FEATURE: If You Tolerate This Your Children Will Be Next: Raising the Mood, Smoothing the Edges and Building Scenes

FEATURE:

 

If You Tolerate This Your Children Will Be Next

PHOTO CREDIT: @aaronpaulos/Unsplash 

Raising the Mood, Smoothing the Edges and Building Scenes

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THIS sort of treads on the feet of other features…

 PHOTO CREDIT: @punttim/Unsplash

I have done regarding Pop and music losing a lot of its spark. It is worth repeating because, no matter how one looks at the state of affairs in 2019, there is a definite need for uplift and togetherness. I do think, as I keep saying, there is a lot of terrific music around. In fact, I think 2019 is one of the most varied and strong years we have ever seen. So many fresh and unique sounds are emerging. Against the tide of political incompetency and national division, artists are addressing the problems, calling for action and trying to make sense of everything. I can appreciate that urge and need for something important and political. Look back at time, from the Second World War, through to Vietnam and the threat of nuclear annihilation during The Cold War. During these times, there was a lot of uncertainty and fear but, rather than focus musical attention on that dread, there was a huge amount of fun and festivity. Artists were not ignoring the issues and problems around them; they were offering something spirited and optimistic. I know decades like the 1990s were prosperous and, before social media arrived, we were all more relaxed and less stressed – there was no Brexit and the threat of climate change was not so evident. I grant they were better times, but one cannot say there was nothing to worry about and everything was peachy. Perhaps we have got to a point where music has lost a lot of its fun and optimism.

 PHOTO CREDIT: @mfrattaroli/Unsplash

I grant that, in unsure and strained times, we cannot all return to the past and expect the sort of celebratory and rousing tunes we heard back in the 1960s or 1980s. Rather than get lost in a nostalgic trap, I do wonder whether music has lost its identity and edges. There is some terrific music and, right now, we are seeing more new music than in any point in history. It is a great time and it would be terrible if the scene was pretty limited and we did not have the raft of great sounds we do now. I am all for progress and innovation, yet a lot has been lost through the years. We do not have scenes and movements like we used to. From Punk and Britpop, these waves and motions made artists compete and there was a unity; a spirit that needed to exist at the time. We can say we have Grime and Hip-Hop filling that role, but I find a lot of the music is geared towards negativity and it has too much edge. Sure, artists need to get fired and say something important, but where do we find balance? The world is not as grim as people say and there is positivity and light in every corner. I find the modern mainstream so flat and uninspiring. Once was the day when Rock and Pop provided huge hooks, something inspiring and timeless. Maybe there is oversaturation that means it is harder to stand out. Rather than moan and complain that the music today is rubbish – which it isn’t -, it does seem like we could do with a revolution.  

Many say Rock is dead or dying and has not really got the same spark that it used to. We do have some great Rock and Alternative, but nothing like we used to. There are so many sullen and downbeat songs; so many Pop artists are indistinguishable, personality-free and instantly forgettable. I all for pushing music forward and moving with the times. I do worry that so much of today’s music will be forgotten in years to come, or a lot of it is not lifting our moods. I know music is not designed to make us happy; one struggles to find too many tracks today that give that boost and smile. It is okay for people like me who have lived through several decades and can easily access songs that fill that gap. What about the young generation coming through?! They are lucky to live in a time when so much great music is appearing, yet there is very little that gets the soul cheering, the blood racing and the mind exploding. Each generation can point to various years and moments when music was simply captivating and unifying. My parents’ generation has The Beatles, the Summer of Love and the brilliant sounds of the 1960s. I am old enough to recall the Hip-Hop golden age and Britpop. Even at the turn of the century, there was some great Dance music and Pop that could still Pop.

 PHOTO CREDIT: @5tep5/Unsplash

More and more artists are moving away from genre and embracing a more fluid sound. Chart music no longer relevant, so there is not that focus. I do not think we are beyond the point of no return regarding betterment and making a mark on history. 2020 is going to be an important year, and one where I think we will see a lot of change when it comes to gender rights and equality. I do not want to be one of those people who says music was better in my day – that would be a subjective measure -, but there has been undeniable change that has affected the overall sound of music. I think the new generation can offer so much to the world and can make the world so much better. They are coming into the world at a very strained time and are having to grow up surrounded by endlessly negative news. That is a lot to take in and, when they want to find energy and something to smile about, where do they go? There is a lot of great T.V. around, but I think there is less fine drama and comedy than there used to be. Radio is a source of choice and uplift, but I do think modern music needs to find some focus and togetherness. I know artists are trying to bring us together with music but, in such a vast plain and busy sea, we are all floating alone and there is very little binding us. I have written about Pop losing its fun, there being no scenes in modern music and whether modern music will last the test of time. I will not go over that again and repeat myself too much.  

I think, with so much great talent out there, 2020 could be a year when music turns and there is a new revolt. Maybe it would not have the brightness of Britpop or be like any scene we have witnessed before, but I do think it is the time to join people together. Some might say, by producing scenes and movements then we are isolating those who do not fit in – whereas modern music is broader and there is something for everyone. I respect that, but it is possible to create a scene that is for everyone. Modern music is in a fine state and there is something for every taste. So much pure fun and colour has escaped, and I wonder what affect this is having. Whilst young listeners are finding interesting music, are they necessarily happy or inspired? Are they looking back in time when it comes to getting that needed sonic hit? I grant the fact there is so much music out there that it is not only hard to narrow it down, but there are genuinely exciting and optimistic artists that are being overlooked. One cannot deny the quality and sheer variety of music out in the world right now; the fact artists around the world can get their voices heard and reach anyone. That is all brilliant. So many people look back and reminisce because they can get something from music then that they cannot now. Maybe it is unbridled fun or something that speaks to them. The past few years have been pretty rough, and I do think we are all owed a break, some relief and hope of a brighter future – which I believe is possible. Music needs to reflect this, and I think changes do need to happen. We could all do with more optimism, something more inspired and, as I say, a scene or two that can define a generation. If this was a possibility next year, then it would be…    

 PHOTO CREDIT: @priscilladupreez/Unsplash

SOMETHING to look forward to.

FEATURE: Song of the Decade: Robyn – Dancing on My Own

FEATURE:

 

Song of the Decade

Robyn – Dancing on My Own

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AS we are coming to the end of the decade…

PHOTO CREDIT: Getty Images

there are a lot of polls out there looking at the best albums and songs from the 2010s. Q Magazine crowned Lana Del Rey’s Video Games the winner at their annual award ceremony. It is from her 2012 album, Born to Die, and is a fantastic song for sure. I am not sure about you, but I have been pondering which songs of this decade stand up. I love Kendrick Lamar’s King Kunta and Beyoncé’s Freedom (from Lemonade, 2016). There are songs from each year that stick in my mind but, if it came to deciding which one means the most, it is quite a tricky job. Previous decades have seen various genres blossom and scenes formed; there has been some exceptionally bright Pop and some real anthems. The song that I would put at the top of my pile slightly inches out the competition. It was released as a single on 1st June, 2010 and is from Robyn’s fifth studio album, Body Talk Pt. 1: it is the undeniable highlight, Dancing on My Own. It might seem contradictory of me to celebrate a song that carries quite a heavy heart now when I am just about the write a feature that wonders why Pop has become so unhappy and lacking in bite. I know it seems slightly cheeky declaring my favourite song of the decade one that arrived so soon in the 2010s! I think Robyn was capturing a spirit in Pop and change in the air.

PHOTO CREDIT: Johan Renck

If the Pop of the 1990s and early part of the next decade were more outward and confident, there was a slight change towards the insular and emotional. That is not to say Pop in the 2010s was moody and lacked any spirit. In fact, Robyn’s Dancing on My Own is one of those songs that boasts a very bright and bold chorus whereas its lyrics display something more pained and lonelier. The attention to detail is incredible. Robyn talks about heartbreak on the dancefloor as she walks over stilettos and broken bottles; there is a sweetness and escapist quality to the songs as this fantastic song unfolds. Many of us can appreciate it on a very direct level. The lyrics see Robyn as the narrator see her former love with a “new friend”; Robyn asks whether she loves him better than her. That sense of being invisible and overlooked – Robyn asks why she cannot be seen, as her former love is with someone else – is tangible and will resonate with so many people. Whilst Robyn looks at the betrayal in front of her, she is a mess and spinning around in circles. Dancing on My Own is that mix of spurned anger and recklessness; a strange sense of hope in confinement and heartache. Inspired, in part, by Robyn’s love of sad, gay Disco anthems (such as Ultravox’s Dancing with Tears in My Eyes), Robyn was clearly coming into her own and finding her voice. Composed with Patrik Berger, there is a sadness that lingers through Dancing on My Own.

 PHOTO CREDIT: Heji Shin

It seems that a love that seemed strong is being burned and lost. In some ways, Dancing on My Own reminds me of Yazoo’s 1982, Don’t Go. That mix of heartbroken lyrics and a composition that throws in so much energy and acceleration. Dancing on My Own has throbbing synths, huge electronic percussion and all manner of sparks and colours. Robyn has talked about nights out and how people go out and get drunk to experience some kind of emotion. It is not always about the joyful side; there is a destructiveness. One feels the heroine’s pain but knows that the dancing is a way of getting emotions out and expressing her pain. Rather than get angry or run away, there is a strength to be found in Robyn remaining where she is and escaping into dance. I think the mix of exhilaration and sadness on Dancing on My Own has inspired so many other songwriters. I am not a big fan of Pop songs that offer no light and sap too much energy. Robyn is very open and raw in Dancing on My Own, but there is this release and lift in the chorus. Melancholy sits alongside catchiness; the sheer drama and tension played out in the lyrics is perfectly balanced with hooks only Robyn could write. The emotion of the song is never betrayed, nor is the listener dragged into a sense of despair and hopelessness.         

If a lot of Pop artists were avoiding emotional nakedness and soul-baring prior to 2010, Robyn opened the door. If you have been spurned or hurt, the song will resonate and relate. If, like me, you have not been in the same situation as Robyn, the song has a different meaning. I love the bravery of the track and how engrossing it is from the first spin. That splendid blend of loss and defiance definitely registered. So many critics listed Dancing on My Own as one of the best songs of 2010. I think the song has gained strength and legacy over the past nine years. As I said earlier, I do prefer Pop that has a lot of energy and an optimistic mood but, to me, there is a lot to be said for Dancing on My Own. It is an anthem of a song and one that has given a lot of hope and voice to so many people. Whilst few modern Pop songs have the same brilliance in their bones as Dancing on My Own, I can hear the D.N.A. and influence of the track running through so many of today’s artists. I think Pop has sort of splintered and changed a lot since the start of the decade Even though there are a lot of songs that mix emotions and have contradictions, there is a lot of darker and more experimental Pop; more commercial Pop that lacks memorability and depth. Robyn’s 2010 gem embodies the best of today’s Pop but remains deeply personal and unique. There were a fair few challengers when it came to the best song of 2010, but there is something about Dancing on My Own that remains longer in the head. It is a track that kicked off the decade with a definite spark. It makes me wonder whether we will receive a similar Pop jewel… 

 PHOTO CREDIT: Maria Jose Govea/Red Bull Sound Content Pool

IN 2020.

FEATURE: “That’s What She Said!" Why We Need to Put More Women in Positions of Power in Music

FEATURE:

 

“That’s What She Said!”

PHOTO CREDIT: @antenna/Unsplash 

Why We Need to Put More Women in Positions of Power in Music

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ALMOST every day…

 IN THIS PHOTO: Maggie Rogers/PHOTO CREDIT: Getty Images

there is some incident involving sexism or misogyny in the music industry. Indeed, as I write this (21st October), Maggie Rogers has made the music news. I know there are a lot of gigs and events around the world so, invariably, you will get cases where someone steps over the line or offends an artist. The incident Rogers was subjected to is becoming too frequent and, every time it happens, it makes me wonder whether those in charge are doing enough; are venue bosses and those in boardrooms ensuring we stamp out sexism, sexual abuse and the what Rogers and many of her peers endure? Pitchfork explain what went down:

“Last night, Maggie Rogers performed at Austin City Limits Live at the Moody Theater in Austin, Texas. The concert was one of Rogers’ final stops on her Heard It in a Past Life tour. Earlier today (October 20), Rogers took to Twitter to respond to an unfortunate occurrence of verbal harassment that took place at last night’s show.

According to Rogers, a male audience member yelled “take your top off” during an acoustic performance of her breakout hit “Alaska.” Another man allegedly chimed in, shouting, “you cute though.” “I was stunned. Furious. Fuming. Confused,” Rogers wrote. “And also—on a really basic level—it really hurt my feelings.” She added: “I want to use this moment to be very very clear. There is no space for harassment or disrespect or degradation of any kind at my show.” Find Rogers’ full statement, which was also posted to her Instagram account, below.

PHOTO CREDIT: Matt Martin 

Every night before the Alaska acoustic encore, I speak about gratitude and growth and change. It’s the most vulnerable part of the set. Just me and a guitar before I say goodnight.

Last night, in the middle of this speech a man yelled ‘take your top off.‘ Another joined in and yelled ‘you cute though.‘

I was stunned. Furious. Fuming. Confused. And also—on a really basic level—it really hurt my feelings.

I step on stage every night and give every part of me. And my community shows up every night and together, we create a safe space to amplify each other. To allow relief. To allow release. There’s a deep amount of trust there.

I step on stage every night with a deep reverence for the stage, my craft, and the privilege that is making music for my job. I’ve been writing and producing music for 10 years—my body is my greatest tool for communicating that work.

I want to use this moment to be very very clear. There is no space for harassment or disrespect or degradation of any kind at my show.

Be kind to each other out there.

xx

M

I know one can say that a very small minority of men are letting the side down but, like racism in football, there is no place for this kind of vulgarity anywhere I music. I have written features before that call for bans being handed out to any men who catcall, harass or abuse women – why would you want them at your venues? Not only does this sort of thing degrade women, but it means performers are going to feel less comfortable and safe on stage. It is not only the stage where women face abuse and assault; look online and you will see so much sexism and abuse that, for the most part, goes unchallenged. I know it will be hard to infiltrate social media and ensure people caught abusing women are banned – it is clear something has to change in the music industry.

