahead of moral and religious forethought. Section 1(1) of the Abortion Act 1967 makes it clear when abortion, in England, Wales and Scotland is legal:

"Subject to the provisions of this section, a person shall not be guilty of an offence under the law relating to abortion when a pregnancy is terminated by a registered medical practitioner if two registered medical practitioners are of the opinion, formed in good faith -

(a) that the pregnancy has not exceeded its twenty-fourth week and that the continuance of the pregnancy would involve risk, greater than if the pregnancy were terminated, of injury to the physical or mental health of the pregnant woman or any existing children of her family; or

(b) that the termination of the pregnancy is necessary to prevent grave permanent injury to the physical or mental health of the pregnant woman; or

(c) that the continuance of the pregnancy would involve risk to the life of the pregnant woman, greater than if the pregnancy were terminated

(d) that there is a substantial risk that if the child were born it would suffer from such physical or mental abnormalities as to be seriously handicapped".

In Ireland, there are different debates and concerns. The nation is much more religious and devout when it comes to the moral and religious aspects of abortion – the fact it is seen as a sin/murder seems to shout louder than the mental and physical considerations of the mother. It seems strange that such an archaic and one-sided law has been on the books for so long. Voters will cast their opinion tomorrow and decide whether abortion will be legalised across Ireland. I am desperate to see the law banished and consigned to the bin of history. There is a reason why we have a twenty-four-week cut-off for abortion in this country: the loss of any life is sad but, if a woman has not planned the pregnancy, it is her right to decide whether she wishes to continue with it! I will, as I have done a lot, bring in a recent piece by The Guardian – who spoke to musicians tackling pro-choice and abortion debates – and why artists are speaking out and not remaining silent. There are certain areas of music that struggled to find oxygen and acceptance in the mainstream. In fact; things are tougher than that:  a lot of listeners and radio stations seem to wince when certain subjects are explored in songwriting. I remember when Jenny Hval’s album, Blood Bitch, arrived a couple of years back.

IN THIS PHOTO: The Dublin trio of Sissy (who have addressed and tackled the stigma around women's reproductive rights in their music)

It looked at, among other things, menstruation and periods and I recall a lot of reviewers questioning whether it was ‘right’ to talk about something so personal and (to them) unpleasant in music. I can understand why subjects like rape, abuse and race are discouraged if the intent is to offend, shock and divide. Artists like Eminem have spoken freely about rape and domestic abuse: many know it is part of a persona; others wonder whether it is questionable allowing songs that seem to revel in violence and sexual assault to see the light of day. Abortion and childbirth have been used in songs for many decades now. I would say the purity of life and new birth is much more common: can you recall many songs that look at abortion and, especially, the choice of the mother to terminate a life?! Given the sort of division abortion creates; many songwriters have skirted the issue by employing euphemism, oblique imagery and side-stepping explicit reference. In Ireland, particularly, artists have been reticent regards tackling an issue that has split the population. Given the fact women have to go to other nations to have an abortion; what are the penalties for a musician that freely sings about aborting a foetus and seems to ‘normalise’ something in a country that has very strict morals?!

I will bring in that promised article that looks at the role of church and state in Ireland; how far the nation has come in the past few years:

“When the same-sex marriage bill passed in 2015, thanks to an enthused Yes campaign, it revealed how far modern Ireland had come. The result marked a break with a past in which church and state were essentially indivisible, and proved that power lay with the people. The Repeal campaign has channelled the momentum behind a similarly charged issue – and it’s a fight to which Ireland’s musicians have given voice”.

The article looks at high-profile musicians speaking about the Eighth Amendment vote and pro-choice; others have been guarded and seemingly distanced themselves through fear of reprisals and commercial depreciation. It is the unsigned/underground artists, who have less concern regards commercial pressure and label tyranny, that are speaking up and having their say. There is a passage from the article that stood out:

“High-profile artists including Sinéad O’Connor and Hozier have expressed their support, while others, such as Ed Sheeran, have made more cautious statements. But it’s emergent and unsigned artists who have captured the pro-choice mentality in song. Among them are Dublin feminist garage punk trio Sissy, whose single Sail and Rail tackles the struggles that Irish women face regarding reproductive autonomy. Titled after Stena Line’s Ireland-to-England fare, it’s a fist-clenched, three-minute blitz: “Me and Enya on the sail and rail / Two unwanted pregnancies / But soon we’ll be bikini-ready”.

You do not need to travel far and do too much research to know there are complications associated with stress during pregnancy and leaving things too late. Many women have died, who hail from Ireland, after travelling abroad and having to have abortions performed in unsafe settings; not terminating until late in the pregnancy or suffering incredible stress that has led to a miscarriage. The fact that many women have no choice in the matter makes me wonder, again, whether Ireland has an irony blind-spot when it comes to ‘pro-choice/life’ and what that means. Surely, the life of the mother is as important as the unborn foetus? Their voices and bodies are not considered when they are forced to give birth to a baby they did not want – it is not their fault and it seems appalling they should go to desperate lengths to have an abortion. The fact many Irish artists are dealing with the subject in explicit and eye-opening terms is a good thing. The stubborn and dictatorial grasp of the DUP in Ireland means such a historic vote has garnered such importance and relief. Even if, God help us, the law remains come this time tomorrow; I hope many realise there are people out there who are opposed to the abortion laws and do not want to remain silent. I am hearing about performances in Ireland where bands like Sissy have performed songs (that look at abortion) and it has sparked conversation, education and transparency.

One imagines cloistered and monitored conversations in Ireland: a Big Brother-like state that tuts and spits whenever someone dares to utter something as wicked as talk of abortion! Whilst this is an exaggeration; musicians are unwilling to code their messages and restrict themselves to clandestine gigs due to pressure from government/opposed factions. There is a hard-line sector – driven by religious outrage – who will fight the repealing voices tooth and nail; the kind of people who have caused anxiety among many in Ireland. I raised an argument that asked where we draw the line concerning ‘controversial’ issues – whether we can talk about domestic abuse and rape if its intention is to condemn and halt. Artists who sing about these subjects with ill concern and a sense of vainglorious confidence – why should they find success and applause when artists singing about abortion – which is legal in the free world – are chided and judged?! It seems like a contradictory and fucke*-up logic that has led to an explosion and a rebellious urgency. I will end this piece but want to revisit The Guardian’s article and a sector of songwriters one wouldn’t assume would write about abortion: men:

“Male artists have also rallied behind the cause. Focusing on the experiences of the women who have to travel, often alone, to access abortion clinics abroad, Your Body by Dublin indie rock threesome Shrug Life aims straight for the Irish government’s jugular:

Ill-equipped with unnamed burden
Options blocked for paths unplanned
At age 19, made to understand
Advice goes no further than the law will allow it
And you’re on your own if you need a way around it.

 Frontman Danny Carroll says: “Rather than just sloganeering, I wanted to put some narrative and detail around that initial lyric – ‘Your body is not your body / It’s the property of church and state.’ I tried to imagine the tragic absurdity of being on a Ryanair flight home, being surrounded by hen and stag parties, being sold scratchcards by flight attendants and asked about your holiday. After the emotional strain of deciding to undergo that medical procedure, hopping the hurdles of our archaic legal system, it struck me as an acutely Irish indignity”.

I hope the vote goes the correct way – the amendment is repealed and women will have the same rights as those in other parts of the world – and the subject of abortion is no longer stigmatised. It will be a hard transition and I am sure there will be revolt and calls for a recount. I feel women and men should be free to oxidise the subject of abortion because it warrants debate and expression. Even in England, where abortion is legal if seen as wrong by many; artists are afraid to address it in music because they feel they’ll be criticised and see their songs alienated from the airwaves. The brave and fed-up artists we see taking the perversion and indignity (in the sense they are crushing stupid moral arguments and archaic laws) out of the issue – mainly in Ireland – have helped highlight a portion of Irish law that has caused a lot of damage through the years.

I was only four-months-old, in 1983, when Ireland voted whether abortion should be allowed if there was a risk of death to the mother – two-thirds allowed that stipulation…a rather modest and insignificant allowance. It seems the art of songwriting is a powerful and affective way of cleaning up polluted waters and bringing something, long-shadowed and temporised, to a wider audience. We do need to have guidelines when it comes to songwriting and subjects that should not be explored – or, the way the artist explores that issue – but music is a pulpit that should encourage freedom of speech and political discussion. However tomorrow’s vote goes down; we should not suppress artists, like those we are seeing in Ireland, who want to talk about things like abortion and a woman’s right to terminate. This week is not only historic in terms of democracy and giving inalienable rights to women (in Ireland); it is part of a process that is seeing bold and motivated artists speak up and refuse to be silenced. Power to them because it opens up dialogue and takes away the stigma of abortion. There is change and evolution in the air right now – whether that will translate into a sensible vote decision remains to be seen. Musicians, at least, are having their say and, when it comes to the once-taboo subject of abortion and its moral issues, they are repealing….