 PHOTO CREDIT: @jesmanfabio/Unsplash

We have known for years that there is a problem with equality and women are not being encouraged into studios and boardrooms. I do think more female producers are coming through but, when you look at the executives and the make-up of organisations, labels and regulatory bodies, the majority are still men. Look at festivals and, whilst there are female bosses and some men promoting equality, a lot of those in power are your white, middle-aged types who are stoic, unflinching and unsympathetic to the gender imbalance at festivals. In terms of governance and those who can help eradicate misogyny and abuse at festivals, gigs and other areas of the industry, there is still a sea of male faces. That is not to say the men in power cannot make changes but, as it is 2019, why are we still seeing so many cases of abuse? Why is there still so much inequality and why are women not being encouraged into boardrooms and executive positions? There are some who say women need to step up and need to be more proactive. We can all see the incredible music being made by women; how they are putting out some incredible work. When it comes to getting into positions of power in music, it is not as easy as simply putting in more effort and shouting louder. I found an article from 2017 where leading women in music say there is intimidation and barriers imposed on women from childhood:

“Leading female musicians and industry figures say the intimidation and exclusion begins in childhood, with girls not being encouraged to play guitar or join bands. Many shared anecdotes of the frustrations and vulnerabilities they’ve felt as female artists: “An old manager told me that he wouldn’t be sending out my music, he would just send out my photo to labels,” recalls writer and musician Emma-Lee Moss, known as Emmy the Great. “But you just have to battle through that.”

IN THIS PHOTO: Emmy the Great/PHOTO CREDIT: Getty Images

“If you prevent women from seeing any examples of them achieving, then it prevents them from believing they can achieve it,” says guitarist and singer-songwriter Laura Marling, who addressed gender inequality and its effects in her podcast Reversal of the Muse.

“In my experience there are surface visible things, like touring on my own and then realising that all the people I perform with are men. Or that I wasn’t encouraged as much to play the guitar as men,” says Marling. “For women to achieve they have to go around that bump; they have to be as good, if not better, than their male counterparts.”

Predictably, this gender disparity is evident right up to the highest levels of the industry. Of this summer’s festival headliners in the UK, eight out of 10 were male; on the business side, just 30% of senior executive roles are occupied by women.

In the UK, the PRS Foundation launched Women Make Music in 2011, a programe to encourage more female songwriters and composers to come forward for music-related grants, after they discovered just 16% of applications were from women. Dice, a gig listings app, started Girls Music Day in 2016: a series of talks to inspire young women to get involved in the music industry. And this year, PRS Foundation and Festival Republic launched ReBalance: a Leeds-based programme to offer studio time for female-led bands, and promote female producers and engineers”.

 IMAGE CREDIT: HearHer Festival

Maybe we need to start right at the start and bottom of the pyramid. As music is being sucked out of the curriculum, it is hard to encourage girls into music from a young age. Instead, we do need to look at studios and why so few women are visible. There are so many great female producers, yet it seems like there is this environment and culture that puts focus on men rather than women. Attitudes are changing as time goes on, but I still think we need to be more proactive regarding highlighting great female producers and making the studio a much more equal and less male-heavy environment. When that happens, I think that will spill over into other areas. Great female festival bosses like Emily Eavis (Glastonbury) are rare. There are some great new female-led festivals like HearHer Festival, but they are in the minority. As this article outlines, there are some hugely influential women making waves in the industry:

“Cindy Charles

Principal, Music Partnerships and Operations, Twitch

Already hugely popular with the gaming community, live streaming platform Twitch is making big breakthroughs on the music side: In February, 27 million people watched Marshmello perform in the game “Fortnite.” “We really want the music community to know we’re here for them and we want to help break artists,” says San Francisco-based Charles, co-founder of Women in Digital Media, based in New York. “At Twitch, I am encouraged as we have a female COO, and CFO, and several of the other senior roles are filled by women. That said, the entertainment industry has a long way to go in terms of parity in numbers, and respect for and real understanding of the unique contributions of women.”

IN THIS PHOTO: Marlene Tsuchil/PHOTO CREDIT: Getty Images 

Marlene Tsuchii

Co-Head of International Touring, CAA

Tsuchii has a talent for nurturing a quality that is hard to come by in the music biz: Loyalty. Some of her oldest clients accounted for her biggest success stories this year, such as Beck, with whom she’s worked for a quarter century. “It’s so exciting to see people like that maintain their level of success and integrity,” says Tsuchii. She orchestrated a deal with Korean K-pop label SM Entertainment. Among her other points of pride: Grammy nominee H.E.R., Ariana Grande and Maggie Rogers, whom Tsuchii signed a couple years ago and is already selling out Radio City Music Hall”.

Women are doing their part when it comes to making music and, from P.R. companies, festivals and small businesses, women are making their voices heard and asking for change. I still fear that, if you look across the board, there are scandalously few women in charge and in a position where they can affect change. With female artists and songwriters still in the minority, it is time to look at the top of the chain and make changes. From the government to labels, there are so few female faces. It might come back to that issue of intimidation or a poverty of expectation. Regarding ability and skill, there is no doubt women are more than capable and ready to make effective change in the industry. Whilst the Rt. Hon. Nicky Morgan is Secretary of State for Digital, Culture, Media and Sport, I wonder whether there should be a position created that is dedicated to music and gender inequality; someone who can tackle everything from sexual abuse and disclination and help make boardrooms and studios more balanced and open.

 PHOTO CREDIT: @joewthompson/Unsplash

Some would say we need to extend this fight to other areas overlooked such as racial discrimination. I would agree with this, but it is clear what is in place now is not good enough. It is hard to know where to begin because, as we know, there are borders and issues at the very bottom and very top. Not enough is being done at school level to get more women into the industry; the male-dominated boardrooms and positions of power are inflexible. In the middle, there are female artists, broadcasters and figures who are creating fantastic work and calling for equality. I do believe there are small progressive steps being made yet, from the sort of abuse Maggie Rogers and her peers face at gigs to the lack of women at festivals and in the studio, worries me. I appreciate that, if we are going to see more women in power and represented across the board, we have to address the other side of the argument: Is the talent pool deep enough to make that possible? This article from The Independent explores the subject:

“Yet these quotas can result in women’s recruitment to less influential positions. In countries where gender quotas for company boards are already mandatory, it is not uncommon to find women in non-executive positions where their power is limited – impression management rather than real change. We can see this happening at Glastonbury, too.

Another criticism of diversity quotas is an assumption that choosing people because of their gender – whether to perform at a festival, or lead a company – means ability and talent matter less than getting enough of the underrepresented group to meet the target. This tick-box view has damaging effects for everyone.

PHOTO CREDIT: @vidarnm/Unsplash 

But this is where it gets interesting. Because in music, as with many other creative and tech industries, the talent pools are far from equally sized. A recent report from the Annenberg Inclusion Initiative studied 700 popular music songs released in the US between 2012 and 2016. Women made up 21.7 per cent of artists, 12.3 per cent of songwriters and only a tiny 2.1 per cent of producers, suggesting that as creative roles become more techie, already low female participation rates fall sharply.

So 50/50 lineups do provide a great opportunity for female artists, by inspiring girls and women to pursue musical careers. But they also risk reinforcing difference through the divisive nature of quotas. That is not to say we should abandon the idea, but we also need longer term solutions to break down stereotypes about music and technology.

Offering safe spaces to learn, connect with other women for support, to network and get noticed: these are things that will create sustainable change for a more inclusive music industry of the future”.

I appreciate change at the very top will only come when we start at the roots and look at sustainable change. I feel the only way we will see less sexism and abuse of women is by having more women in top positions; there will be more women booked for festivals and headliners when we see more women leading festival organisation. I agree we also need to look at the breakdown of female artists and songwriters when compared with the men. Progression is too slow and there are far too many cases of women being abused and overlooked; of there being a gender imbalance and few women holding huge roles in the industry. Bringing more women into the industry and creating a better environment is the only way we will see effective change and balance. It is very clear that action and that change…

 PHOTO CREDIT: @cskammers/Unsplash

NEEDS to happen now.

FEATURE: Spotlight: Holly Herndon

FEATURE:

 

Spotlight

PHOTO CREDIT: Ronald Dick

Holly Herndon

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I am always searching around for artists…

 PHOTO CREDIT: Getty Images

with an interesting edge that stray away from the traditional. Holly Herndon is certainty someone who does not fit into normal moulds and sits alongside convention. Her music is at once human and relatable, but it is daring, advanced and stunning. She was born in America but now bases herself in Berlin. As reviews and interview selections in this feature will make clear, Herndon’s use of technology and electronics is incredible. By combining the visual programming language, Max/MSP, to generate customise instruments alongside computer-based vocals, what you get with her music is something hugely advanced but, when listening, you can hear the musician who created it. Rather than detach herself and use machinery to convey her spirit, Herndon is very much the soul and lifeblood of the music. Although her latest album, PROTO, has been lauded and received huge celebration, there was an aspect of the recording that caught the attention of the media. As she explained in this interview with The Guardian, Herndon has used AI to take her music to new places:

“I’m used to strange in the studio,” says Holly Herndon. Even so, the experimental electronic composer has never ventured anywhere quite this strange before. For her forthcoming third album, Proto, she has teamed up not just with fellow musicians, programmers and members of the public, but a “baby” called Spawn.

Spawn is quite advanced for a newborn. She can mimic, interpret and develop musical ideas, often revealing elements in Herndon’s compositions that she was unaware of. That’s because Spawn has actually been built from artificial intelligence – Herndon collaborated with the AI expert Jules LaPlace in her endless quest to find fresh new sounds.

Forget problematic hologram tours – neural-net voice models could soon make it possible for musical heroes to record wholly new songs from beyond the grave. Holly quotes Miles Davis’s fear of “artistic necrophilia”, meant in the sense that every generation should redefine sound for themselves. “Otherwise we’ll get this recursive feedback loop,” she says, “where we can’t imagine a future that’s different because we’re always regurgitating the past.”

Instead, Holly’s vision of the future is to make the human visible within the machine. On Swim, the last song completed for the album, the human and non-human members of the ensemble are at their most seamlessly, serenely unified. “They really occupy the same space,” she beams. It’s the pinnacle of years of research, and has already transformed their expectations for further projects. “Working with AI has made me appreciate the human body; we’re such amazing sensors,” Holly laughs. “Our eyes and ears and all this stuff you can’t encapsulate in a media file … it really makes you appreciate your own meat sack.”

Not only is Herndon’s music fantastic, but here is an artist who is going to extraordinary lengths to see what can be achieved by bringing AI into a studio environment. I often think of the studio as quite a boring or sterile space. In Holly Herndon’s world, you get something truly fantastical, unusual and hugely interesting. In terms of structure and sound, every Holly Herndon has a different skin. On her 2012 debut, Movement, there are seven tracks that range from 1:04 (Interlude) to 8:15 (Terminal). This Experimental/Electronic album was produced by Herndon and, right from her first album – she recorded music beforehand -, here was an artist exploring something new.

For those who are familiar with a particular style of Electronic music will need to brace themselves when it comes to Herndon. There is plenty of emotion and feel in the music, but it is the minimalistic aspects of Movement that make it such a wonderful album. It is a remarkable work that gained a lot of positive reviews. Here is what Consequence of Sound wrote back in 2012:

“Movement is more of a lucid chronicle of sounds as opposed to what’s expected from the artists working within the increasing sphere of electronica: entertainment. The onset of opener “Terminal” is gradual and tense, while the most beat-driven track, “Fade”, manages to intensely toy with senses ranging from confusion to elation. Herndon’s vocals both chill and burn, oscillating between groans and fades to create space-age soundscapes, most notably with “Control And”.

Admittedly, Movement isn’t entirely accessible to a vast, viral audience — particularly through the spine-crawling, post-drowning gasps of “Breathe”. Rather, it’s for the ones who glean satisfaction from simultaneously thinking and dancing. Futuristic and still visceral, even sexual, Movement‘s strength gleans itself from the subtleties. A revolutionary minimalist debut, Movement traces the origin of shadows instead of the light”. 

Every artist in every genre has a different creative process. I often think about Rock and Pop artists living quite fast lives out in the open. They absorb what is around them and combine that with tales and experiences from their own lives. I get images of very modern artists on their laptop or composing lyrics on their phone; bringing various musicians together in the studio and then, when they tour, they play these songs to the cheering masses.

If you work like Holly Herndon, I imagine there is a lot more experimentation and solitude; a more isolated and smaller world than that of the Pop or Rock artist. That might be a common misconception, though it is clear Herndon’s life and routine changed from Movement to Platform (in 2015). I know quite a few people who listened to a lot of Electronic music before they discovered Herndon and were sort of blown away by her debut. If anything, there is even to love and pour over on her sophomore album. Herndon discussed the new album with FACT Magazine; she talked about the changes between albums, working with her collaborator Mat Dryhurst and the importance of vocals on Movement.   

“Of course, the premise of Platform is that it’s about collaboration and communication.

Well, [debut album] Movement was very much about solo me, in this weird little rehearsal space in Oakland. These people wanted to start an art space, but they never got their shit together. So I was renting this super creepy corner of this empty warehouse, engaged in this very insular exercise, trying to sort out my process. That was a really important thing, especially for my debut album. But for Platform I really wanted to open the practice up and invite more people in. It’s conceptually important for the album as a whole, as well. There are all these other people involved in the creation process.

Did ideas pop up while you were making and touring Movement?

With Movement I was able to establish a language, especially vocal processes, and a palette that I was able to carry over and use. This time I was able to work more conceptually, without having to figure out my process, if that makes sense. But I’m always building and adding tools. Mat has developed a bunch of new processes that I use on the album. But also, touring – going from festival to festival and really embraced by a global touring community – that was really flattering, and also really eye-opening. So I had the feeling – what does this mean, what’s the next step? How can I make this more meaningful?”

Holly Herndon is currently gearing up for a tour of Europe; the demand is huge! Her first couple of albums saw her fanbase rise and more and more eyes trained her way. It is clear that there was a bit of a leap in terms of Platform. Again, Herndon was redefining and rewriting the rules regarding Electronic music. Platform is a bit light on upbeat and raging tunes; it is a more futuristic and nuanced album that is more emotive, textured and immersive. When you listen to Herndon’s music, you sort of let the sounds take you away. Herndon continues to grow in stature and confidence regarding her visions and confidence.

 PHOTO CREDIT: Bennett Perez

Platform is a terrific album that gained Herndon a lot of new admirers and followers. In terms of reviews, again, there was huge positivity and praise. This assessment from The Guardian hit the nail on the head:

“You couldn’t exactly describe Holly Herndon’s second album as a collection of club bangers. Berlin’s techno scene inspired her foray into technology-obsessed electronic music, but Platform takes a futuristic step beyond your average Eurotrance rave – imagine a robot-party playlist peppered with warped, processed vocals and jittery cascades of sub-bass frequencies and you’re not far off. In a recent Guardian interview, Herndon described the laptop as a “hyper-emotional instrument”; she turns cold, lifeless synthetic beats into disconcerting, disjointed rhythms that glitch and collapse on each other in the style of FKA Twigs producer Arca, Aphex Twin or Maria Minerva. Lovers of ASMR (autonomous sensory meridian response) – the pleasurable, brain-tingling sensations that are triggered in some people by certain rustling, ticking or whispering sounds – will shiver with excitement hearing Lonely at the Top, while centrepiece Home tackles the impact of the NSA revelations with echoey vocals and bass thuds. Banger-free, perhaps, but gloriously avant garde and fiercely inventive”.

Her most recent album, PROTO, was released in May and ranks alongside the finest of the year. If PROTO is the first Herndon album you have been exposed to, I would suggest getting her debut and seeing how her music has evolved and changed. PROTO is quite a heavy and intense listen in places, but the songs will definitely ingrain themselves in the mind. These are songs that are diverse and have such rich backgrounds; you can feel the craft and the emotion intensely. Even if you are not steeped in the history of Electronic music that is experimental and strays away from the traditional club fare, you will be able to find something to connect with in PROTO. I will finish up in a second, but I want to bring a review from CLASH:

“‘PROTO’ is stripped down to its traditional roots and then built up again with Herndon’s compositions. No joke: each improvisation session involved a communal meal of soup shared together. “Our vision of technology is that it enables relationships and liberates us to be more human together, which it so often is not designed to do,” explains Herndon, of the approach.

The result is a sort of spacious, algorave glee club. Herndon’s own origins in Eastern Tennessee bring in Appalachian Sacred Harp call-and-response techniques, as well as nods to coal miners’ union songs, church house hymns, and African American field calls. Standout track ‘Frontier’ imports elements of American folk singing and Celtic traditional music over complex percussion. It’s hair-raising, as much a John Cage-esque chance composition as an a cappella ballad.

At times the line connecting human and machine becomes more exacting, as if “Spawn” is pulling at its leash. ‘PROTO’ is operatic but highly tenuous – Herndon stages a radical, tender kind of post-humanism, but she leaves room for the drama of its arrival. The album is full of anticipation. At times it’s ugly and overblown. But it’s a collective vision, one that reflects back on our own inputs into the dataset as well as at our folk stories of survival and resistance”.

I’ll admit that, whilst Holly Herndon’s music might not capture and engross everyone, I do think there are genres such as Electronica that are resigned to the outskirts; many assuming it is quite divisive, niche and cold. In fact, if you listen closely, there are some incredible artists emerging that are taking the genre in new directions. Herndon is a phenomenal artist who has released some simply wonderful music. I love the fact she has introduced AI into her music and she approaches composition almost scientifically. You might assume that would remove some of the humanity and soul; actually, her music is incredibly evocative and bright. There are some darker and less disciplined moments, but I think that creates balance. If you are unsure how to approach Holly Herndon’s music, I would suggest you dip your toes in the waters and…  

EMBRACE it fully.

________________

Follow Holly Herndon

PHOTO CREDIT: Parri Thomas  

Official:

https://www.hollyherndon.com/

Facebook:

https://en-gb.facebook.com/hollyherndonmusic/

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https://twitter.com/hollyherndon

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https://www.instagram.com/holly_herndon/

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https://open.spotify.com/artist/2c9yn5DJQd5es7YMY92ikZ

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ALL UNCREDITED PHOTOS:

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FEATURE: Vinyl Corner: Gil Scott-Heron – Pieces of a Man

FEATURE:

 

Vinyl Corner

Gil Scott-Heron – Pieces of a Man

__________

FOR Vinyl Corner in October…

 PHOTO CREDIT: Chuck Stewart

I am featuring great albums by black artists – as it is Black History Month in the U.K. I am going to cover a couple of albums from British artists and a couple from American artists. Today, I wanted to urge people to buy Gil Scott-Heron’s Pieces of a Man on vinyl, as it is a landmark debut from an artist who inspired generations of artists. Although Scott-Heron sadly died in 2011, his footprint and mark on music cannot be ignored. His debut album was recorded at RCA Studios, New York in 1971 and was a move away from the Spoken Word textures of his live album, Small Talk at 125th and Lenox (1970). Working alongside Brian Jackson on the songs (who played piano on the tracks), Pieces of a Man gained a modest nod upon its release but, like all albums ahead of its time, earned huge respect and understanding years after its release. In 1971, there was very little like Pieces of a Man in the market. The album has gained a big legacy down the line because of songs like The Revolution Will Not Be Televised and how it was contained; it was one of the few political songs on the album and, although Gil Scott-Heron preferred other tracks, one cannot underestimate the importance of that standout cut. Pierces of a Man is such a varied and wide-ranging album; not just in terms of its lyrics but the blending of sounds – the album has inspired artists across the broad, from Rap and Neo-Soul through to Rock.

I think Pieces of a Man is an album that warrants fresh ears and eyes. Consider tracks like Save the Children and Lady Day and John Coltrane and you have so much variety and brilliance on offer. Rather than it being an album defined by a single track, Pieces of a Man’s title says everything: this is a record composed of eleven numbers that reflect this complex human, that tell a story and paints a picture. So many artists have borrowed from the album and been moved by it. Even though the songs on Pieces of a Man are more conventional than his Spoken Word albums, there is a looseness and sense of the conversational that gave the album greater weight and nuance; setting it aside from the formality of other artists/albums. I guess it is the Jazz influence that one can link to the style of the vocals.  Scott-Heron penned Lady Day and John Coltrane as a homage to Billie Holiday and John Coltrane, so it is clear Jazz was a major lifeforce for him. Fusing this with Funk, Pieces of a Man is an album that can mix social dissolution and strain with passion, groove and love. I will bring in a couple of retrospective reviews that show how Pieces of a Man has inspired and moved people through the years.

In their review, AllMusic discuss the sheer power and weight of Pieces of a Man:

“Gil Scott-Heron's 1971 album Pieces of a Man set a standard for vocal artistry and political awareness that few musicians will ever match. His unique proto-rap vocal style influenced a generation of hip-hop artists, and nowhere is his style more powerful than on the classic "The Revolution Will Not Be Televised." Even though the media -- the very entity attacked in this song -- has used, reused, and recontextualized the song and its title so many times, the message is so strong that it has become almost impossible to co-opt. Musically, the track created a formula that modern hip-hop would follow for years to come: bare-bones arrangements featuring pounding basslines and stripped-down drumbeats. Although the song features plenty of outdated references to everything from Spiro Agnew and Jim Webb to The Beverly Hillbillies, the force of Scott-Heron's well-directed anger makes the song timeless. More than just a spoken word poet, Scott-Heron was also a uniquely gifted vocalist. On tracks like the reflective "I Think I'll Call It Morning" and the title track, Scott-Heron's voice is complemented perfectly by the soulful keyboards of Brian Jackson. On "Lady Day and John Coltrane," he not only celebrates jazz legends of the past in his words but in his vocal performance, one that is filled with enough soul and innovation to make Coltrane and Billie Holiday nod their heads in approval. More than three decades after its release, Pieces of a Man is just as -- if not more -- powerful and influential today as it was the day it was released”.

I listen to Pieces of a Man now and it still sounds completely bold and revealing. Maybe it is the times in which we live, but I think Pieces of a Man still has so much to offer regarding the music scene and providing fresh spark. There is no telling just how far its legacy has spread; so many artists through the decades have been moved by this terrific work. I will end the feature shortly, but I want to introduce a couple of other features that pay tribute to Gil Scott-Heron’s mighty debut. In this piece from The Guardian, they talk about Scott-Heron’s influence regarding the development of black music; the relevance of the Don Letts documentary, The Revolution Will Not Be Televised (2003).

“Awareness of Scott-Heron's place in the development of black music has been given a boost by the recent Don Letts' documentary The Revolution Will Not Be Televised, so it's an opportune moment for BMG to reissue the Scott-Heron catalogue at mid-price. A fine opportunity to get acquainted with Scott-Heron's pioneering mix of politics, protest and proto-rap poetry, set to a musical jazz-funk hybrid.

Unlike some of those he influenced, Scott-Heron had enough intellectual and musical flexibility to ensure that his medium wasn't crushed under the ponderous weight of his message. Perversely, it's to Scott-Heron's credit that not even RCA/BMG super-svengali Clive Davis was able to exploit him commercially, though the messages in his music remain indestructible”.

Pieces of a Man remains one of the most important debut albums ever, and it will continue to fascinate and influence generations from now. If you are new to Gil Scott-Heron, I would advise people to grab Pieces of a Man (on vinyl if you can) and experience something wonderful. The last feature I want to source from concerns Gil Scott-Heron’s impact on music and how his run of albums in the 1970s and 1980s spiked the imaginations and charge of some seriously heavyweight acts:

 “Along with the insurgent spoken word collective The Last Poets, Heron’s infusion of poetry and immersive, rhythmic grooves left a template for the future. In his legendary 70s and 80s run, his attempts to galvanise his community into action in ways that were not only digestible but danceable laid the groundwork for the future of protest music as we know it. From Grandmaster Flash’s gritty reportage on “The Message”, to Public Enemy’s cries to “Fight The Power”, the lineage of these propulsive public addresses can be traced right back to Scott-Heron’s blunt proclamations on tracks like “Winter In America” or “The Needle’s Eye”: “A circle spinning faster, and getting larger all the time / A whirlpool spelled disaster, for all the people who don’t rhyme.”

Eulogised by Snoop Dogg, Eminem, and Michael Moore, to name a few, his erudite commentary and imposing performance style granted him the retrospective moniker of the ‘The Godfather Of Rap’, an honour that he was eager to refute. In fact, his interest in the rap genre didn’t come from a place of comradeship, but from the lucrative rewards that it occasionally afforded him.

In a profile with The New Yorker, the self-proclaimed ‘bluesologist’ outlined his uneasy truce with the artform that sees him as a munificent well of inspiration: “Long as it don’t talk about ‘yo mama’ and stuff, I usually let it go. It’s not all bad when you get sampled – hell, you make money. They give you some money to shut you up. I guess to shut you up, they should have left you alone.”

A true radical in every sense, his work possessed an earnestness that his descendants carry with them to this day. No words that summarise his legacy quite like his probing self-evaluation to percussionist Larry McDonald: “I saw some shit that needed to be spoken on and nobody was speaking on it. So, I just said it”.

I am spotlighting fantastic albums from black artists all this month, and I have been eager to cover Gil Scott-Heron’s Pieces of a Man for a long time now. It is a record that is, as I said, so stirring and moving to this day. So many artists owe a debt to Gil Scott-Heron and his truly revolutionary debut. I am glad I have had a chance to salute and celebrate…   

ONE of music’s most important albums.

FEATURE: A Change of Season: Kate Bush’s 50 Words for Snow

FEATURE:

 

A Change of Season

Kate Bush’s 50 Words for Snow

__________

ON 21st November…

 IN THIS PHOTO: Kate Bush in a promotional image for 50 Words for Snow/PHOTO CREDIT: John Carder Bush

it will be eight years since Kate Bush released her last studio album, 50 Words for Snow. That word, ‘last’, is ambiguous: maybe ‘previous’ is the right word. We don’t know whether 50 Words for Snow is going to be the last-ever Bush album. One assumes not but, before I move on to look at this incredible album, it is worth noting the time period between 2011’s release and now. Many were not sure whether Bush would release an album following 1993’s The Red Shoes. That period of her life was successful, but there was a slight downturn in critical favour. The Red Shoes has some great moments, but it is one of her less-popular albums. She lost her mother in 1992 and split from her long-term boyfriend, Del Palmer (who has worked with her since before her debut in 1978 and is her engineer to this day). It was a tough time and a lot of people who were proclaiming her a genius in 1985 (when she released Hounds of Love) had changed her tune. Such was the intensity of expectation and pressure, that feeling that she might have quit music for good was understandable. Two beautiful seasons arrived over a six-year period. Aerial of 2005 was that ‘comeback’ after a twelve-year gap. Between the time The Red Shoes came out in 1993 and Aerial was released in 2005, not a huge amount had come from Kate Bush in terms of music.

 IN THIS PHOTO: Kate Bush in 2005/PHOTO CREDIT: Trevor Leighton/National Portrait Gallery, London

Family commitments, it seemed, were her priority. She had her son, Bertie, in 1998, and was enjoying life as a mum. She was awarded a Q Award in 2001 as Classic Songwriter; she won an Ivor Novello for Outstanding Contribution to Music in 2002 and was seen here and there. Aerial’s arrival in 2005 was surprising for a couple of reasons. Having her back in music after twelve years was a shock and, in typical understated fashion, there was not the same cavalcade of tweets and announcements you’d get from moist artists. Bush put out this wonderful double album and gave a few interviews. It was a relief having her back after all this time. The other shock was the sheer quality and scope of the album. Few would have expected such a coherent, wondrous and immersive album following 1993’s The Red Shoes. Like Hounds of Love, there is a more conventional half and a concept half. The first, A Sea of Honey boasts the single, King of the Mountain, and a typically wonderful and original array of material. The second half, A Sky of Honey, is a suite of songs that acts like a single piece. It is, essentially, the experience of a single summer’s day, starting from one morning and going right through to the next. I associate Aerial with warmth and maternal pride; the dawning of summer and pure tranquility. Aerial is a gorgeous album and one that Bush counts as her favourite.