SUCH ancient laws.

FEATURE: Titanic and Beautiful: The Belfast Playlist

FEATURE:

 

Titanic and Beautiful

PHOTO CREDIT: Getty Images 

The Belfast Playlist

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SEEING as BBC Music is taking to the road…

PHOTO CREDIT: Getty Images 

and launching their Biggest Weekend celebrations, there will be many eager eyes and bodies hustling around Titanic Slipways. From Friday (25th May) to Monday, we will immerse ourselves in a (long) weekend of terrific music from around the U.K. Belfast is one of the locations selected and a fantastic city for sounds. I have neglected all the wonders of Belfast-made music and been a bit restricted. Now that BBC is rocking up there; I have been looking at the best music from the city, older and new, that makes it such a landmark. Keep in touch with all the latest happenings (at BBC) and get an idea of all the fantastic acts playing. Belfast is a city that has provided the world truly extraordinary music for many decades – this playlist shows what a rich and eclectic history…

PHOTO CREDIT: Unsplash

BELFAST has.

FEATURE: Pressed for Success: Setting Up Your Own Record Label

FEATURE:

 

Pressed for Success

ALL PHOTOS/IMAGES: Unsplash 

Setting Up Your Own Record Label

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MUSIC is turning into an industry…

where one can make their own fortune and create opportunities - at one point in time reserved only for big stars and those pulling in the big money. Take the act of making music: it is possible to record an entire album and replicate dozens of musicians from the comfort of your room – if you have a laptop/technology that can do that, then you are set and can do whatever you need. Many musicians prefer having that autonomy and freedom to create music how they want and at a lower cost. There is a gamble when it comes to producing and releasing music on your own. I wonder whether you can ever get the music as far and wide without a P.R. label or record deal. There is something about the studio that can add some (good) gloss and extra oomph to a song/album! As much as anything, the D.I.Y. musician has to deal with a lot more and no other voices/hands to offer additional advice/objective feedback – do the good points outweigh the bad?! I feel there are so many positives taking that independent attitude and teaching yourself new skills. A record label, mind, is a different beast to simply producing and releasing your own music. There are financial risks with setting a label up and, if it does not fly and grow, it can mean a bitter loss.

Many artists, mainstream and underground, are setting up their own brand so they can release music how they want and have much of a say. Modern artists are subjected to ruthless and rigid timescales and are part of a machine that means releases, interviews and social media motions are finely planned, honed and directed. Music can, for some, turn into déjà vu and a rather soulless cycle. I understand why agencies and labels affect this policy: they are maximising the music’s impact and working hard to push it as hard and far as possible. Whilst that sense of management and input can make some feel safe and supported; others feel they lack the chance to take time off or do campaigns slightly differently. Having your own label, inevitably, means, when you get a bit bigger you can have other artists on your books and support their music. Bit by bit, you can build the label and push it out into the world. I will source from articles that tackle the business of label ownership and the pros and cons. I am in the position where I’m witnessing new artists with not much money to their name found their label and go out there with a smile and hope. Is there a certain naivety thinking, if you have spirit and a ‘good’ idea, that will be enough to make a label succeed?

I have seen great labels fall and others take years to find a footing. To those who wish to set their label up; be aware of the pragmatic realities and limitations in the short-term. Success will not come overnight and profit might take a very long time. There are some great sites out there that tell you how to set a label up and all the points one needs to consider. This site/article provides a comprehensive and sensible guide for anyone thinking about going into business. Some interesting points come to mind – one is concerning finding a name and cementing a business model:

“…Many indie labels skip this step, at least initially, but it is a good idea to have your record label set-up as a legal business entity from the start. You will need to be an actual, legal business if you want a business bank account or credit card, and it certainly makes tax time a lot more manageable. Likewise, if you are applying for business loans or other kinds of funding, you will need to be a legal business.

The names and specifics of various business frameworks differ from country to country, state to state and city to city (for example, sole proprietorship, LLC, Corporation, etc). You will need to spend a few hours with your computer or at the library to learn about the law in your area and to print up the forms you need to set up your company”.

Many overlook the fact a label will be a full-time thing. It is not an endeavour you can do part-time and think everything will take care of itself. Before even getting to the first point; you need to consider the costs and time demands associated with running a label – is it going to be a possible realisation and daily job? Finding the sort of sound/identity of your label is vital. Do research and look at the sort of labels interested in the same music as you. Whilst there are ample opportunities for those looking to start a label; if you are doing the same as someone else, your appeal and profitability will be relatively limited. Going to gigs and looking online for the sort of music that speaks to you is vital. A label is something that you will have to dedicate your full time and energy to – making sure you are properly passionate about the sounds/artists you’re looking for is vital. The article mentioned raises some interesting questions one needs to ponder:

·         Do you want musicians to deliver a master, or will you go in on recording costs?

·         Will you be paying advances, and if so, how much? (If you have a very small budget, your best bet is to try and convince your potential signings to keep any advance small so there is money left to promote their release.)

·         How will any earnings from releases be divided up? Will your artists get a percentage, or will you split things 50/50? Will the label recoup manufacturing costs and promotional costs before paying?

·         Will the artists get to approve promotional expenditures over a certain amount? If so, how much?

·         How many promos/free copies will the artist get? Over that limit, how much will they pay for additional copies?

·         What is the length of the deal?

·         Is the deal for just one album or several?

·         Will the musicians be entitled to audit your books? How often, and what kind of notice do they need to give?

You can learn more about indie label contracts here. 

A label lifecycle will involve debt and some restricted dreams. You can reach where you need to go but be ready for setbacks and bad days. Transparency with your artists and distribution channels is vital; ensure you have that rhino skin and you can tackle any disappointments and failed releases. The debut release from your label is likely to involve trial-and-error and meagre explosion. It might fail and be a bit muted – this is all a natural process. Look at the article I have sourced as it explains the benefits of digital distribution channels and promotion: you may not have enough money to hire P.R. firms so there will be a lot of in-house promotional and marketing strategising:

·         Digital distribution is much easier to find than physical distribution. Aggregating services like Tunecore will put your music on sites like iTunes and Amazon. You can set up these services from the word go, so you don't have to wait around with good releases on your hand that you can't move at all.

·         Some physical distributors will work with anyone, but your ideal situation is to land a distribution deal with a company that is selective about the labels they work with. These companies will actively get involved in selling your releases to the stores and will often help you advertise your releases. These sorts of companies usually want to know that you've got a busy release schedule planned - they don't like working with a label with one release.

·         Distributors sometimes often M&D deals - they pay for manufacturing up front and recoup it from sales. This helps with your cashflow in the short term, but these deals are becoming more of a rarity.

I will bring in one last snippet from the article I am using an industry bible – there are other points to consider. When you think about promotion and getting your artists to the magazines/websites; make sure you give people enough time to write about the release/artist – giving them a date when they can publish a press release/review etc. will help you when it comes to hitting promotion targets and tying it around release dates. Get in contact with sites and magazines who sell your kind of music/acts. Once you build up these relationships and people know what your stall is all about; not only will people come to you – artists and journalists – but there is that trust and sense of faith. Remember the earlier points regarding expectations: things will take time to heat up and it might not be an instant success. If you have come this far – and are not put off – then how much might it take to start the label?

“…On a more serious note, starting your own record label is to a large extent dependent on your preference and budget. You could budget and spend millions of dollars, or you could choose to spend moderately; far below a million dollars.

• For the purchasing of microphones and head phones, you can go for Neumann u87; it will cost you about $2000 or more.
• For mixers, you can go with Euphonix or any other brand of your choice. But Euphonix seems   great (especially with is sweet sounding preamp and on board compressors). It will cost you about $30,000 or more.
• On the alternative, you can choose to go for purely digital and skip the mixers altogether. This means you will need a good audio inter face with multiple inputs. 12 stereo pairs minimum. The emu 1820m is a good one.
• The cables (nothing else but mogami cables), are the best audio cable in the market for now; you can explore other options.
• You would need to create budget for pre amp. Avalon are perhaps your best bet and you can get it for about $2500 or less.

• You should also prepare a good budget for monitor; monitor is one of the most important gadgets you would need in starting your own record label / record studio. You can go for a Yamaha monitor; it is simply one of the best you can get in the market.
• When it comes to acquiring a computer, you just have to budget for a high end computer designed for such purpose. Your computer should of very large memory, high end graphic card, and 2.6 GHz quad core processor and you can search for a good software to work with.

That might sound a bit scary but there are loans and banks will be able to help. Look online regards business loans and there are crowd-funding sites like PledgeMusic and Patreon that might be a good source when you are setting up. It is important, when you start your label, to have fun and see all the upsides. It can be a lot of work but, as Toby Langley of Transgressive Records said in a feature with The Guardian:

“But the hours can be long and Toby says he has to be careful to avoid burn-out. "I'm often up at 7am and still emailing beyond midnight. But I ensure that when personal time arrives with family and friends, work is blocked out entirely — even if that time is only a day or a few hours. It's crucial to have perspective and space in order to make valued judgements.

He says: "Running your own record label is a lifestyle job and you have to be prepared to make personal sacrifices in order to commit the required time to it. However, the upside of doing something you love is that it's always empowering and exciting".

It all relies on research and putting in the hours. If you set your sights on a realistic horizon then you should be fine. There are financial risks and it might take time to build that reputation – do not be put off by time and money hurdles. Every successful label started from scratch and they had to go through some pretty rough times. Going to local gigs and keeping your ears open is a good way to see what sort of acts are making the music you want to promote. If you are savvy regards the financial considerations – can you afford to take time off work or do this as a full-time job? – there will be fewer nasty shocks. That exciting first release might not be the Hollywood première you were expecting: the fact you have a release out there and are mixing it with all the other labels is a big step. There are, as my favourite article states, some key rules to digest:

·         Don't chase trends. Focus on releasing and promoting quality music, nurturing your fanbase and being good to your artists. Things tend to fall into place when you focus on the basics.

·         Be creative. Cheap and cheerful solutions to things like artwork often turn into a selling point rather than a negative. It's not about razzle-dazzle and slick stuff - it's about good music.

·         Treat your label like one of your artists. Promote your label name and build an identity.

·         This is supposed to be fun, remember? Enjoy it!

There is a world of information out there: using it as tools for success and guides will help you get the most out of your label and prepare for bad days/successes. More and more people are setting up their own labels so they can support unsigned acts and release their own sounds – avoiding all the timetables and constraints you might get with a bigger label. Think of the excitement of that first release and getting names into your fold; the first time one of your artists/you press a vinyl and see that in a record shop! THOSE are the moments that you need to keep in mind and never lose sight of! Do not be deterred by the hard work you will need to put in: it is all worth it and something, as I said, we all need to go through. Who knows, eh? If you keep at it and remain focused; before too long, you might have a label that is housing some of the biggest new artists in the music world. You should always follow dreams and, if you are determined to run your own label, then go for it and make it happen! It is important to remain realistic and level-headed but you can dream and aim high – the more work and passion you put in, the more you will get out. Start your mind working and get the creative portion active. Today it might be a mere idea; by tomorrow, you could well take the first steps towards…

STARTING your own record label!

FEATURE: One Year On: Remembrance and Recovery: The Manchester Playlist

FEATURE:

 

One Year On: Remembrance and Recovery

ALL PHOTOS/IMAGES: Getty Images 

The Manchester Playlist

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TODAY is an emotional day…

as we cast our minds back one year and remember those who tragically died in the terrorist attack at the Manchester Arena. Twenty-two people were killed, and scores wounded, in a horrific incident that shocked, not only the population of Manchester, but the whole world. The senseless and barbaric bombing left scars and tears on a proud and strong city. Many are gathering to remember those who died on that eventful night - and providing silence and respect in their honour. To mark the city of Manchester, and its people; I have collated a playlist of Manchester musicians, including an honourary track from Ariana Grande, whose concert it was so many people attended a year ago, not knowing what was to befall them. We remember those who died and were affected by the violence last year and, as we all come together, know that recovery, although far away, will happen and bring us all…

CLOSER together.

FEATURE: Let’s Be Friends… GDPR and What It Means for the Music Industry

FEATURE:

 

Let’s Be Friends…

ALL PHOTOS: Unsplash 

GDPR and What It Means for the Music Industry

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MANY of us have received…

emails from various companies and people regarding GDPR and changes to the way our data is held/treated. These emails, largely, give you all the spiel and ask if you can reply back – stating it is okay to keep you on file and contact you in the future. Being in the journalism game; I have received a few of these. I am concerned how my data is held and wonder, when I get emails from P.R. labels and recruitment agencies, just what are they doing with my email address and contact information – is it being used by third-party companies and those who wish to target me through marketing and calls. I will bring in an article that explains what the GDPR regulations mean for those of us in music; when we receive emails asking if we are happy to remain in contact – it can be quite confusing. A couple of problems have arisen from the new laws and how organisations are reacting. There is no need for a person to confirm, verbally or written, to say they are happy for someone to keep their data and be contacted. It is not a stipulation and, although it might be a courtesy, it can backfire quite a lot. I am seeing social media posts where people are receiving dozens of these emails and ask the same thing: Can I not have an out-of-office or message that confirms a ‘yes’ so I do not have to reply to these people one-by-one?!

I have not been barraged with these communications but have received a few that ask me is it okay to continue as before. The thing is; unless you are well-versed and boned-up regarding the new laws and what it means, you are likely to say ‘yes’ without thinking about it. There are complications and mistiness but, going forward, many are worried about their data and how it will be used. Given the Cambridge Analytica scandal with Facebook recently; many are paranoid their banking details/contact details and social media activities are being monitored and sold. Musicians provide their details to venues and promoters; they might have a P.R. label or a record deal – lots of sources who communicate with them and they do likewise. When they embark on a contract or send an email to a venue, let’s say; there is that implication it will be a secure market and transaction; that there will be transparency and equity – there will be no subterfuge and obfuscation that could mean musicians’ data gets into the hands of someone who has not requested it. I said I’d source an article that helps explain how GDPR changes impact music and the way data is held:

“The regulation means that businesses need to protect the personal data and privacy of EU citizens within EU states. Personal data includes things can can identify a person, so name, address, web data, health data, etc.

Even if you have no idea what GDPR is (a new data protection law) then you’ll no doubt have had your inbox burned with email after email after email asking you one thing in a manner of different ways…

“Would you like to hear from us again?”

“Please give us permission to contact you after May.”

“Let this not be the end – click here to stay in touch.”

… and about 100 other versions of the same very simple action – Opting in!”

The fact that none of us needs to consent to the emails/agreement makes me wonder what the ramifications of being passive are. I am sure I have received tonnes of the buggers but have not had time to read the emails separately. There is so much to digest and, at the end of the day, it boils down to this: whether we want things to stay as they are. There are no dark arts and duplicitous crevices implemented in the new laws that mean things will shift and the data subject is being conned. It is, in essence, dotting the ‘i’ and crossing the ‘T’ to an insane degree. I worry I have forgotten to respond to a few emails and have been taken off mailing lists. I rely on contacts and emails from P.R. agencies so I can keep working. If there is an email that has been sent to Spam or Junk or it has been buried about all the others; I wonder whether I will know who I have overlooked and whether I will hear from them again! The article covers the same ground as me with regards the mass of emails one will receive:

“50% won’t open the damn thing and then you’ll lose them. Those occasional openers are bound to get binned. What if they wanted to hear from you but didn’t open that email? They’re gone.

And then… then there’s click rate! The avg. click rate is less than 4% so you’re effectively killing off 96% of your 50% list.

If you had 1,000 people on your list, and you went down the opt-in route, then chances are you’re going to end up with 20 people left!

20! And those are probably a few employees, your friends, and your mum.

If they’re an individual, and an existing customer, then provided they’ve been able to always remove themselves from your list then the soft opt-in applies under PECR, and as we’ll see you don’t need consent under GDPR. You don’t need to delete them.

And here’s the thing, if you haven’t emailed already, you’re way behind those who went early when this was all new and you’ll mostly likely get deleted before you’re opened as we’re all sick of it”.