Many were not expecting an album to come quickly after the labours of Aerial – there was a six-year gap between Aerial’s dawning and a new album arriving. Kate Bush did something in 2011 that she has not done since 1978: she released two studio albums! In interviews (when she came to promote 50 Words for Snow), Bush revealed how amazed she was to have completed two albums in a year. Released in May, 2011, Director’s Cut is a collection of songs reworked by Bush; four tracks from The Sensual World and seven from The Red Shoes. 1989’s The Sensual World has just turned thirty and, whilst it is a great album, perhaps nothing will match Hounds of Love in terms of popularity and impact. Director’s Cut was a chance to improve some of the songs Bush was displeased about; give them more room to breathe and open up – the production of The Red Shoes especially is quite edgy and modern; Bush’s production sound prior to that was very different. Few expected another album so soon after Director’s Cut but, by November, a second was in the world: the gorgeous and sublime 50 Words for Snow. One can only imagine how busy Bush was in 2010 and 2011. Not only was she re-recording some of her older songs and having to get into that headspace; at the same time, she was imagining this completely different album. 50 Words for Snow is almost like winter to Aerial’s summer.

It has been six years since Aerial, so one could understand why Bush wanted to move in a different direction, sonically and thematically. One could definitely see similarities between Aerial and 50 Words for Snow. Both albums take more time to explore songs. Aerial’s two discs meant Bush could put traditional singles alongside a suite of songs that had this arc of a summer’s day. Aerial only contains seven tracks but they are longer and deeper than anything Bush had created to that point. At 6:49, Among Angels is the shortest track; Misty runs at over thirteen minutes. In terms of sound, Bush explored a more wintry, Jazz-tinged soundscape. With Steve Gadd providing pulsing grooves and some exceptional drumming, the cast of musicians (and guests like Stephen Fry (who can be heard on the title track) and Elton John (who duets on Snowed in at Wheeler Street) on 50 Words for Snow brought a combination of Jazz and Chamber Pop to the fore. The album is not packed with singles or sounds anything like what Bush had released before. Inspired by the myth that Eskimos have fifty words for snow, it is fascinating to dive into these songs; some of the most immersive and scenic tales Bush had ever laid down. If records like Hounds of Love are noted for big sounds and a certain intensity, 50 Words for Snow is more minimalist and contains fragmented narratives. Bush features on all the songs, but I think there is greater emphasis on the mood of the songs and compositions rather than the vocals.       

 IN THIS PHOTO: Kate Bush in a promotional shot for Director’s Cut/PHOTO CREDIT: John Carder Bush

If Hounds of Love is the benchmark and peak of Bush’s career (many would agree with that), then one could put Aerial and 50 Words for Snow pretty close by. Both of her more recent albums scored huge reviews and gained her back a lot of love and praise following The Red Shoes – maybe the time away was what she needed in order to reboot and refocus. Reviews for 50 Words for Snow were universally positive. In this review from Pitchfork, they talk about Bush’s exceptional songcraft and musicianship:  

“But Bush continues to infuse her narratives with a beguiling complexity while retaining some old-school directness. Because while most of this album's songs can be easily summarized-- "Snowflake" chronicles the journey of a piece of snow falling to the ground; "Lake Tahoe" tells of a watery spirit searching for her dog; "Misty" is the one about the woman who sleeps with a lusty snowman (!)-- they contain wondrous multitudes thanks to the singer's still-expressive voice and knack for uncanny arrangements. And mood. There's an appealing creepiness that runs through this album, one that recalls the atmospheric and conceptual back half of her 1985 masterpiece Hounds of Love.

While much of 50 Words for Snow conjures a whited-out, dream-like state of disbelief, it's important to note that Bush does everything in her power to make all the shadowy phantoms here feel real. Her best music, this album included, has the effect of putting one in the kind of treasured, child-like space-- not so much innocent as open to imagination-- that never gets old.

"I have a theory that there are parts of our mental worlds that are still based around the age between five and eight, and we just kind of pretend to be grown-up," she recently told The Independent. "Our essence is there in a much more powerful way when we're children, and if you're lucky enough to... hang onto who you are, you do have that at your core for the rest of your life".

Having put out such a fantastic and nuanced album into the world, it is small wonder there were so many effusive and passionate reviews. In their assessment, The Independent had this to say:

“At 14 minutes, "Misty" is the longest track, with Steve Gadd's jazzy drumming swirling around the fairy-tale love-tryst between a woman and a snowman, whose inevitable dissolution is evoked in watery slide-guitar akin to a valiha. The empathy between human and non-human extends further in "Wild Man", where the search for a yeti is sketched with the geographical accuracy of an actual Himalayan expedition, Bush's softly voiced verses punctuated by more urgent refrains urging the beast's escape – its capture would mean death for the abominable snowman of myth and legend, now reduced to mere flesh and bone.

Elton John duets on "Snowed in at Wheeler Street", in which a pair of immortal, time-travelling lovers snatch a momentary erotic interlude under the cover of a blizzard, already regretting their inevitable separation as they each track their way through history: "Come with me, I've got some rope, I'll tie us together," sings Bush, as if they were emotional mountaineers. "I don't want to lose you, I don't want to walk into the crowd again."

But it's "50 Words for Snow" itself which offers the most engaging, genial development of the album's wintry theme, its scudding groove assailed by chilly wind as Stephen Fry enunciates the terms – mostly made-up by Bush herself – with quiet relish: "Eiderfalls... Wenceslasair... Vanillaswarm... Icyskidski...", while she stands on the sideline, occasionally jumping in to cajole him, like a coach boosting her player's morale. It's a fitting climax to a seasonal offering that manages to evoke the essential spirit of winter while avoiding all the dog-eared clichés of Christmas albums – or indeed, any overt mention of that particular fairy story. Which is some achievement”.

Not only was 50 Words for Snow a terrific album that, as with all of her albums, took Bush to new places; its creator was very generous with interviews! She had given a few interviews for Aerial and Director’s Cut, but she was incredibly forthcoming and open regarding promotion for 50 Words for Snow. Not only did she invite BBC Radio 4 and BBC Radio 6 Music to speak; she was giving interviews for the press and international radio. I have included a couple of interviews in this future - but have a look on YouTube and you can hear Bush chatting with so many difference sources. Although a lot of the questions and answers are the same – one would have hoped interviewers would be a bit more imaginative with some of their lines of inquiry -, it was great to hear Bush so engaged and positive about her work.

 IN THIS PHOTO: Kate Bush in 2011/PHOTO CREDIT: John Carder Bush

In this feature from The Quietus, they look back at an interview Bush provided them when promoting 50 Words for Snow:

“So Aerial is full of images of clear skies, still water, warm days and it’s full of the bustle of family life and an easy domesticity. 50 Words For Snow is a similarly beautiful album but there is a chill to it - it lacks the warmth of its predecessor. I wondered if it represented another switch from an autobiographical to a narrative song writing approach?

KB: Yeah, I think it’s much more a kind of narrative story-telling piece. I think one of the things I was playing with on the first three tracks was trying to allow the song structure to evolve the story telling process itself; so that it’s not just squashed into three or four minutes, so I could just let the story unfold.

Had you always wanted to do 50 Words For Snow or were you just on a roll after Director’s Cut?

KB: No, they were both records that I’d wanted to do for some time. But obviously I had to get Director’s Cut done before I could start this one... Well, I guess I could have waited until next year but this record had to come out at this time of year, it isn’t the sort of thing I could have put it out in the summer obviously.

Did the snow theme come from an epiphany or a particular grain or idea? Was there one particular day when you happened to be in the snow…

KB: No. I don’t think there was much snow going on through the writing of this… it was more to do with my memories of snow I suppose and the exploration of the images that come with it”.

The snow has melted and, nearly eight years after its release, we await the next movement from Kate Bush. She has not been idle since 2011. In 2014, she performed a sold-out residency at the Eventim Apollo, Hammersmith to rapturous reviews – it was the first time Bush had performed on such a scale since 1979. Before the Dawn was a huge smash, and Bush followed that in 2018 with the release of a book of lyrics, How to Be Invisible, and re-releasing her albums on vinyl (including great box-sets with rarities and B-sides). There is the odd smatter of activity and news regarding Bush; we await a new album and wonder what comes next. That was another reason for this feature: as of today’s date (20th October, 2019), this is the second-longest gap between albums. Maybe 2020 will bring new music; perhaps it will be a few more years. Not only is there anticipation because Bush’s music is a wonderful thing; 50 Words for Snow is unique and an album that sounds utterly wonderful whatever time of the year you experience it. I feel there will be more material from Kate Bush. In November, we celebrate the anniversaries of Aerial (which is fourteen on 7th) and 50 Words for Snow (eight on 21st). Perhaps the next Kate Bush album will be another autumn release. Who knows?! Her sheer unpredictability and grounded nature is rare in the music; you just know Bush is always thinking about music and working on something! Whilst it is a myth there are fifty words for snow in the Eskimo language, there are many more than fifty words of love we can apply to Kate Bush. And that, now and forever, is most certainly…

NO myth!

FEATURE: Vibe Dial: Why BBC Radio 6 Music Is the Go-To Station for 2020

FEATURE:

 

Vibe Dial

PHOTO CREDIT: BBC 

Why BBC Radio 6 Music Is the Go-To Station for 2020

__________

MAYBE I pledged a hiatus of…

 IN THIS PHOTO: Shaun Keaveny presents on BBC Radio 6 Music, weekdays from 1-4 p.m./PHOTO CREDIT: BBC

BBC Radio 6 Music-related features for 2019 but, as they have been doing such sterling work and Christmas is approaching, I thought it only right to throw some love their way one final time this year. There is a point to my latest feature regarding the station. Not only do they turn eighteen next year; BBC Radio 6 Music goes from strength to strength and is seeing its listenership climb and expand. I am just about to write a piece that concerns music today and asks whether emotional motivation is less on joy and light and more to do with experimentation and the personal – and whether that is a goods thing and whether, at a time when various genres are softening, we need to encourage change. There is a lot of great music out there, for sure, and I do think BBC Radio 6 Music has this terrific balance. I have already written about the various presenters and show but, as I listen to Chris Hawkins, Lauren Laverne, Shaun Keaveny and Steve Lamacq on weekdays – Mark Radcliffe and Stuart Maconie on the wakened breakfast shows – I will nod to them again. The station promotes such loyalty that there are broadcasters who have been there since the start – including Craig Charles, Stuart Maconie and Chris Hawkins – who are still there today. I think the station has such a committed and passionate gaggle of listeners (probably the wrong term, but hey!) is a combination of brilliant music and engaging broadcasters. Of course, there are songs on the playlist that I do not like – the less positive and generic tracks never resonate -, but most of what is played is fantastic.

I have argued stations are too rigid regarding the music played and the demographic they aim for. I understand stations cannot be too broad and they need to consider their market. I do think there is a rigidity and predictability with so many stations. Whilst BBC Radio 6 Music can sometimes come across as a bit too cool for school regarding its music – which doesn’t always mean the songs are great or interesting – they continue to widen their scope and throw in so many great surprises. I actually heard the Sweet’s track, The Ballroom Blitz a little while back. One might expect that sort of track to be played on BBC Radio 2, but BBC Radio 6 Music toss in great songs like that. As much as anything, mixing in older tracks that might be deemed ‘uncool’ by some actually opens minds and gets a big reaction. In the past, BBC Radio 6 Music has been accused of just playing Indie tracks and Rock, but now it seems like this sanctuary and church that welcomes in all music, so long as it makes us feel. I would like to hear a bit more classic Pop and some of the jams one might hear on BBC Radio 2, but I appreciate (BBC Radio 6 Music) there are limitations and guidelines. I want to break down the rest of this feature into three categories: the championing of new artists and an eclectic mix; the range of voices on the station and how there is the potential for some of its newer faces to come through; the way listeners are brought in.

 IMAGE CREDIT: BBC

I have probably covered aspects in other features, but I wanted to reaffirm them and explore some new sides. Not only does BBC Radio 6 Music bring us the classics and older songs that do not get a lot of air-time, but they are committed to uncovering great new artists. Most of the big broadcasters play music from underground acts and newcomers; there is a passion and dedication you get from BBC Radio 6 Music in this respect that outshines the rest. Their Recommends shows is focused on great new sounds; unearthing some true treasures for us. Other stations can be a bit dogged when it comes to their ‘sound’ and ethos: BBC Radio 6 Music has very few boundaries and is very variegated regarding playlists. This applies to new artists. So many upcoming artists have expressed their admiration of BBC Radio 6 Music because it helps give them a platform and impetus. In the past year, I have discovered She Drew the Gun, Floating Points and Girl Ray through the station – that is just the tip of a very large iceberg! It can be hard finding great new music, because there are so many websites, playlists and options around. Most genres are covered when it comes to new music. Apart from sounds/aspects covered by other stations – you will not hear much mainstream Pop played –, nearly everything else is up for grabs. In regards established artists and songs, one is spoiled for choice.

 IN THIS PHOTO: Mary Anne Hobbs keeps listeners locked between 10:30-1 p.m. during the week/PHOTO CREDIT: Dorothée Brand

From Craig Charles spinning the best Soul and Funk; Marc Riley and Steve Lamacq digging through their crates and Cerys Matthews taking us around the globe, BBC Radio 6 Music is one of the most eclectic stations one can find. I think truly great radio stations should give us something familiar, but also provide music that is under the radar and fresh. I often find myself overwhelmed with new music and you sort of try and take in as much as possible. A station could easily rest on its laurels and play it a bit safe regarding its new artists and classics; BBC Radio 6 Music is always pushing forward and expanding its horizons. Maybe, with certain artists, the same songs are played (Kate Bush springs to mind), but I am always finding these great older tracks that I had forgotten about. Not only am I and so many others being constantly educated and supplied with great new music, but there is that great feeling that a station is speaking for you. It is hard to please everyone when it comes to a station and musical tastes. I can find a lot of other stations lack boldness; they are a bit too genre-specific and, whilst BBC Radio 6 Music could stretch even further, it appeals and speaks to those who love their classic sounds and those who want the coolest sounds of the moment.

 IMAGE CREDIT: BBC

I think 2020 is a year when a fresh wave of people will be choosing radio rather than streaming services when it comes to their musical fix. BBC Radio 6 Music is growing in popularity and reputation because of the mix of experience and variation. Some might say that the fact the station has the same broadcasters and does not change its line-up means there is little room for evolution and progress. There are broadcasters on the station who warrant their own, more regular slot - such as Jon Hilcock; Tom Ravenscroft needs more airtime, and it would be great to see more women on the schedule (Georgie Rogers and Siobhán McAndrew are fantastic music news presenters who warrant their own slots; Matt Everitt’s The First Time with… is exceptional), but each presenter is wide-ranging with their shows and they have built up a great foundation. I guess the station could bring in new blood next year but, with so many popular hosts already, it might be tricky deciphering who needs to be moved. I do, as said, listen to Chris Hawkins early; Lauren Laverne and Shaun Keaveny. I also tune in to Mary Anne Hobbs in the morning and catch Steve Lamacq and RadMac (Radcliffe and Maconie). Each presenter is deeply dedicated to what they do, and you can tell the music and involving the listeners is paramount – a lot of stations seem to be more about gimmicks, celebrity and lack that real focus. Even though most of the presenters on BBC Radio 6 Music are over forty, that is not to say the station is catering to an older demographic. In fact, most of the D.J.s have worked at other stations and brings years’ experience to the plate. 

“Bob Dylan is a sacred name in our household.” - PJ Harvey

Which act was like this for your family?

▶️ Hear @PJHarveyUK in her own words on @BBCSounds https://t.co/cvHf6TyCkr

— BBC Radio 6 Music (@BBC6Music) October 9, 2019

In terms of 2020, I do think we will see more and more listeners come in; BBC Radio 6 Music will keep rising in terms of RAJAR figures, and I believe it will be become the BBC’s premier station in years to come. I have a lot of respect for BBC Radio 1, 2 and 4 (I don’t really listen to BBC Radio 3 and 5). One of the biggest selling points of BBC Radio 6 Music is how crucial the listener is to the music played and how the station moves. I think too many stations use listeners for needless competitions and ideas that have very little to do with music. From Lauren Laverne’s Social Recall to Steve Lamacq’s The National Anthem all the way to requests across the station, it is a chance for the listeners to inform the flow and be involved. There are so many great features and regular slots; it means there is that direct relationship between the listener and broadcasters. Because of that, in a way, listeners get to connect with other listeners; there is a great sense of warmth and fun that emanates from the radio. BBC Radio 6 Music is digital-only now, and I wonder whether it will be an FM station – it seems to work fine as a digital station. I would encourage everyone to make BBC Radio 6 Music part of their daily rotation. It is perfect on BBC Sounds, on the commute and sounds great at home. The station is always improving and spreading its wings regarding the type of music played – I always love it when they play something a little bit ‘BBC Radio 2’ and showing that they be great and cool in many ways. Of course, the real test and explanation comes from BBC Radio 6 Music itself. In that respect, check out the station on Twitter, Instagram and YouTube. Most importantly, tune your dial to BBC Radio 6 Music and make it your main radio fixture… 

 IN THIS PHOTO: Lauren Laverne hosts the weekday breakfast show from 7:30-10:30/PHOTO CREDIT: Independent Talent/Getty Images

FOR 2020.

FEATURE: The Good Vibes Playlist: Part Three

FEATURE:

IN THIS PHOTO: Nature TV 

The Good Vibes Playlist: Part Three

__________

THERE are various genres…

 IN THIS PHOTO: Sofia Portanet/PHOTO CREDIT: Lucio Aru & Franco Erre

that can make one feel uplifted and revived. For me, I love a good banger or feelgood song; for others, a bit of catharsis can relieve the tension and make them feel better. In the final part of this feature, I have collected together some recent tracks that will ease the strain of modern life. There are some terrific artists in the pack, and you are going to discover a few beauties that were foreign before – add them to your regular rotation! I do think we all need a little bit of a boost as the weather is a bit gloomy and the days are getting shorter. I have had a good look around and assembled what, I feel, is a pretty good blend that should get to work pretty quickly. Get stuck into this collection and I hope there are plenty of good vibes waiting for you. I will keep going with my weekend playlist but, for now, this is the end of my good vibes-related assortment. Get involved with these artists, who have released some stonking songs that have…

 IN THIS PHOTO: Sudan Archives

A little bit of fizz and comfort.  

FEATURE: Modern Heroines: Part Five: St. Vincent

FEATURE:

 

Modern Heroines

PHOTO CREDIT: Gregory Harris 

Part Five: St. Vincent

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I am almost spoiled for choice when it comes…

 PHOTO CREDIT: Getty Images

to musical heroines - but there is an artist I have wanted to include for a while now. I have been a fan of St. Vincent for years now, and I think she is one of the most electric and accomplished artists in the world. She is shaping up to reach icon status; someone who is inspiring women to take up the guitar, opening doors and breaking barriers. I will get to her albums soon, but I wanted to mention a couple of things that have been happening regarding St. Vincent. It has been a couple of years since her last studio album, MASSEDUCTION, but Annie Clark has been pretty busy. She appeared at the Grammys earlier this year and performed alongside Dua Lipa. The two made an explosive and natural partnership and, when Lipa spoke out against sexism and a lack of female inclusion at previous ceremonies – Clark supported the statement:

“When Dua Lipa accepted the trophy for Best New Artist at the Grammys Sunday night, she included a not-so-thinly-veiled jab at outgoing Recording Academy President Neil Portnow when she said it was an honor to be nominated along a number of female artists. “I guess this year we really stepped up,” she said. Last year, Portnow had said that women needed to “step up” to become part of the industry. It wasn’t too long after Lipa made her remark that the strings kicked in for her to finish her speech.

“I think it was awesome that she said that,” says Annie Clark (a.k.a. St. Vincent), who had performed a mash-up of hits with Lipa earlier in the broadcast. “People in any marginalized position have long been told the myth that if they only worked a little harder then they too could inherit the earth. And I’m glad she referenced the ignorance and arrogance of his particular statement. It’s absolutely idiotic”.

 PHOTO CREDIT: Maria Jose Govea

There was a mix of celebration and judgement when it was announced St. Vincent was in the chair to produce Sleater-Kinney’s new album, The Center Won't Hold. It didn’t help that, soon after the album was released, the long-time drummer Janet Weiss departed the group. Some claimed the departure was due to St. Vincent/Annie Clark getting involved and taking the music in a new direction – the fact of the matter is Weiss was one who lobbied St. Vincent to come on board! The album, I think, is a great step from Sleater-Kinney and one of their best works. There are some St. Vincent touches and elements here and there but, for the most part, it is the producer working closely with the band and allowing them to evolve and progress their music. The band lost their drummer, but it had nothing to do with St. Vincent. The New York Times assessed St. Vincent’s input on The Center Won’t Hold and how St. Vincent was a positive influence on the band:

“They were the classic things that Sleater-Kinney has always done so well, which is great guitar parts and big firework, lightning-in-a-bottle kind of songs,” Clark said, “but then there was this other side that I also felt in the demos — kind of an extra vulnerability from both of them.”

It came through in their vocals and subject matter, which both writers called unusually personal, taking on depression, suicidal thoughts and #MeToo. “Broken,” the wrenching piano ballad that closes the album, invokes Christine Blasey Ford.

Clark, Brownstein said, directed them to “not circumvent the emotion, but actually really delve into it.”

Production-wise, “I remember I was using the word ‘corrosive’ a lot,” Clark said, when she joined the group interview. All three were arrayed in variations on black, white and a pop of red, in escalating levels of glam. “Nice suit,” Brownstein, low-key in a printed button-up, said admiringly of Clark’s slick, sexy-boss black-and-white pinstripe, set off by red heart-shaped sunglasses and a Gucci handbag.

They wanted the album to sound “really gross,” Tucker, in contrasting lacy white, said, as her collaborators mmm-hmmmed in affirmation. “Like, disgusting, dirty, gross, dusty.” She went to a Depeche Mode show and got absorbed by synths; Clark and Brownstein saw Nine Inch Nails, and heard industrial”.

In fact, before I start at the beginning – as you do -, I wanted to bring in a feature that reacts to MASSEDUCTION and how it elevated St. Vincent’s sound and name. I will come to that album near the end of my feature, but I am still listening to tracks from the album. It is a hugely impressive album and one that sort of builds from St. Vincent’s previous work but adds new levels and layers. As the world wonders where she might head next, one can bask in the magnificent of MASSEDUCTION. In fact, in an unexpected move, St. Vincent released MASSEDUCATION in 2018 (the additional ‘a’ adds confusion but, hey, I guess there was a reason). It was the original album but stripped back and reimagined.

 

GQ talk about the contrasts between the albums:

 “Masseduction made the case that Clark could be as much a pop star as someone like Sia or Nicki Minaj—a performer whose idiosyncrasies didn't have to be tamped down for mainstream success but could actually be amplified. The artist Bruce Nauman once said he made work that was like “going up the stairs in the dark and either having an extra stair that you didn't expect or not having one that you thought was going to be there.” The idea applies to Masseduction: Into the familiar form of a pop song Clark introduces surprising missteps, unexpected additions and subtractions. The album reached No. 10 on the Billboard 200. The David Bowie comparisons got louder.

IN THIS PHOTO: St. Vincent in 2012/PHOTO CREDIT: Inez and Vinoodh 

This past fall, she released MassEducation (not quite the same title; note the addition of the letter a), which turned a dozen of the tracks into stripped-down piano songs. Although technically off duty after being on tour for nearly all of 2018, Clark has been performing the reduced songs here and there in small venues with her collaborator, the composer and pianist Thomas Bartlett. Whereas the Masseduction tour involved a lot of latex, neon, choreographed sex-robot dance moves, and LED screens, these recent shows have been comparatively austere. When she performed in Brooklyn, the stage was empty, aside from a piano and a side table. There were blue lights, a little piped-in fog for atmosphere, and that was it. It looked like an early-'90s magazine ad for premium liquor: art-directed, yes, but not to the degree that it Pinterested itself”.

It is amazing to look back twelve years and see where St. Vincent started life! Aside from changing looks/wardrobe – which has become bolder and more colourful as her career has passed -, the music has become bigger and more ambitious. I did not know St. Vincent (or Annie/Anne Clark as she would have been known) was with The Polyphonic Spree before going solo. That band’s infectious and relentlessly positive music was much-needed and, in these tough times, maybe we need them back! Clark was working on her debut, Marry Me, when she ended touring with The Polyphonic Spree. Sufjan Stevens heard the material and asked Clark to open for him. When performing in London, she was spotted by Beggars Banquet and she got a deal – St. Vincent was born and in the world! Right from the off, you could tell St. Vincent was so different to anyone out there. Songs like Your Lips Are Red are instant and captivating. There is so much life and colour in a single song! Whilst St. Vincent would widen her sound and create finer works, Marry Me is an amazing introduction from someone you just knew would become a star. Marry Me received a lot of positive reviews – hardly surprising to hear why! In their review, AllMusic had this to say:

“Not that Marry Me doesn't have its fair share of happy love songs ("All My Stars Aligned," "What Me Worry?"), but the album isn't seeped in that kind of joyfulness that sings blind and insincere. It's an mix of good and bad, of light and dark, of the woman who purposefully sets up the obstacles she must get through to find her lover ("I'm crawling through landmines/I know 'cause I planted them," she sings disarmingly), of sweet self-deprecation ("Marry me, John, I'll be so good to you/You won't realize I'm gone"), honest and quirky and totally enticing.

Clark is young enough that she's still able to retain that sense of wonder about the world without seeming naïve, and old enough that she can say things like "My hands are red from sealing your red lips" and you believe her. It's an orchestral record for those who prefer the simplistic, a darker one for those who prefer theirs twee, love songs for the scorned and sad songs for the content, an engaging and alluring combination that makes Marry Me nearly irresistible, and one of the better indie pop albums that's come around for a long time”.

St. Vincent’s follow-up album, Actor, arrived in 2009.S he started working with another producer but, after things went in the wrong direction and the album started to sound a bit too Disney and sweet, she called John Congleton to assist. With Congleton on board, she recorded everything again, bar wind and strings. It is clear there was a lot of colour and light on the original recording. Clark revealed she was watching a lot of Disney before recording, so that might have influenced the direction. Congleton came in and helped work out the tracks; alongside the artist, what was released was a complete, clear and original work. Actor has a lot of similar threads (in terms of Marry Me) but there is more confidence regarding the songwriting; St. Vincent spreading her wings a bit more. In this interview with The Guardian, she talked about the creative process and recording Actor:

"If you have a vision you want to figure out how to make that happen. You don't want to have to ask permission, or negotiate, you just do it. It's very natural to me," she says of writing and performing alone.

Natural, perhaps but not always straightforward. She admits there were times during the recording of Actor when it felt too much. "There were a lot of ups and downs: 'This is amazing, this is great' and 'This is terrible. I'm going to call the label and give them their money back.'" But the St Vincent persona, if not quite the high-concept alter ego that female stars such as Bat for Lashes have adopted, made the process easier.

"I'm too middle class for grand archetypal personas and too inherently self-effacing." She mimes theatrical diva-like actions. "For me calling it St Vincent, it's a subtle thing, a psychic thing, it gave me room to be able to make a space for what I was doing. Annie Clark will go and do the laundry but I felt like I could do anything I wanted if I gave it another name".

Maybe it is me but, in 2009, there were not many female artists wielding guitars. There were a few, but St. Vincent was a rarity. Now, we have great artists like Anna Calvi who are showing how female artists can shred it with the best and cannot be easily defined. It was her unique guitar chops that made St. Vincent’s Actor such an interesting and personal work. You can hear every ounce of her being and expression in the songs. Again, the album resonated with critics and further highlighted the fact St. Vincent is an artist like no other. I like to listen to her slightly older albums and compare them to say, MASSEDUCTION. You can feel St. Vincent growing hungrier and more alive with every album.

On every outing, she is stunning and presents the most fantastic, fascinating songs. When it came to Actor, Pitchfork were keen to praise:

“Since Clark's voice seldom strays from a calm, lovely tone, her guitar parts articulate much of the record's anxieties and provide its moments of cathartic release. Her style is melodic and controlled, conjuring abrasive textures that nevertheless have a clean, meticulous quality that complements her immaculate arrangements as well as her characters' temperate demeanor. Despite a reliance on processed tonality, she manages to avoid a sterile coldness, and has a way of performing her most tightly composed hooks with a touch of looseness and immediacy. In her heaviest, most warped riffs, Clark finds the grace in her subjects' frustration and purges their fear and repressed anger with a glorious, singular noise”.