There is a lot to take in and it brings me back to the earlier point regarding streamlining and making it easier for people to say ‘yes’ to everyone. If we are on a mailing list or signed up with an agency/venue, for example, we have done so for a reason and are capable of removing ourselves when we feel fit. If we are confused regarding compliance with the new regulations; are we losing vital contacts – there are those who we have not signed up for and will email us in an attempt to get our personal details.

How does Legitimate Interest help rationalise the quandary and offer peace of mind?

“Legitimate Interest:

“Legitimate interest is one of the six lawful bases for processing personal data. You must have a lawful basis in order to process personal data in line with the ‘lawfulness, fairness and transparency’ principle.” – The ICO

Sending out emails under a legitimate interest basis could well be a better solution for you, but you’ll still need to comply with PECR when emailing individuals”.

The new laws protect those inside of Europe but, given the political transition we are seeing; will we still be protected and ‘in’ come this time next year?! It is a big pile of rules and foreign terms we need to decipher to ensure we are making the right choices and doing our due diligence. I will end this thing soon but, reading another piece that looks at GDPR and it advises those who want to be proactive and safe:

“Ok, maybe I should be doing something about this – where should I start?
First things first: get familiar with the law and nominate someone in your organisation to lead your company through the new requirements. You might need to appoint a data protection officer. Knowing both the relevant privacy laws and how to apply them to business processes is a considerable challenge. Having an appropriately skilled and qualified person in place is a must, and can repay any costs many times over by focussing any additional work only where it is absolutely necessary, whilst making sure full advantage is taken of the opportunity to engage more deeply with customers and fans.

Knowing what you need to do to comply with GDPR starts with having a proper grip on (i) what personal data you have, (ii) why you have it, (iii) what you use it for, (iv) where it is used and stored, and (v) what rights (consent) you have to hold and use it.

For example, you’ll be relying on consent to market to fans: where is that consent coming from? Do you collect it directly from the fan, or does another company collect it for you? Under GDPR, pre-ticked marketing opt-ins will be a thing of the past. The entity for whom consent is being given will also need to be named (e.g. generic “event partner” opt-ins will no longer be permissible). If you rely on others to collect marketing consent on your behalf, you should ensure they meet the new requirements”.

That is useful advice for organisations and those who have a legal responsibility to get this right – what about us on the other side of the laptop who might be deleting emails or agreeing to stay on a mailing list for the wrong reasons?! A lot of the P.R. companies I speak with know I want to stay in contact and they are not going to use my data in any illegal way. If you do get these emails through – that ask if you want to remain ‘friends’ after May – then check this is a mailing list/firm you have signed up with. If not, then unsubscribe and be asked to taken off their list. If they are legitimate – an employment agency or mailing list for a festival – then do not panic.

Although you do not have to say ‘yes’; a quick reply with that one word is sufficient. You will not find, once you have agreed, you’ll get a lot of unwanted emails and things will change: this is a new process coming in that aims to protect the data of European citizens and will not compromise your security and rights. We are all a bit nervous after the data scandals on Facebook. It is understandable people are confused and reticent right now. An all-out opt-in might cause some problems and create some loss of contact and entanglement. If you check out this advice from the Musicians’ Union then it should make things clearer. I can understand there is frustration because everyone we are in regular contact with is sending emails regarding GDPR and new legislation. Do not get worried and, if concerned, do your research. New laws mean greater protection for people – things are not going to be made worse; it is designed to create better awareness and security. I am among the masses who is unsure what to do but, let us hope, when these new laws come in it will lead to improvement and better personal security…

FOR everyone.

FEATURE: The Great Escape: Artists to Watch Closely (Part II)

FEATURE:

 

The Great Escape

Artists to Watch Closely (Part II)

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FOLLOWING the first part…

PHOTO CREDIT: Unsplash

of this feature; I was asking around for tips regarding other acts who had played The Great Escape, wondering whether I had missed any out. An erstwhile and passionate music P.R. representative, Hannah Thacker, pointed out some artists she’d seen and would recommend. I have compiled them into the final part of The Great Escape essential rundown – artists who will, soon enough, transcend beyond where they are and ascend to the edges…

PHOTO CREDIT: Unsplash

OF the big leagues.

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

________________

Ady Suleiman

Facebook: https://www.facebook.com/adysuleimanmusic

Twitter: https://twitter.com/AdySuleiman

Amaroun

Facebook: https://www.facebook.com/amarounmusic

Twitter: https://twitter.com/amarounmusic

 

Benin City

Facebook: https://www.facebook.com/BeninCity/

Twitter: https://twitter.com/wearebenincity

Billy Lockett

Facebook: https://www.facebook.com/billylockettmusic/

Twitter: https://twitter.com/billylockett

 

Declan Welsh & the Decadent West

Facebook: https://www.facebook.com/DeclanWelshMusic/

Twitter: https://twitter.com/DeclanWelsh

Fabrizio Cammarata

Facebook: https://www.facebook.com/fabriziocammarata

Twitter: https://twitter.com/fabcammarata

Gengahr

Facebook: https://www.facebook.com/gengahrband

Twitter: https://twitter.com/gengahr

George Taylor

Facebook: https://www.facebook.com/iamgeorgetaylor/

Twitter: https://twitter.com/iamgtaylor

Girlhood

Facebook: https://www.facebook.com/thisisgirlhood/

Twitter: https://twitter.com/gurlzinthehood

Jordan Mackampa

Facebook: https://www.facebook.com/JordanMackampaMusic/

Twitter: https://twitter.com/jordanmackampa

Love Sick

Facebook: https://www.facebook.com/thisislovesick

Twitter: https://twitter.com/thisislovesick

Love Ssega

Facebook: https://www.facebook.com/lovessega/

Twitter: https://twitter.com/LoveSsega

Nadia Nair

Facebook: https://www.facebook.com/Nadianairmusic/

Twitter: https://twitter.com/xnadianairx

Nilüfer Yanya

Facebook: https://www.facebook.com/niluferyanya

Twitter: https://twitter.com/niluferyanya

Sam Johnson

Facebook: https://www.facebook.com/samjohnsonofficialmusic/

Twitter: https://twitter.com/SCJMusic

Stella Donnelly

Facebook: https://www.facebook.com/stellamusicband/

Twitter: https://twitter.com/stelladonnelly

Tamino

Facebook: https://www.facebook.com/taminoamir/

Twitter: https://twitter.com/taminoamir

FEATURE: Mos Def? Definitely Maybe! Why Do Our Musical Tastes Change Over Time?

FEATURE:

 

Mos Def? Definitely Maybe!

PHOTO CREDIT: Unsplash 

Why Do Our Musical Tastes Change Over Time?

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IF someone asked me to name…

IMAGE CREDIT: Getty Images

my favourite ten albums, I would have the Devil’s time getting a coherent and fixed list. Maybe there is no actual answer to the question I posed at the top – our minds do often attach significance to records one moment and wane years down the line. I am pretty sure Kate Bush’s The Kick Inside will not shift as my number-one album choice but, as it made it to the top of the list recently; who is to say that will be the case this time next year?! I am as passionate and dedicated to music as anyone and do not treat great work with anything less than ardent respect and focus. I raise this point because none of the albums that are in my top-ten is from the last few years – it is not as though something major has fallen from the skies and blown everything into chaos! My life situation is as it was a few years back: why, then, should my mind be split when it comes to clarifying certainty and what resonates with me? I am solidly behind Kate Bush but I have found albums that were in my top-ten recently – such as The Bends (Radiohead) and Blood on the Tracks (Bob Dylan) – have slipped further down and been replaced by other works. I guess we are entitled to change our minds but my confusion is mirrored by many others.

PHOTO CREDIT: Unsplash

I ask people, when I interview them, to name three albums that mean a lot to them. A lot of them can answer with no hesitation: some find it hard to narrow them down whilst others say the same thing: “This list could change in the next couple of days”. It seems odd many of us are unable to crystallise our favourite music and albums that mean so much; in spite of the fact we have our minds open and are quite decisive. The same can be said of my favourite songs, too. I have a few that are always going to be in the top-ten but, when thinking hard, the same situation occurs as the album quandary: no new entries are confusing things. Is it possible to get that sort of epiphany and clarity nowadays?! My parents and people of their age are pretty unwavering when it comes to their tastes and what means most to them. I do not shift my opinions that much but it is interesting studying why it is hard to be clear and consistent with our musical choices. I mentioned how a few albums have fallen out of my top-ten and been replaced. I have found, in a big move, Paul Simon’s eponymous album and Joni Mitchell’s Blue have come from lower places and made it into the top-ten. I have been listening to the records for many years but have found, all of a sudden, they have connected in a profound way and replaced rather huge albums.