I think there are two phases to St. Vincent’s solo career. One can hear a definite shift and change just before Strange Mercy. The 2011 album to that point, was her most celebrated and talked about. I read interviews where she was inspired by Nick Cave’s attitude to songwriting. He would tackle songs like a day job, seriously, and make sure he committed himself with discipline and resolve. St. Vincent had to get away from any distractions and noises; isolate herself and set to work on her next album. She retreated to Detroit, rented a studio and adopted a new approach to her songs – learning not to judge what was coming out of her and look at her thoughts in a new light. Maybe it was not a case of writer’s block, yet it was clear Los Angeles was stifling St. Vincent to an extent.

 PHOTO CREDIT: Andrew Youssef

There was definitely a bit of a personal awakening and alteration when you look at St. Vincent on Strange Mercy. Great artists are always open to change and a new approach; Strange Mercy is a remarkable album that one falls in love with on the first visit. There are, again, some great interviews online that were conducted around the time of Strange Mercy’s release. When speaking with The Guardian, St. Vincent talked about retuning and personal openness:

“She wanted to create "something to really dig into live" with Strange Mercy. That meant out with riffs, and in with hooks. "I don't do a lot of strumming on this record because I think it's really boring," she says. "Guitar can take up all of the mid-range, and I can't think of a more boring thing to put in this wide swath of EQ. There's a little strumming on Cheerleader, and Year of the Tiger, but it's tucked in."

The resulting work is a sublime affair, sewn together with intense, ambiguous narratives and Clark's beguilingly languid vocals. Performing the songs has become something of an exorcism for her. "A song has a life of its own. It's an autonomous thing, separate from your own experience, almost," she says. "And the mere repetition of it means it's subject to change; it means approaching it differently, expressing different emotional aspects of it. It doesn't feel like wallowing."

The talk of wallowing is interesting, given the word's association with depressive illnesses. Clark is candid about her past experiences with anxiety attacks, which began when she was eight or nine. "I was very ashamed of it," she says. "I thought I was going crazy and I didn't want anyone to know. Everyday life was fraught. I always needed to know where the exits were." Out of her anxiety bloomed a skill for dark, disarming humour. In the song Northern Lights, she gazes at the aurora borealis and sees only a harbinger of the "end times". "I guess I thought that line was kinda funny," she says with a gentle shrug.

Before talking about a few other albums from St. Vincent, it is worth bringing in a sample review for Strange Mercy to see how critics approached it. In their review, NME highlights my point regarding Strange Mercy’s instant allure and attraction; how one falls for it because of the sheer power and passion running alongside one another:

“Virtuosity and accessibility have never been easy bedfellows, but ‘Strange Mercy’ is one of those rare albums that makes you think and makes you fall in love. If St Vincent’s previous studio album, ‘Actor’, had us slavering on its release in 2009, it must now be regarded as progress in the historical sense, such is the inventiveness and cohesion here. Annie Clark’s third is a record of such assuredness that it staggers on first listen and, equally, with subsequent spins. Like Sufjan Stevens’ ‘The Age Of Adz’ last year, it is one of those complete creations that gives up more intricacies with perseverance”.

Not long after the release of Strange Mercy – a year after, in fact -, St. Vincent joined together with David Byrne for Love This Giant. The two met initially back in 2009 at a Radio City Music Hall benefit; it was a second meeting that sparked the idea for a collaboration after they watched Björk and Dirty Projectors play together at a New York thrift shop Housing Works – a concert organiser mooted the idea of David Byrne and St. Vincent putting their heads together. St. Vincent had worked with woodwind on Actor, so suggested she and Byrne use horns on their record; penning original music around that sound. The original plan was to do a single performance, maybe with a couple of guitars, but the concept grew, and an album arrived. Compared to her solo albums, the reviews were a bit more mixed for Love This Giant. That said, there was a lot of love and respect for the St. Vincent-Byrne unity. This review talks of the romantic elements of Love This Giant:

“All the best male-female pop partnerships teasingly hint at romance, and this collaboration between David Byrne and Annie Clark, aka St Vincent, is no exception. Sometimes it's on the surface, in the seductive push and pull of their voices in Lazarus; sometimes it's subtler, buried in the tantalising intermingling of songwriting limbs. When Ice Age, sung by Clark, begins to sound like a Talking Heads song, or her guitar flickers across Who, you get the peculiar sensation they are wearing each other's clothes.

That said, mostly their aesthetics seem to be spliced rather than shared, and hers – exemplified in the tender Optimist – tends to be dominated by his: exuberant, febrile, a riot of rippling percussion (I Am An Ape) and joyful brass (The One Who Broke Your Heart). By the end, the couple they most resemble is Peter Pan and Tinkerbell, for he is eternally youthful in his restless invention, and while she seems soft and wispy, up close she glints like a razor blade”.

If Strange Mercy and Love This Giant added new textures to the St. Vincent sound, her eponymous album of 2014 added yet new life to her bubbling pot. The songwriter wanted to create an album that was party-appropriate for a funeral. Something that was not all serious, but it had some serious edges – offset by plenty of energy and oomph. St. Vincent contains some of the best tracks from the Oklahoma-born artist. I Prefer Your Love concerns Clark’s relationship with her mother (who was briefly ill); Severed Crossed Fingers borrows a sentence from a Lorrie Moore short story: “He thinks of severed, crossed fingers perfectly survived in the wreckage of a local plane crash last year”. Whether expressing a vulnerability, or the human heart’s ability to repair and cope, it clearly struck St. Vincent – she cried her eyes out after recording the song. If Strange Mercy is a visage of St. Vincent’s life at the time, St. Vincent is a more confident and outward album.

It is a fantastic album that saw her collect the most impassioned reviews of her career to that date. AllMusic gave an extremely positive review:

“Similarly, while St. Vincent is some of her most pop-oriented work, it doesn't dilute the essence of her music. If anything, her razor-sharp wit is even more potent when polished in a candy coating with just a hint of venom. This is especially true of the album's singles: on "Digital Witness," one of the songs with the closest kinship to her "Love This Giant" work, she juxtaposes pointed commentary ("If you can't see me/What's the point of doing anything?") with Valley Girl "yeah"s in a trenchant expression of the 21st century's constant oversharing and need for validation. This somewhat frantic undercurrent bubbles to the surface on "Birth in Reverse," one of Clark's most immediately winning singles since "Actor Out of Work," and one that makes retreat seem nearly as exciting as revolution. Here and throughout the album, Clark and longtime producer John Congleton use their signature, proudly artificial sound to highlight her direct storytelling, whether it's the way "I Prefer Your Love"'s trip-hoppy sheen lets the declaration "I prefer your love to Jesus" ring out more boldly or the way Clark sings "I'm afraid of you because I can't be left behind" gives the lie to her brash guitar playing on "Regret."

As on Strange Mercy, Clark explores strength and vulnerability in ever more masterful, and approachable, ways. Not every song may be as literally autobiographical as "Rattlesnake," which was inspired by a secluded walk in the desert in the altogether. Yet there's more than a kernel of emotional truth to "Prince Johnny," where Clark's character ends up even more exposed thanks to some songwriting sleight-of-hand. The hallucinatory, funky "Huey Newton" and the decaying power ballad "Severed Crossed Fingers" show off not just Clark's musical range, but just how eloquently she blends passion and precision. And, as her most satisfying, artful, and accessible album yet, St. Vincent earns its title.

MASSEDUCTION/Masseduction is St. Vincent’s latest studio album (not including MASSEDUCATION) and it is a record overloaded with life and genius. Subjects take on sex, drugs; sadness, relationships and death. Of all her albums, MASSEDUCTION is the most personal one. It is the culmination of years of notes, text messages and thoughts; an album that combines the first-person, yet everyone can bond with the album and find something that can applied to their own experienced. Alongside Jack Antonoff, Lars Stalfors and John Congleton, it found St. Vincent (yet again) hitting a peak. There are few artists that improve with every album; St. Vincent is an artist who seems to grow in stature and brilliance. MASSEDUCTION is so varied and wide-ranging that one needs quite a while to play it and really get to grips.

It is interesting learning the genesis of many of the tracks. When speaking with The Line of Best Fit , she explained how some songs came together quite easily, whereas others were a bit more complex:

 “The journey for some songs was simple. “'New York' was written on guitar,” says Clark. “And then we just had it played on piano by Thomas Bartlett."

The journey for others, not so much. “The genesis of ‘Pills’ was that I was having trouble sleeping,” she says of the album’s four minute mental pop opera. “I took like, an over the counter sleeping pill and I just started singing the song’s jingle. ‘Pills to eat / pills to sleep / pills, pills, pills / every day of the week.’ And I was like, oh, that’s a good one. I’ll take that! So many songs that we love are like versions of nursery rhymes, you know? So I knew that it was something. And then the second half of that song, I had this piece of music that I’d written for David Byrne’s ‘Colour Guard’ project. So I kind of had ‘Pills’ part 1 and ‘Pills’ part 2. I didn’t necessarily think they would go together but I kept refining both of them.”

“The first time I played it for Jack,” she continues, “it had both parts but it wasn’t really fleshed out as an idea. He was like, ‘that’s really cool, that sounds really ambitious’ and I was like, ‘hm. Ambitious is not what you want to sound like. Ambitious sounds like you’re really trying for something but you didn’t get there.’ So, OK. This needs to be something people can really dance to until they listen to the words and then they’re crying”.

I can understand why St. Vincent wanted to strip down the songs on MASSEDUCTION and let them breathe on MassEducation. Perhaps she felt the tracks were too frenetic and busy, or that there was greater emotional resonance available when taking away some of the layers. I love the ‘original’, and the fact the same songs take on new life when readapted shows what a brilliant songwriter St. Vincent/Annie Clark is. I will finish off now but, before doing so, I want to bring in some praise for MASSEDUCTION. It is, in my view, one of the best albums of the past decade and has some of the strongest releases of St. Vincent’s career. As I keep saying regarding St. Vincent and her constant improvement, there were few who had anything but complete adoration for MASSEDUCTION. It is a truly fantastic album and one I urge people to stream/buy if they have not done so already. In their review, The Guardian show their love for a brilliant album:

“Mechanical beats and abrasive synths underpinned by producer Jack Antonoff’s feedback-pocked soundbed-of-nails: Annie Clark’s sixth album as St Vincent is not immediately inviting. But it is fascinating, sometimes grimly so, with Clark relating scenes from a relationship with a drugged-up Young Lover. But the frank confessions – of transgressive desire, pathological anxiety and romantic rejection – that pepper Masseduction transcend gossipy intrigue. (Inevitably, people will assume some of the material is inspired by her breakup with ex-girlfriend Cara Delevingne.)

PHOTO CREDIT: Autumn Andel 

Sonically, the record gradually unfurls into something similarly captivating though, as Clark ditches the guitar rock for pop that is rich, nuanced and constantly surprising. Single songs journey across genres – Pills, for example, begins resembling a bass-heavy remix of a nursery rhyme and ends up a big ballad with a Kamasi Washington sax section – while bizarrely amusing ingredients are continually added to the pot, from parodically funky synth lines to shrill vocal gymnastics that would have Mariah Carey cowering on her chaise lounge”.

St. Vincent has not long completed her production duties with Sleater-Kinney, so we might not see any new music for a while. There is always anticipation regarding her music because, on every album, she brings something staggering to the party. One wonders where she will head next and what the next album will sound like. Like all the artists I will put in this Modern Heroines feature, there are upcoming artists who are showing little touches of St. Vincent. She is highly influential and one of the most interesting and original songwriters in all of music. I love the fact she is this sensational live performer and terrific guitarist; someone who is hugely intelligent and warm; a songwriter who never stands still and is always blowing the mind. She has come a long way since Marry Me and her days with The Polyphonic Spree. There is still so much music in Annie Clark, and I wonder whether she will produce for other artists (like she did with Sleater-Kinney). There is no telling…and there is no end to the talents of Ms. Clark. The music world is very lucky to have her and I, and many people, know that she is shaping up to be…

 PHOTO CREDIT: Catalina Kulczar

A legend of the future.

FEATURE: Footprints in the Sand: The Music Industry: Climate Change and the Environment

FEATURE:

 

Footprints in the Sand

PHOTO CREDIT: @aplaceforcreation/Unsplash 

The Music Industry: Climate Change and the Environment

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NOBODY can ignore the seriousness of climate change…

 IN THIS PHOTO: Radiohead

and how action needs to be taken. Obviously, when it comes to making decisions and acting, the buck stops with politicians. There are artists out there – from Radiohead to Grimes – and organisations that are raising awareness and speaking out. It is a tough time where we are ruled by people who seem uninterested in making change and addressing the severity of climate change. I know those who can make improvements are. From individuals using public transport more to companies using less plastic and being more conscious, we are seeing small steps. In terms of the music industry, festivals are urging people not to use single-use plastic bottles; they are providing water on site and everyone is aware what impact air travel has – for a lot of musicians, it is hard to be like Greta Thunberg and go by boat. I will end by discussing whether artists who speak out can affect politicians but, after reading about streaming music and the environmental impact, can artists and fans do more?

“This fall in the relative value of recorded music becomes more pronounced when you look at the same prices as a proportion of weekly salaries. Consumers were willing to pay roughly 4.83 per cent of their average weekly salary for a vinyl album in 1977. This slips down to roughly 1.22 per cent of the equivalent salary for a digital album during its 2013 peak.

PHOTO CREDIT: @fimpli/Unsplash

With the advent of streaming, of course, the business model of consuming recorded music changed: what used to be a commodity industry, where people bought copies to own, is now a service industry in which they buy temporary access to a music experience stored in the cloud. For just $9.99 – barely 1 per cent of the current average weekly salary in the US – consumers now have unlimited ad-free access to almost all recorded music ever released via platforms such as Spotify, Apple Music, YouTube, Pandora and Amazon.

Yet if consumers are paying an ever lower price for their music, the picture looks very different when you start to look at environmental costs. Intuitively you might think that less physical product means far lower carbon emissions. In 1977, for instance, the industry used 58 million kilograms of plastic in the US. By 1988, the peak year for cassettes, this had dipped slightly to 56 million kg. When CDs peaked in 2000, it was up to 61 million kg of plastic. Then came the big digital dividend: as downloading and streaming took over, the amount of plastics used by the US recording industry dropped dramatically, down to just 8 million kg by 2016.

But if these figures seem to confirm the notion that music digitalised is music dematerialised – and therefore more environmentally friendly – there’s still the question of the energy used to power online music listening. Storing and processing music in the cloud depends on vast data centres that use a tremendous amount of resources and energy.