IMAGE CREDIT: Getty Images

I have found, in addition to individual songs and albums; certain genres have crept into my fashionable wardrobe and others have gone out of style. Many claims our tastes peak when we are teenagers and, from then, we get less cool/fussy and settle, in certain ways. I can get behind that but, at thirty-five, I have noticed big shifts and changes come into my mind. There are no physical and external factors that could have contributed to that oddity. I am not alone in this: many people I have spoken to say they have fallen out of love with a certain album or found a new appreciation for a certain genre. Maybe it is a process of ageing and being open to new suggestions. I do not argue tastes change but it is strange to think we can suddenly go cold on certain albums/sounds and embrace others so immediately. I have been doing a bit of research and found one article that looks at how our tastes change over time:

“In your teens, you blast whatever is considered "popular" at that moment. Then, your interest in current jams falls in your 20s and early 30s before bottoming out around age 33.

That's according to a new study that measured when and how quickly people stop keeping up with mainstream hits.

For the study, Ajay Kalia, product owner for taste profiles at Spotify, compiled the songs that each user of the streaming music service in the U.S. listened to in 2014. Then he cross-referenced that data against user age and the popularity of each recording artist”.

PHOTO CREDIT: Unsplash

An interesting study added a new perspective:

“New research charting broad shifts in changing personal music tastes during our lifetimes finds that - while it’s intrinsically linked to personality and experience - there are common music genre trends associated with key stages in a human life.

Whereas the first musical age is about asserting independence, the next appears to be more about gaining acceptance from others

The explosion in music consumption over the last century has made ‘what you listen to’ an important personality construct – as well as the root of many social and cultural tribes – and, for many people, their self-perception is closely associated with musical preference. We would perhaps be reluctant to admit that our taste in music alters - softens even - as we get older.

Now, a new study suggests that - while our engagement with it may decline - music stays important to us as we get older, but the music we like adapts to the particular ‘life challenges’ we face at different stages of our lives.

It would seem that, unless you die before you get old, your taste in music will probably change to meet social and psychological needs.

One theory put forward by researchers, based on the study, is that we come to music to experiment with identity and define ourselves, and then use it as a social vehicle to establish our group and find a mate, and later as a more solitary expression of our intellect, status and greater emotional understanding”.

PHOTO CREDIT: Unsplash

There is a lot of evidence to say we are affected by psychological and life events: attaching meaning to various sorts of music and albums. I, as I said, have not seen any real changes over the past few years but seem to be dispensing with once-lauded albums and unable to answer the question clearly – when it comes to deciding my favourite song/album. What worries me is how, even though I adore certain albums, I am less committed and passionate than before. Maybe certain radio stations have opened my mind; the fact I feature so many new musicians means I am paying more attention to them. Is my enigma a result of my adolescence and music peaking – songs I cherished because they remind me of better times are being replaced by ones that bare significance now? I just turned thirty-five, and so, I am looking at new horizons and, subconsciously, soundtracks that motivate new thought and dreams. Whereas I have kept a fairly rigid playlist the past few years; the fact I am making changes and adopting a new mental attitude, in a way, has impacted how I view music and what is in favour. A lot of the albums and songs that make up my top-ten/twenty are from childhood and my teenage years. Perhaps I have reached a point where I am past nostalgia and familiarity and ready to embrace new influence. An article published in The New York Times looked at when our tastes peaked and what sort of songs we listen to:

PHOTO CREDIT: Unsplash

“…It turns out that the “Creep” situation is pretty much universal. Songs that came out decades earlier are now, on average, most popular among men who were 14 when they were first released. The most important period for men in forming their adult tastes were the ages 13 to 16.

What about women? On average, their favorite songs came out when they were 13. The most important period for women were the ages 11 to 14.

Granted, some results of my research are not surprising. One of the facts I discovered is that Coolio’s “Gangsta’s Paradise” is extremely unpopular among women in their 70s. Thank you, Big Data, for uncovering that nugget of wisdom!

But I did find it interesting how clear the patterns were and how much early adolescence matters. The key years, in fact, match closely with the end of puberty, which tends to happen to girls before boys. This also adds one more piece of evidence to the growing scientific consensus that we never really leave middle school and high school”.

Maybe I am getting old and entering a new (if scary) phase of life. I am not sad I have lost the spark for certain albums but wonder if it is as a result of psychological stimulus and environmental factors – or it is a lack of concentration and inevitable fickleness. Unless a record hits that hard and means so much, we are not going to hold it in such high esteem for our entire life. I am becoming more daring with my tastes and listening to music, as recently as last year, I would not normally embrace. The opposite is true: some stuff I loved recently has left a bad taste and my music library is changing rapidly. It is exciting seeing how various styles of music stick in my mind and how my general approaching to music changes. What I do want to happen is a certain clarity come through to ensure those epic and life-affirming albums I hold so dear…

PHOTO CREDIT: Unsplash

NEVER fade from my memory.

FEATURE: Dorian Gray’s Daughter Wears Concealer: Do the ‘Classic’ Albums Still Influence and Move Musicians Today?

FEATURE:

 

Dorian Gray’s Daughter Wears Concealer  

IMAGE CREDIT: Getty Images

Do the ‘Classic’ Albums Still Influence and Move Musicians Today?

__________

I love interviewing various artists…

IMAGE CREDIT: Getty Images

from all around the world and like to drop in this question: "What sort of albums are you influenced by?" The reason I ask the question is to gauge responses and see how various people react. I am thinking back to last year when I was invited to be on BBC Radio 5 Live and talked about the fiftieth anniversary of The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band. It was an interesting day and I got to hear two people go at it regarding the album’s legendary status; whether it was just and exactly HOW important the album is, fifty years down the tracks. I was interested seeing how Steve Lillywhite (against the notion that it deserves its status) and Howard Goodall (in favour of its celebration and acclaim) argued their points. Lillywhite stated the record was a concept piece but had no real concept – bar the title-track and its reprise. He said some of the songs were twee and weak; it was not the best Beatles record and, when you consider the fact Strawberry Fields Forever and Penny Lane were left off the record – they appear on Magical Mystery Tour – then is it as strong as it could have been?! Goodall asserted (the record) pushed the limits of the studio and saw the band enter a new phase. The iconic album cover blew minds and the way the guys reacted to what was happening in 1967, and created a perfect album for the times, meant it was always going to get big reviews and love.

PHOTO CREDIT: Unsplash

I have been listening to the record today and argue that, whilst I stand by the view it is a masterpiece and enormously influential; how many modern-day artists can you link to that record?! We might listen to Sgt. Pepper’s Lonely Hearts Club Band but how many bands have been influenced to an extent where they have pushed boundaries and tried to create their own version? I was asked, at the end of the interview, which album I felt was overrated and not as influential as it is claimed. My choice was The Velvet Underground & Nico. I am a fan of The Velvet Underground but have never really got the record – why do people drool over it and hold it in such high esteem?! From Radiohead’s Ok Computer to Bob Dylan’s Blood on the Tracks; how many of these stunning albums do we hear in modern-day music? You can argue that there was an explosion and impact in the years following these albums’ release. We saw changed post-1967 and, after each of these records, there were changed and reverberations. I return to my question regarding my interviews and there are albums that keep cropping up – those big records that artists all seem to agree on. I tend to find, if I had to pick one, Jeff Buckley’s Grace tops the list.

IMAGE CREDIT: Getty Images

I can understand why many people love that record – it is in my top-five – but I wonder whether we are mixing the word ‘influential’ and ‘favourite’. If a record influences one then, surely, that must link to their own music and relate to how they write – whereas having it as a favourite does not imply you write in order to mirror that album. Of all the artists who have name-checked Grace as the ‘most important’ of their collection, there are very few who remind me of it; make me feel they have absorbed everything and carrying its legacy on. I can hear flickers of Buckley in others but it is more an impression and taste than a full-on purchase. Do we want to hear artists borrowing so heavily from classic albums? I have to ask whether, when we talk of those albums that are most influential, do we mean in terms of what changes they have made to the industry? Grace has opened up the male singer-songwriter market and, whilst it has not made sensitivity ultra-cool; it has made artists less afraid and bolder with their songwriting; putting emotions into the work and appearing more revealing. I scoff at the notion The Velvet Underground & Nico holds must weight but maybe its role was to make taboo subjects – it is like dining with Caligula when you listen to it – more acceptable and less stigmatised. Certainly, there is experimentation in the compositions and in the lyrics; daring and vivid expression that compelled the likes of David Bowie.