PHOTO CREDIT: @othentikisra/Unsplash 

It is possible to demonstrate this by translating plastic production and the electricity used to store and transmit digital audio files into greenhouse gas equivalents (GHGs). This shows that GHGs from recorded music were 140 million kg in 1977 in the US, 136 million kg in 1988, and 157 million kg in 2000. By 2016 it is estimated to have been between 200 million kg and more than 350 million kg – and remember that this is only in the US”.

When we think of digital music, I guess we never really think there is much of an environmental cost. One assumes that everything is conducted online and there is no carbon footprint. One of the reasons we are buying fewer C.D.s is because there is a very visible problem regarding plastic packaging. Does that mean that we all need to stream less? It is hard when you are looking at an industry as large and growing as music. Artists need an accessible and universal platform on which to put their music; physical formats are valid, yet streaming is more impactful and easier. It is not quite as simple as people streaming less or artists balancing between releasing physical copies and digital. I do think platforms like Spotify need to be conscious when it comes to the amount of energy used to store digital files – and what that is doing to the environment.

 PHOTO CREDIT: @snowjam/Unsplash

Every aspect of production, distribution and performance needs to be considered whilst we tackle climate change and try to reduce the damage being done. There are different problems when it comes to international stars and your smaller act. The former might have to be flown around the world and, as you can imagine, that leaves a big footprint. It is difficult to get around that, but I wonder whether, when scheduling tours differently so there are fewer cities visited and miles covered would help. I know a lot of acts who fly between nations and cities that are commutable by train; others who have a schedule that seems to take them in all sorts of directions; sort of illogical in terms of plotting and scheduling. If air travel is one of the biggest problems when it comes to big acts, smaller artists have vehicle travel between venues; there is another issue, mind: merchandising and mailing out to fans. I have seen Twitter posts from artists gleeful when a vinyl of their music is out, or they can send merchandise to fans around the world. One cannot undermine that thrill and connection, yet the environmental cost of small, regular shipments is evident. This article from 2016 explains more – and proffers a possible solution:

“Another big cost to the industry, consumer, and environment: shipping merchandise. And let’s think beyond just the t-shirts. Some artists ship in large quantities, but most don’t have the scale to mass-produce. They produce small batches, and then ship them around the world from where they live. It would arrive at your home or a local pick-up point. What if instead, you order something, it’s produced at the nearest 3D printer and you can pick it up from there.

PHOTO CREDIT: @andrewk/Unsplash 

Not only are there less emissions involved, but it might be faster too. There are still questions about whether the amount of energy required offsets the carbon emissions, particularly for mass production, but some printers are performing great.

Services like 3D Hubs are already providing over 1 billion people with access to 3D printers within 10 miles from their home.

A lot of festivals are powered by diesel generators, costing around half a billion euros each year, just in Europe. As much as three quarters of the UK music industry’s greenhouse gas emissions come from live performances.

Tents get left behind, a lot of water is used to clean, and cars queue up for hours to get into parking lots.

One of the most interesting music-related startup accelerators has to be Open-House. They look at how events can be made more efficient, but also how festivals can be used as a case study for how we organise humanitarian aid, or solving other societal issues.

Their startups include Kartent, a recyclable cardboard tent, Sanitrax, which makes the toilet experience more efficient, and Watt-Now, an energy monitoring system for festivals”.

I have raised a couple of environmental concerns but, from digital storage/destitution through to packaging, travel and festivals; people are doing their best - but more can be done. The fact fewer plastic bottles are being taken to festivals is good. Others are combating vehicle emissions and urging public transport.

 PHOTO CREDIT: @paucasals/Unsplash

I do think every artist can do their part in many ways. From using public transport as much as possible to thinking about the distance covered when touring…there are little steps that can make a big difference. Whilst the industry and artists – and fans, for that matter – can help reduce the environmental impact music creates, I think, obviously, politicians need to do more. There is that obvious outlet of publicity and interviews; time at gigs where artists can step aside and talk about the environment. Is it easy for an artist, especially a big one, to ‘go off script’, and discuss something like the environment? This article from Vice discusses some of the issues faced; they also address travel and how it might be hard to reduce the impact immediately:

“The first thing is to speak about it, whether in interviews, on social media, or referencing climate change in their songs. Of course, thanks to those previous efforts from Mr Bono and the conscious uncoupling dude, these efforts have the potential to come across as corny and overly sincere. Or even preachy. The BBC covered this in a 2015 piece titled 'Where are all the climate change songs?', where they ran the historical gamut of songs about the issue: from Joni Mitchell's "Big Yellow Taxi" (put up a parking lot!) to Paul McCartney's "Love To The Earth" – a UN-approved song released that year featuring Sean Paul, Sheryl Crowe, Leona Lewis, Fergie and more. Think of it like Kanye's "All Of The Lights" with a BBC Radio 2 cast. But that was three years ago, and this is now. And though it might be naive to think songs about climate change will never be anything less than a hard sell, the issue is more pressing than it has ever been.

IN THIS PHOTO: Grimes/PHOTO CREDIT: Getty Images 

Grimes is one musician choosing to dive headfirst into the topic. In an interview with The Washington Post last week she announced that her upcoming fifth album will be a concept record about “the anthropomorphic Goddess of climate Change”. In practice that might not be so overtly calling for environmental action, but at least it is focusing on the issue. The same goes for Foals, who talk about the state of the world on their most recent record Everything Not Saved Will Be Lost Part 1. Speaking to us about the issues that fed into the record, frontman Yannis Phillipakis said: “What scares me right now is what scares you, right? … the bee population that’s going, environmental collapse, biodiversity collapse – the fact that on an aesthetic level there’s a plastic flotilla the size of France in the Pacific.”

Of course, when it comes to touring there’s also the problem of travel. Huge international bands often fly not only themselves but loads of equipment across the world. So where does this problem sit? And who can fix it? There are no easy answers. We can't expect bands to stop touring – first CD rips, then downloads, then streaming have all slashed the money they make from selling recorded music. Touring and merch have become vital revenue streams. So bands starting to push beyond their local circuit certainly can't buy up personal, electric-powered airplanes, while looking for a way to make enough money to survive as artist. And aviation companies themselves haven't yet figured out how to get a battery that isn't too heavy for an airplane but can hold enough charge to carry it.

 PHOTO CREDIT: @maxwellridgeway/Unsplash

I understand there are logistical and professional challenges when it comes to reducing travel and merchandise but, from the smallest artist to the top of the mainstream, concerted efforts, concessions and constructive changes, when combined, can lead to a big difference. I do think the most effective channel of change is the human voice. There are a few artists directly addressing climate change through their music, but I think many are avoiding as they feel it might be too edgy, divisive or lacks commercial appeal. I do think, in general, so many artists tackle politics; there are many more artists aiming their lyrics at politicians compared to the environmental struggles – making more noise through song would be a good step. Although the charts are gloomy, I think a lot of that is to do with personal malaise or a bad pattern. I think singing about the environment need not be morbid and preachy.  I will wrap up soon but, just before, I found a Finnish article that outlines a few things happening in the country that is making a difference:

“Audiences can be reached both by using public authorities and rhetoric, and directly through art. Even small actions matter, but the largest responsibility falls on those who enjoy the greatest public authority. One recent example is the rap group Gasellit who lent their support for a campaign titled Korvaamaton [Irreplaceable] during the recent Finnish parliamentary election. The campaign was run by various environmental and development organisations in order to identify the climate crisis as the number one issue in the election.

PHOTO CREDIT: @genon2/Unsplash 

EDM artist Darude, Finland’s representative in this year’s Eurovision Song Contest, played his part through his contest piece Look Away, urging people to take action in order to solve our big global problems. Darude is also involved in a UNICEF campaign which illustrates the effects of climate change on children and young people around the world.

Although the American online magazine Pitchfork recently remarked that songs on the current pop charts are anything but upbeat and fun, we still have not seen many songs about climate change hitting the charts.

Tiainen from Greenpeace points out that in addition to using their public authority, music makers can directly influence gig presenters and festivals, for example: “Musicians, too, have to be active in sending a message to their presenters about the importance of environmental responsibility through actions such as using renewable energy or offering more plant-based catering options.”

Bands in the beginning of their career hardly dare to bite the hand that feeds them, which means that all eyes will be on the most influential stars to lead the action.

In 2014, Europe Jazz Network partnered with Julie’s Bicycle, a pioneering charity working on environmental sustainability in the arts. Their joint initiative “Take the Green Train” has mapped the environmental challenges in the arts industry and endeavoured to find solutions through seminars and conferences, among other activities. In conjunction with the initiative, saxophonist Evan Parker undertook a pilot green tour in 2016, choosing the most environmentally sustainable transport methods, creating a “green” rider and coming up with more sustainable ways of organising and marketing his concerts.

PHOTO CREDIT: @joshrocklage/Unsplash 

One of the problems in the arts industry could be as basic as the lack of information. Help can be found through various associations and organisations. Julie’s Bicycle maintains a website with many practical guides towards more environmentally conscious practices in the creative industries. Festivals are another forum for sharing information and searching for solutions. For instance, Stockholm’s Baltic Sea Festival this August will present a program with many music or spoken word events focusing on sustainable development.

I do agree it is hard to make sweeping changes, but new and regular information regarding small changes would start a chain that would lead to big improvement. It is a scary situation we are in, but not all hope is lost – it is just a case of acting and trying to be as economical as possible. I do have faith things can be turned around and action will lead to change and commitment from governments around the world. Every industry and human needs to be conscious of their environmental impact and legacy. The music industry is not the biggest offender, yet there are problem areas and, when it comes to something like streaming, many of us were probably unaware of the environmental damage it is doing. There is so much to be said for the power of people and how, when we pull together, something remarkable can occur. The music industry is taking steps every day (regarding climate change); there is still more do be done, but I do think current actions, steps and pledges are…

 PHOTO CREDIT: @roxannedesgagnes/Unsplash

HITTING the right notes.

FEATURE: Sisters in Arms: An All-Female, Autumn-Ready Playlist (Vol. IV)

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Rose Elinor Dougall

An All-Female, Autumn-Ready Playlist (Vol. IV)

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IT is time for another collection…

IN THIS PHOTO: Sudan Archives/PHOTO CREDIT: Alex Black

of the best female-led artists. I have been looking around and have put together some of the most varied cuts around. I think we are definitely settling into autumn and things are getting a bit cooler. The days are getting shorter and many of us are already looking to winter. Because of that, I am looking for songs that have a bit of warmth and those that can calm and cool when needs be. I am excited to bring these great songs to you; a spectrum of sounds that shows what talent is out there. Have a listen to these songs and I am sure there is something in the pack that will…

IN THIS PHOTO: beabadoobee/PHOTO CREDIT: Blackksocks

GRAB your focus.

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

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Allie X - Rings a Bell

 PHOTO CREDIT: Jonathan Roensch

Kate Bollinger – No Other Like You

Foundlings – I Love You All

Katy J Pearson – Tonight

Becky G – PELEAS

PHOTO CREDIT: Mark Peckmezian

Matana Roberts – In the Fold

Tate McRae – all my friends are fake

Alice Merton – Funny Business

Kiana Ledé – Easy Breezy

Sasha Sloan – Thank God

Josie Dunne - Stay the Way I Left You (ft. Dahl)

Grace Carter – Fired Up

Emotional Oranges – Sundays

Lilla Vargen – Solitary

Rose Elinor Dougall – Natural State

Lola Marsh – Only for a Moment

Skott – Midas

beabadoobee – Space Cadet

Bella Boo - Tuesday

PHOTO CREDIT: Jennifer Latour

Louise Burns – Cheers

VÉRITÉ – think of me

FRANKIE – Underdog

Thandi Phoenix – Diggin’

PHOTO CREDIT: @tonjethilesen

Vagabon – Full Moon in Gemini

Grace VanderWaal – I Don’t Like You

L Devine – Peachy Keen 

JGrrey – Dreaming Fool

ILL – Kick Him Out the Disco

PHOTO CREDIT: Theo Jemison

Sudan Archives – Glorious

Katy Perry – Harleys in Hawaii

FEATURE: The October Playlist: Vol. 3: Hyperlife in the Piano Joint

FEATURE:

 

The October Playlist

IN THIS PHOTO: Michael Kiwanuka/PHOTO CREDIT: Olivia Rose 

Vol. 3: Hyperlife in the Piano Joint

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THIS is a relatively quiet week for music…

IN THIS PHOTO: Foals/PHOTO CREDIT: Sam Neil

where there are a big artists in the mix, but the rest of the assortment is relatively minor. That is not to say there is a lack of great stuff out this week. There is some terrific music from Beck and Michael Kiwanuka; new cuts from Floating Points, Missy Elliott and Katy Perry. It is definitely an eclectic week and one that should appeal to everyone. With songs from Foals and Marilyn Manson to Vagabon and Sudan Archives, there is enough to get stuck into! Have a listen to the songs below and I hope you find enough to give the weekend a bit of a kick and spark. It has been a long week for many of us, so we need music to give that sense of uplift and rejuvenation. It looks like there is plenty in the playlist to…

IN THIS PHOTO: Missy Elliott/PHOTO CREDIT: Marie Claire

LIFT the mood.  

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

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Michael Kiwanuka – Piano Joint (This Kind of Love)

Beck – Hyperlife

Missy Elliott (ft. Sum1) - DripDemeanor

PHOTO CREDIT: Chris Shonting

Battles – Fort Greene Park

Matt Berninger (ft. Phoebe Bridgers) - Walking on a String

Gengahr - Everything & More

PHOTO CREDIT: PEROU

Marilyn Manson – God’s Gonna Cut You Down

Katy Perry – Harleys in Hawaii

Pond - Hand Mouth Dancer

Floating Points – Bias

Of Monsters and Men - Wild Roses

Two Feet – You?