IMAGE CREDIT: Getty Images

I can see how an album’s influence can affect another artist and, because of that, go down as ‘influential’. Do artists, today, look at something like The Velvet Underground & Nico and follow its guidelines? I think more people are moved by David Bowie’s movements – after hearing that record – rather than the original source. I can, maybe, say the same about The Beatles’ masterpiece and musical adventures that came after 1967. Throw in other albums like Patti Smith’s Horses and The Beach Boys’ Pet Sounds. (You can add Joni Mitchell’s Blue into that list). I can see how Smith’s odyssey influenced everyone from R.E.M. and Madonna; The Beach Boys were acknowledged by The Beatles and changed Pop as we know it. These albums have, for sure, altered perceptions and remain faultless to a tee. I am curious whether the influence has stopped or changed drastically since their creation. A lot of these albums we see in the list of the most influential record ever tend to be from the 1960s and 1970s – it is not always the case but these are the decades that feature heavily. Even if we look at a ‘recent’ album like Nirvana’s Nevermind and we have to wonder, today, do we directly link it to another band or album? Maybe there are some Nirvana-like edges here and there but I have not heard anything as immediate, mesmeric and physical as that record since it came out. Maybe a sound-alike record is the only way we can do justice to that 1991 release – that would not be the way to do things and it would put people off.

PHOTO CREDIT: Unsplash

Even if a big Hip-Hop record like Straight Outta Compton (NWA) or It Takes a Nation of Millions to Hold Us Back (Public Enemy) created a wave after its release (both were released in the 1980s) I wonder whether they have aged as well as you’d imagine. Eminem and his peers have picked from those records but he is in a position when his best days are beyond him and his best material seems reserved to the past. I could give you a list of those albums that have started their own revolution but I wonder whether there is enough impetus and preservation intent from the young generation to ensure these titanic records find voice and a role in modern music. You look out at the best albums of the past few years and, whilst they have struck a chord, I do see some missed opportunities. I am not saying a band comes along and replicates Sgt. Pepper’s Lonely Hearts Club Band or Pet Sounds. There are strands from each that can be pulled and provided unique and bespoke colouring. The influence so often is hidden and watered-down to an extreme length. I feel music today is really strong and there are so many original artists changing the game. I argue the only way we are going to see these hugely influential records come now – how many world-class game-changers can you name from the past decade?! – is to take more from those influential giants from decades more and do something huge.

PHOTO CREDIT: Unsplash

It is not lazy or plagiarising to take a lot from these records: they were recorded to influence others and make a difference in the world. Everyone is looking around for something immense to come along that influences future generations. Maybe music is so hectic and vast that we cannot properly slow down and make an album that lives up to such high standard – is it ever going to be possible to unearth a current album that pushes music on the same way as The Beach Boys and David Bowie did?! I think there is enough talent and technology we can see something wondrous happen. It is great accepting certain albums have opened music and led to incredible discoveries. I feel like people either leave it there and do not see how they can move that ball forward – seeing why Pet Sounds changed music and taking it a step further – or are listening to the big-hitting L.P.s and fearful of leaning heavily on them. It is interesting picking apart the argument and seeing if there is a clear answer. I feel there are a lot of albums, from the 1960s especially, that made a big dent when they came out but have diminished in effect after such a long time. It takes me back to a record like Sgt. Pepper’s Lonely Hearts Club Band and, whilst it moved the 1960s’ listeners and was a mind-blowing move from the world’s greatest band; I have to wonder whether its influence, and many like it, has diminished heavily through the years. Are musicians trying to break away and create something unique? Is the influence translating in hidden ways and less overt than we might imagine? I have some doubts and wonder whether, given we have those records out there and they are free to inspire, artists are really doing enough to…

 PHOTO CREDIT: Unsplas

KEEP their memory and importance right in the forefront.

FEATURE: (Untitled): Writer’s Block and Curing a Lack of Creative Flow

FEATURE:

 

(Untitled)

ALL PHOTOS: Unsplash 

Writer’s Block and Curing a Lack of Creative Flow

__________

ALL of us get into a situation…

where the words fail to come or the ideas we are producing lack the spark that was there before – it is a natural part of being a creative person. I am not putting myself in the mix when I talk about excellence and hitting a near-genius standard: my benchmark is lower and I often find the work I am producing at my ‘best’ is pretty similar to an average day. I am exaggerating but it makes me wonder whether, the more we put out and write, the harder it is to tell whether quality is high enough or we are recording/writing for the hell of it. I have never found myself experiencing an all-out writer’s block but I am having moments where the usual stream of ideas – both good and complete crap – is starting to trickle a bit. Maybe it is the time of year and there are not enough news stories to react to. I pull inspiration from events in music news – big events or anniversaries; stars doing something stupid or a topic coming to the fore – but there are other times where I write about whatever feels good to me. Mixing the timely with personal is a good balance when it comes to journalism – the same can be said of songwriters.

It is a time of year when festivals are around the corner and artists are practising and gearing up for performances. They are not releasing as much new material and, instead, are honing their existing stuff and getting ready. That means fewer interview requests are coming my way and I have less opportunity to sharpen my skills and get something on the page. I, therefore, have to look around and seek work in other corners. There is a quiet period now and, for a writer or songwriter, it can be quite frightening. The ideas and inspiration is there somewhere: a bit of a slump does not mean a degeneration of talent or there is something wrong with you. I am seeing a lot of songwriters looking for material influence but discover, when they put pen to paper, nothing comes out. Even if they sit and wait for ideas to come; they are stuck for a start and it can be a struggle. What do we do when we get into that rut and find the normal stream of ideas/lines will not come?! There is an article that questions whether there is such thing as writer’s block?

“…But it’s not quite right to say there’s no such thing as writer’s block. The real problem, as the psychologist Paul Silvia notes in his excellent book How To Write A Lot, is that it’s a description masquerading as an explanation. It portrays a situation – the one in which you’re not writing – while pretending to say why: because of a “block”. But this adds nothing. It’s like saying the reason for America’s skyrocketing defence budget is that America keeps spending more on defence. Or that you’re sleep-deprived because you don’t get enough sleep.

There are, research suggests, many explanations for the behaviour of not writing, including fear of others’ judgments or excessive self-criticism. (Also: do you even want to write? Or are you subliminally trying to please someone else, such as a parent?) Whatever your reason, diagnosing yourself as having writer’s block, rather than just not currently writing, will make matters worse. “Naming something gives it object power,” Silvia has said. “People can overthink themselves into deep dark corners, and writer’s block is a good example.”

The most important step in overcoming writer’s block, then, may be cutting it down to size: grasping that it’s just a situation, not an underlying condition, and that it’s solved, by definition, the moment you write anything. You could keep a dream journal, as Graham Greene did, or do “morning pages”: three pages of whatever comes to mind first thing. Give up writing in binges, and focus on doing a tiny amount, very regularly, including stopping when time’s up. Oh, and stop expecting writing itself to be pleasurable. (I’m deeply suspicious of anyone who claims it’s fun.)”.

I confront the notion there is nothing like writer’s block. Other professions do rely on creativity but even if you are a mechanic or a kitchen designer; there are times when your brain does not tackle problems the same way and you find a lack of energy and ideas. There are other articles that give compartmentalised guides to tackling that nagging beast.

Writing and performance is a lot different to a profession where your mind and thoughts are made to connect in a different way. I am not sure the exact term but it is easy to see how writers are more prone to blocks than people in other fields. One can look at reasons like lacking sleep or stress to explain why the mind fogs and things sort of dry up. There is so much demand on the shoulders of those in the music business, it can be hard keeping the pace up and creating to the same level. There are some great tips when it comes to helping the ideas come back to the forefront. It may sound counterintuitive but spending time away and putting projects in a drawer is a way of recharging and recalibrating the brain. If you have an album due or are fighting to succeed in the Spotify market; it might be difficult breathing and letting other elements of life come through. You can write in bursts and do timed exercises – penning a certain amount of words and then doing the same the next day. You can keep writing literally anything: keeping the pen going, regardless of whether it is nonsense or good…that keeps the mind working and active. Getting away from the desk and embarking on exercise and relaxation can take the preliminary success from the shoulders and mean you are less tense and freer when you sit down.

It is tough getting into the groove if you have a rather static and unmoving creative space. Customising an area so that it impacts and promotes creative fertility is a good measure. Getting into a routine where you can do the same thing every day and keep disciplined retrains the mind and can unlock what is hidden away – that flame that once burned but has now retrenched. It is frustrating, to me, suffering from lags and struggling to keep up the pace and standard I am used to. External factors can create issues and impact on your writing environment. Whether you are experiencing problems at work or going through a breakup; it is natural those type of things will leave their mark. Songwriters rely on certain tragedy and upset to provoke ideas and lead to terrific music. For journalists, it is not only a source or scrap of an idea we are looking to: the content has to be interesting, relevant and readable. It is ironic that, since starting this article, I have found ideas for other articles that I will carry out next week. Maybe that is a way of overcoming a specific dry spell: write a short story or yourself; pen something about your day and turn that into a tale…keep going and do that several times through. If that does not work then think of another approach. The mind is like a muscle that can atrophy or sprain. You need to massage it and find ways of bringing it back to full health. Stress is one of the biggest reasons why artists and writers reach a brick wall and cannot get through it.

It can be unproductive working through the storm and writing half-arsed sentiments. Rather than write mediocre content for the sake of keeping busy; eliminating those deferential isotypes is a much more prudent long-term solution. Tackling the underlying cause, even if it takes time and money, can pay dividends down the line. Little adaptations and tweaks can make a big difference. Playing music – if you are used to silence or T.V. – can help; drinking less alcohol or allowing yourself an hour a day to get in the sun or watch a comedy…that can relax the body and, with it, the stresses start to melt away. Sometimes, for people like me, the cause of writer’s block can be idiopathic. We are not sure what is causing it and, for that reason, it can be hard to diagnose and cure. What to do when the engine starts to flag and provides no warning or resolution?! To me, at least, there is this standard I need to keep and a level of work that needs to be produced. That is another point to consider: does the fact you are producing less or not to the high standard of before constitute writer’s block? The bigger you get and the more ambitious your horizons are, naturally, there will be dips that occur. One is unable to plough like a machine and keep cranking an endless production line of songs/articles out without some fatigue or bad days – even machines break and slow down, you know!

There is a stigma around writer’s block and, in an industry like music, the competition is fierce. Everyone is expected to be endlessly visible and have this never-ending capacity for work and quality. The more we expect of creatives then that will lead to burn-out and needless stress. If you are not comfortable shouldering so much work and feel the pressure is too much; loosening that grip and working to your own beat can often be a long-term fix. We assume we always need to be putting it into the ether and pumping work out: it may seem damaging to go against the grain but working to a more pragmatic mean. If you have tried all the ‘solutions’ – it is worth reading the articles sourced – then it might be worth conferring with someone in the same position. That sort of compatible and judgement-free dialogue can get to the root of the issue or, at the very least, find ways to move through and break down the drought. I want to leave with an article I found in The New Yorker that looks at writer’s block and the internal/external pressures we digest:

“It may be that learning to do creative work of any kind—not just direct imagery exercises—may help combat writer’s block. Scott Barry Kaufman, a psychologist who is the scientific director of the Imagination Institute at the University of Pennsylvania and a co-author of “Wired to Create,” says, “When one feels writer’s block, it’s good to just keep putting things down on paper—ideas, knowledge, etc.” In 2009, Kaufman co-edited a volume called “The Psychology of Creative Writing”; during that process, he became convinced that allowing for error—and realizing how nonlinear a process creativity can be—was an essential step for overcoming blocks in writing. “I think one must trust the writing process. Understand that creativity requires nonlinearity and unique associative combinations,” he says. “Creative people do a lot of trial and error and rarely know where they are going exactly until they get there.”

That, in the end, seems to be the main message of research into writer’s block: It’s useful to escape from external and internal judgment—by writing, for instance, in a dream diary, which you know will never be read—even if it’s only for a brief period. Such escapes allow writers to find comfort in the face of uncertainty; they give writers’ minds the freedom to imagine, even if the things they imagine seem ludicrous, unimportant, and unrelated to any writing project”.

The good thing to realise is writer’s block/lack of creative spark will come to an end and it is important to realise that – rather than let it obsesses you and feel it is the end of the world. One of the most effective short-term solutions is to keep writing anything that comes to mind. Keep the fingers and mind nimble and thinking. If you cannot think of ways to remedy the burden then look at the internal and external factors, physical and psychological, that might be playing a role. Think about the last time you wrote/wrote well and what was happening. Examine the events following that and see if there is a correlation between that business-as-usual-buzz and the unexpected sensation. It can be scary to think you have hit a bad patch and this might lead to permanent emptiness. Even if you are experiencing temporary downturn then have no fear: it will end and, with patience and motivation, you can turn it around. It can seem impossible to regain that productivity but, if you stay strong and think ahead before you know it, you will…

BE right back on the horse.  

FEATURE: The A-List: The Best Tracks of 2018 (So Far)

FEATURE:

 

The A-List

ALL PHOTOS: Unsplash 

The Best Tracks of 2018 (So Far)

__________

WE are still in May…

but there have been so many good songs out already. From every corner of the musical landscape; they have dropped from the sky and taken the breath away. I have assembled the tracks that, I feel, are the very best of the year so far. Among the singles/album tracks are efforts from Childish Gambino, LUMP; Courtney Barnett and Gaz Coombes – stacks of terrific cuts that have added so much to the musical landscape. Enjoy the rundown and think about those songs that, in your mind, are the absolute top of…

THE year so far.  

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Kamasi Washington - Fists of Fury

Childish Gambino – This Is America

Leon Bridges – Bad Bad News

CHVRCHES – Miracle

LUMP – Curse of the Contemporary

Cabbage – Arms of Pleonexia

Unknown Mortal Orchestra – American Guilt

Boy Azooga – Loner Boogie

Courtney Barnett – Nameless, Faceless

Kacey Musgraves – Space Cowboy

Noga Erez – Sunshine

First Aid Kit – Fireworks

Florence + the Machine – Hunger

Father John Misty – “Mr. Tilman”

Hinds – The Club

Let’s Eat Grandma – Hot Pink

Janelle Monáe – Make Me Feel

Nils Frahm – Forever Changeless

Sigrid – Raw

Jorja Smith, Kendrick Lamar – I Am

Goat Girl – The Man

Young Fathers – Toy

Gaz Coombes – Deep Pockets

Jack White – Over and Over and Over

Jordan Rakei – Wildfire

FEATURE: Vinyl Corner: Jack White - Blunderbuss

FEATURE:

 

Vinyl Corner:

ALL PHOTOS/IMAGES: Getty Images/Press

Jack White - Blunderbuss

__________

IT only seems natural to include an artist…

in this feature who belongs on vinyl; a man who devotes his time to music’s roots and producing the best sound possible. I have been a huge fan of Jack White since the early days of The White Stripes. When he was recording alongside Meg; the duo created their own colour scheme – red, white and black – and believed in the power of three: that extended to instruments and was a rigid set of rules that made the music both natural and disciplined. The final album from the duo, 2007’s Icky Thump, was a sad moment; a time to say goodbye to one of my generation’s great acts…with it, the temporary absence of Jack White from the spotlight. I followed his career when he stepped into The Raconteurs and The Dead Weather: a couple of side-projects that, although White was part of a group, still seemed to shine because of his command and voice. Whilst some great songs came from those bands; there was nothing that really matched the heights and delights of The White Stripes’ glory days. In 2012, when Blunderbuss was released to the world, the Third Man Records-released record made a big impact and gained huge reviews. It sold 138,000 copies in the first-week sales and the single, I’m Shakin’, was nominated for Best Rock Performance at the 2014 Grammy Awards.

The inception and acorns of Blunderbuss have their roots in White’s explorations whilst recording with other Third Man Records artists. He was in contact with Wu-Tang Clan’s RZA and, when he could not attend a session, White used the musicians booked to work on his own material – why not, eh?! The musicians helped White lay down several of the songs that would go onto the record – all of which were written in 2011. The album, as you’d hope from a White Stripes man, was recorded on an 8-track analogue tape. Hired guns and readily-available musicians meant White had greater freedom to produce the music he wanted to and experiment. Unlike his time with The White Stripes, there were no strict deadlines and White had available others to make the songs come alive and stretch his imagination. The songs were all started from scratch and not designed to be sung or performed by anyone else. Although the album was leaked nine days ahead of its official release (on 15th April; it was due on 24th) it did not diminish the impact and sense of surprise.  Despite the fact people had heard material from the record prior to its leak; nobody could really predict what the album as a whole would sound like. Love Interruption, the first single, was a good one to release to give a taste of the album. It is not an all-out rocker but has plenty of passion and White’s assured and characterful writing. Sixteen Saltines, released on 13th March (2012) took listeners more into the realm they were familiar with: snarling and big riffs, confident vocals and a memorable chorus.

Freedom at 21, released on 1st April, carried down the same road but did not replicate what Sixteen Saltines laid out. The latter was a saucier – see the video for the song! – and oblique number; a was more groove-and-thrust than its predecessor – Sixteen Saltines a raw and fire-minded cut. In any case; the trio of pre-release singles provided some scope and impression of what was to come. If anything, the remaining nine songs on Blunderbuss took bigger steps and new ventures for White. The intuition and excellent production skills White began honing on The White Stripes’ early albums were evident on his debut solo L.P. Missing Pieces, a good song but not one of the strongest, is then elevated by the three singles; the title-track comes next and, after five songs, you are breathless and awed. Two of the thickest and boldest tracks have been unveiled and you get the Country swoon and ache of Blunderbuss. It is amazing how many motions and genres are covered before the first half of the album is complete. It is a brave move putting three of the best-known songs from the album that far up the running order. If the rest of the album was a muted and meagre affair; it would be a case of poor programming or prove White had come too soon, as it were.

We all knew White, as a songwriter, had a fondness for Country and Blues. Look as recently – compared to Blunderbuss – as Icky Thump and Get Behind Me Satan and there are examples of Blunderbuss’ (song) tones (White Moon and Little Ghost) among them. Two piano-heavy and gorgeous tracks came after. Hypocritical Kiss - “Loud words never bothered me like they do to you” – looks at love’s cheats and lies; the way the heart and soul are controlled and manipulated. It is a song that nods to, perhaps, White’s former wife, Karen Elson (they divorced in June of 2011). Elson, in fact, provides some backing vocals on songs further down the album; perhaps there wasn’t the acrimony and frost one would associate with a newly-divorced couple. Weep Themselves to Sleep is my favourite selection from Blunderbuss. It has pomp and jump from the out. The piano flows and rolls with delicious dance and wink. White swaggers in with a half-rapped vocal that waltzes with the piano and is punched by percussion. It is constantly energised and intriguing; the chorus is fantastic and it is a song both familiar and new: it could appear on a White Stripes record like Icky Thump but has new lease and innovations working away. It shows, without limitations and a set ‘sound’; White at his most free and unshackled could produce music that confounds and stuns at the same time.

Trash Tongue Talker is another delicious number but it is the same that comes before it that compels more: the fourth single from the album, I’m Shakin’. Rudy Toombs wrote the original decades ago – an odd choice one would think; quite natural for someone who covered Blues numbers when playing in The White Stripes. The song adds extra wiggle and oomph to the original: a full-on hip-swiveler that has some yelps, gutsy riffs and a pretty cool music video! The final three tracks on the record – I Guess I Should Go to Sleep, On and On and On and Take Me with You When You Go – transpose the more urgent and physical tracks that open the album and provide contemplation, paen and profession – White showing he is just as effective when going into romantic and tender territory. Blunderbuss proves itself a more rounded, deep and expansive record than anything White had put out before. In fact, I argue it rivals Elephant (The White Stripes’ finest moment) in terms of quality and nuance. It is White’s employment of additional musicians – hiring an all-male and all-female band when performing and doing T.V. appearances – that adds flesh, colour and flexibility to his visions. I have missed a song from the rundown: Hip (Eponymous) Poor Boy. Its title might seem unwieldy and child-like but it is a song that, in my mind, reaches the heights of Weep Themselves to Sleep in terms of its affect and hit.

It is a track that bridges the brutish and masculine Rock numbers and the Country-like offerings. It has melody and rhythm; it is cute but has plenty of bite. There are lyrics that refer to White’s past life – taking a dig at Meg White in some moments – and that need to move on and not play to expectations. In terms of lyrics, it is one of the most rewarding and interesting. It is a fantastic little number that some might have passed by. I feel the track order is perfect to keep the audience hooked and create hits of quality right until the end. You get the release and that sense of relief right near the top and discover new sides to White as the album goes on. The reason I have included in this segment is the fact it is one of those ‘modern classics’. It is only six-years-old but, with White’s third solo outing fresh in the mind, shows when his new lease of life began – many argue, including me, his first solo album is his finest. I have bought the album on vinyl and it sounds fantastic. I like the first side a little more but there is plenty of brilliance on the second side. It is a fantastic album and one that stands up to repeated plays and study. White, as a solo artist, has never sounded as authoritative and wondrous. If you have not played and dug into Blunderbuss; make sure you get hold of a copy on vinyl and let its every notch, groove and cut get into the blood and impress the senses. Many expected Jack White, on his debut solo outing, to repeat his White Stripes work and release something familiar. What he did was even more impressive: Blunderbuss matches the genius and variation of The White Stripes but added so much more; taking his music to new audiences and showing White was as far from a one-trick pony…

AS is humanely possible.

FEATURE: The Great Escape 2018: Artists to Watch Closely

FEATURE:

 

The Great Escape 2018

Artists to Watch Closely

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THE assorted talent down in Brighton…

PHOTO CREDIT: Unsplash

will have their mind split between the royal wedding and putting in a legendary performance on a big stage – and enjoying the sun and brilliant weather on the beach! It is a full day and an end to a festival that continues to grow bigger and more important by the year. The sets laid down in Brighton over the past few days will send signals out to the industry; those acts we need to watch and the future, big names we will all be talking about years from now. The conditions have been great and some hot reviews have come in – critics impressed by the talent on show and the standard of the event. I have been looking at acts from The Great Escape and those recommended by others. Here is a list of some of the talked-about bands/artists who have turned heads on another triumphant…

 PHOTO CREDIT: Unsplash

FESTIVAL on the South Coast.

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

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Alex Hepburn

Facebook: https://www.facebook.com/ALEXHEPBURN.OFFICIAL

Twitter: https://twitter.com/alexhepburn

Alicai Harley

Facebook: https://www.facebook.com/Alicaiharley/

Twitter: https://twitter.com/AlicaiHarley

Bad Gyal

PHOTO CREDIT: Alexis Gómez

Facebook: https://www.facebook.com/akabadgyaloficial/

Twitter: https://twitter.com/bad_gyal_pussy

Boy Azooga

Facebook: https://www.facebook.com/BoyAzooga

Twitter: https://twitter.com/boy_azooga

Call Me Loop

Facebook: https://www.facebook.com/callmeloop/

Twitter: https://twitter.com/callmeloop

Dream Wife

Facebook: https://www.facebook.com/dreamwifedream/

Twitter: https://twitter.com/DreamWifeMusic

Ferris & Sylvester

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

Twitter: https://twitter.com/FerrisSylvester

G Flip

Facebook: https://www.facebook.com/gflipmusic/

Twitter: https://twitter.com/gflipmusic

Her’s

Facebook: https://www.facebook.com/thatbandofhers

Twitter: https://twitter.com/thatbandofhers

Hollow Coves

Facebook: https://www.facebook.com/HollowCoves/

Twitter: https://twitter.com/hollowcoves

IDLES

Facebook: https://www.facebook.com/idlesband/

Twitter: https://twitter.com/idlesband

Kate NV

Facebook: https://www.facebook.com/nv4real/

Twitter: https://twitter.com/kattique

Louis Baker

Facebook: https://www.facebook.com/LouisJBaker

Twitter: https://twitter.com/louisbakermusic

Nelson Can

Facebook: https://www.facebook.com/nelsoncanband/

Twitter: https://twitter.com/nelsoncanband

Poppy Ajudha

Facebook: https://www.facebook.com/poppyajudhamusic/

Twitter: https://twitter.com/PoppyAjudha

Riwa Samayama

Facebook: https://www.facebook.com/rinasawayamamusic/

Twitter: https://twitter.com/rinasawayama

RuthAnne

Facebook: https://www.facebook.com/ThisIsRuthAnne/

Twitter: https://twitter.com/thisisruthanne

Suspect

Facebook: https://www.facebook.com/officialsuspectotb/

Twitter: https://twitter.com/Suspect_OTB

Valeras

Facebook: https://www.facebook.com/valerasband/

Twitter: https://twitter.com/valerasband

Wyvern Lingo

Facebook: https://www.facebook.com/wyvernlingo/

Twitter: https://twitter.com/WyvernLingo