Spector – Simplicity

Rex Orange County - Pluto Projector

Jimmy Eat World – 555

Vagabon – In a Bind

Gang Starr – Bad Name

Caroline Polachek – Look At Me Now

YUNGBLUD – casual sabotage

Foals – Like Lightning

Alice Merton – Easy

Grace Carter – Fired Up

Sudan Archives – Glorious

Grace VanderWaal – I Don’t Like You

Perfume Genius – Pop Song

The Snuts – Juan Belmonte 

PHOTO CREDIT: Neelam Khan Vela

Declan Welsh and the Decedent West – Never Go Home

Skott – Midas

Dana Williams – Hard

Nasty Cherry – Music with Your Dad

FEATURE: The Class of ‘20: The Rock & Roll Hall of Fame: The Nominees, Notable Snubs and the Ongoing Lack of Female Inclusion

FEATURE:

 

The Class of ‘20

IN THIS PHOTO: The Notorious B.I.G. has been announced as one of the longlisted artists for induction into the Rock & Roll Hall of Fame/PHOTO CREDIT: Clarence Davis/NY Daily News Archive via Getty Images

The Rock & Roll Hall of Fame: The Nominees, Notable Snubs and the Ongoing Lack of Female Inclusion

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WHILST some claim it is outdated…

and has a misleading name, the Rock & Roll Hall of Fame has opened its doors to some true legends. You can have a look at the illustrious names that have been inducted through the years. I will mention a few names that have not been inducted but, earlier this week, the longlist for 2020 was announced:

 “The Rock & Roll Hall of Fame has announced its long list of nominees for the class of 2020. First-time nominees include the Notorious B.I.G. (in his first year of eligibility), Whitney Houston, Soundgarden, T. Rex, Motörhead, Dave Matthews Band, Thin Lizzy, the Doobie Brothers, and Pat Benatar. Nine Inch Nails, MC5, Kraftwerk, Depeche Mode, Rufus with Chaka Khan, Todd Rundgren, and Judas Priest have been nominated again.

Artists who became Rock Hall eligible for the first time this year but weren’t nominated include Oasis, Weezer, Aaliyah, Daft Punk, Elliott Smith, Sleater-Kinney, and Wilco. An artist becomes eligible 25 years after their first commercial record was released.

Previous nominees who didn’t make the cut this year include Rage Against the Machine, Kate Bush, the Replacements, Bad Brains, the Smiths, Eric B. & Rakim, Jane’s Addiction, John Prine, Eurythmics, LL Cool J, and Gram Parsons. The Rock & Roll Hall of Fame class of 2019 was Radiohead, the Cure, Janet Jackson, Roxy Music, Stevie Nicks, Def Leppard, and the Zombies. Most of Radiohead declined to show up for the ceremony, Jackson urged the Rock Hall to “induct more women,” and Stevie Nicks shared the stage with Harry Styles.

IN THIS PHOTO: Trent Reznor/PHOTO CREDIT: Getty Images 

Nine Inch Nails’ Trent Reznor has, in the past, expressed his lack of interest in the Rock Hall. When he was asked last year about being snubbed, he replied, “I don’t give a fuck.” Months later, he gave a speech at the Rock Hall ceremony inducting the Cure. “I remember distinctly saying to myself, among other things, how can I even take this awards ceremony seriously if they’ll open their doors to X, Y and Z and not acknowledge the Cure,” Reznor said. “Let’s just say I’ve never been as happy to eat my words as I was tonight.”

Rock & Roll Hall of Fame Class of 2020 Nominees:

Pat Benatar

Dave Matthews Band

Depeche Mode

The Doobie Brothers

Whitney Houston

Judas Priest

Kraftwerk

MC5

Motörhead

Nine Inch Nails

The Notorious B.I.G.

Rufus featuring Chaka Khan

Todd Rundgren

Soundgarden

T.Rex

Thin Lizzy”.

That is a pretty varied and impressive longlist. I guess one cannot really claim the nominees are Rock-based or exclusive to a genre. It is a bit late in the day to change the name – the Rock & Roll Hall of Fame is more a church for a very special flock; those in music who have made a huge contribution to music and have influenced others. There are some acts in the longlist that I am surprised have not been inducted before. I have been looking online and, out of the names, it seems Nine Inch Nails are a popular shout.

 IN THIS PHOTO: Depeche Mode/PHOTO CREDIT: Anton Corbijn

Depeche Mode and Whitney Houston are hugely popular artists that, whilst not Rock-based, are very worthy of induction. I always feel a bit sad because, invariable, there are artists on the list who are either deceased or have lost a member. Aside from the late Whitney Houston, bands like Soundgarden, Motörhead and T.Rex have lost their leads whilst The Notorious B.I.G. is finally eligible – I would be very surprised if he was not inducted next year. There are some heavyweights in that longlist and, whilst a few genres and time periods are represented, there is a relative lack of women to be seen. Of the sixteen on the longlist, there are only two female solo artists listed (Chaka Khan is nominated alongside/as part of the band, Rufus) and it calls to questions whether the Rock & Roll Hall of Fame is doing enough to include more women. Many were glad Janet Jackson and Stevie Nicks were honoured last year; it seems unlikely two women from the longlist this year will be honoured next year. The fact Kate Bush has not been inducted mystifies some (myself included), but there are articles out there that catalogue snubs and ask why some certain acts have not been inducted. I guess the Rock & Roll Hall of Fame cannot please everyone and, soon enough, a lot of the names that have not been inducted will be included. It is twenty-six years since Björk’s Debut was released; I am surprised she was not nominated this year.

There are sources that call out the lack of women and, whereas this article’s writer will be pleased Whitney Houston has an opportunity to be inducted next year, there is still a problem regarding the lack of women inducted and longlisted. The media has reacted and asked why, when so many legendary women have been excluded, is such a steely blind eye cast? I want to bring in a feature from 2017 that lays down some facts and, whilst one or two women mentioned have been nominated/inducted since, the truth remains: more needs to be done to recognise and celebrate iconic women – the article rolls to 2020 and highlights a few female artists are deserving of acclaim then:

“13.5% is not at all representative of female influence on rock and roll music throughout history but it’s not a surprise, as women have often been placed on the back burner when it comes to rock and roll. During the ’50s and ’60s when rock music came about, women were labeled as ‘groupies’ and limited to the status of obsessed fan [Editor’s note: Read an incredible corrective to that here, by Amanda Petrusich if you haven’t yet.] If a woman made it into a band, she was often told to learn bass, as this was considered the easiest instrument to pick up. And for the women who did gain popularity in the early years of rock and roll, they were rarely supported in the media, recognized amongst critics, or given awards, like their male cohorts were. If anything, they were made into sex symbols. Back in 2015, Jackie Fox of The Runaways shared an even more harrowing scenario, that of assault carried out by men in the industry with no consequences.

The Rock Hall overlooking women for their solo work isn’t really where the discrepancy ends, either. There are also countless female artists and groups who haven’t been recognized at all who definitely should be at this point. Take Pat Benatar, for example. I mean, come on, is there anyone who doesn’t sing along when they hear “Hit Me With Your Best Shot,” “Love Is A Battlefield,” or “Heartbreaker”? Even millennials know Benatar’s work. And what about Ella Fitzgerald, the Queen of Jazz? She won thirteen Grammy Awards during her lifetime and paved the way for African American women in music. Whitney Houston, arguably the most awarded female artist in history, hasn’t been awarded by the Rock & Roll Hall Of Fame.

Even though Kate Bush might have been passed up by Coachella, she doesn’t deserve to be passed up by the Rock Hall, particularly when you consider she was the first female artist to have an album reach number one in the UK album charts. Michael Jackson (2001) and the Jackson 5 (1997) are inductees, but their emblematic little sister Janet Jackson isn’t. Still others like Courtney Love’s badass grunge-rock band Hole, Kim Gordon with Sonic Youth, Sinéad O’Connor, and Björk are more than worthy of induction into the Rock Hall.

Moving forward, 2020 could also likely be a groundbreaking year for women inductees. 1995 was a huge debut year for many women of rock who would make a name for themselves in the remainder of the twentieth century, many of whom are still active today. Alanis Morisette will be eligible for her influential debut Jagged Little Pill.

The alternative power-pop band Garbage, who released their sixth album Strange Little Birds just last year, will also most likely be nominated. With an extremely punk ethos, Garbage was one of the first all-female rock groups to advocate for unashamed female power and assertive aesthetics that challenged gender roles, and they are still doing it today. While Gwen Stefani’s new wave punk band No Doubt debuted their self-titled record in 1992, they didn’t receive major attention until 1995’s Tragic Kingdom which includes hit tracks “Don’t Speak” and “Just A Girl.” No Doubt gave Stefani the confidence to break out into her solo career and become a heroine for aspiring female rockers.

Indie rock trail-blazers Sleater-Kinney released their self-titled debut in 1995 and have championed twenty years in rock music with the release of the critically acclaimed No Cities To Love back in 2015. Pop rock singer-songwriter Jewel also had a strong debut in 1995 with Pieces Of You, which has sold almost 7.5 million copies in the US. Needless to say, 1995 was a year of unprecedented success for women entering into the rock canon; as such, the Rock & Roll Hall Of Fame class of 2020 should be filled with these female artists.

Whilst the article does name-check Stevie Nicks and Pat Benatar as artists criminally overlooked as not being included (that was rectified last year), there is no guarantee Benatar will be given her dues and inducted; there will be a scurry of articles listed big female artists omitted this year.

 IN THIS PHOTO: The late Whitney Houston is one of only three women on the longlist for induction into the Rock & Roll Hall of Fame/PHOTO CREDIT: Getty Images 

Let’s hope there is more balance next year. Last year, both Janet Jackson and Stevie Nicks highlighted a surfeit of female Rock & Roll Hall of Fame inductees and urged changed. I guess there will always be omissions and problems with every award ceremony and event such as the Rock & Roll Hall of Fame. It is encouraging to see a broad array of artists and, after some critical pieces, there are three iconic women longlisted this year; all of whom are deserving of induction. Stevie Nicks’ induction last year was long-overdue and it is clear there are still problems. Let’s highlight the fact that there is a competitive and eclectic longlist. In my view, the most deserving are Pat Benatar, Whitney Houston; MC5, The Notorious B.I.G. and Soundgarden but, as we know, one can never predict and get it right – that aspect of unpredictability is what makes things exciting. I would challenge those who want to keep the Rock & Roll Hall of Fame more geared to Rock and the more electric side of music. Others think the name needs changing, since all genres are considered. I think it is fine as it is and, as we predict who might win, ponder those who were overlooked and ask whether next year will see more women longlisted and inducted, I shall leave things there. The longlist is one that spans a lot of ground and it will be interesting seeing who people place as the frontrunners. I am excited to see which artists will be making themselves comfy in the Rock & Roll Hall of Fame…

 IN THIS PHOTO: Soundgarden/PHOTO CREDIT: Universal Music Group

THIS time next year.

FEATURE: Madonna’s Erotica: Beyond the Controversy: Celebrating a Truly Underrated Album

FEATURE:

 

Madonna’s Erotica

Beyond the Controversy: Celebrating a Truly Underrated Album

__________

WHEN one considers Madonna the Artist…

 IN THIS PHOTO: Madonna in 1992/PHOTO CREDIT: Steven Meisel

her name is never far away from some form of controversy or disagreement. Practically since her debut album in 1983, the media have been lining up to have a shot at her. From Like a Virgin in 1984 to Like a Prayer in 1989, Madonna was never too far away from criticism and detractors. Whilst many of her male peers were discussing sex in a very open and explicit way on records and at concerts, there seemed to be a very different set of rules when it came to female artists. Madonna, to be fair, was bolder than a lot of her peers, but she was hardly going out of her way to offend! I know I have covered Erotica before but, as it turns twenty-seven on Sunday (20th October), I want to look at an album from the Queen of Pop that is pretty underrated. The same could be said of Erotica’s follow-up, Bedtime Stories, which is twenty-five on 25th October. There is no doubt Madonna was on a career high after the success of Like a Prayer. Although the album courted controversy from some – religious groups unhappy about a lot of what was in the title track’s video -, it marked her as a true superstar. 1990’s Vogue (from the Dick Tracy soundtrack, I’m Breathless), put her on a new level and confirmed her place as the leader of modern Pop. Whilst not as positive and instantly commercial as Like a Prayer, 1992’s Erotica was a big move from an artist without constraints and limitations.

Recorded in New York City with Shep Pettibone and André Betts, whilst working on other projects, Erotica is an underrated masterpiece. I shall briefly mention her Sex book (which was released at the same time as Erotica); the direction of Madonna’s music shifted and, with it, there was some coldness and condemnation. Erotica is much more personal and deeper than a lot of her previous work. It is a loose concept album about sex, from the perspective of her alter ego, Mistress Dita (her latest album, Madame X, features the titular heroine; a spy-cum-dancer-cum-all-rounder that is sort of a development of her Mistress Dita figure). In terms of sound, there is more sweat and deeper grooves; genres like New Jack Swing and House are fused – I think Erotica is more varied and eclectic than anything she had produced until that point. From the off, Madonna/Mistress Dita is in control and teasing her lover; blending pain and pleasure and opening. I think a lot of the furore and criticism that greeted Erotica concerned the hang-ups of society. Very few female artists were talking about sex in such a refreshing and confident way and, as such, many felt Madonna was a bad influence – this was a period when the AIDS crisis was in the news too. From the steam and purr of Erotica to a brilliant cover of Fever; the Disco cool of Deeper and Deeper and the beautiful Rain, there is so much at work; so many different styles but, at heart, stories of longing, desire and reflection.

Even though, when we talk of Madonna’s best, Erotica is viewed as a little underwhelming and not as hits-packed, many consider the album to be one of the most revolutionary of all time. At the forefront of music’s sexual revolution, Madonna was bringing the rush of lust and the pain of shame together in an album like nobody else. Few female artists had taken this approach to music and so, when it arrived in 1992, there was a huge shockwave. Everyone can debate which Madonna album is her crowning glory – I maintain it is 1998’s Ray of Light -, though few can deny the power and influence of Erotica. You get lists that rank Madonna and, when we hear discussions about her defining releases, everyone discusses her debut and Like a Prayer; the reinvention on Ray of Light and the brilliant Confessions on a Dance Floor (2005) – few bring Erotica into the debate. By 1992, Madonna was untouchable and had released an album whose impact and importance would be fully felt years down the line. Madonna, on Erotica, talked about sex, desire and death in such a frank and fearless way. Those who wrote off Erotica as being too explicit and lurid missed the point. It was easy for certain sources to judge Madonna as being too provocative when, in actuality, she was spearheading a movement of sexual re-examination and confrontation. Gay rights issues were at the forefront, in addition to greater awareness regarding AIDS.

 IN THIS PHOTO: Madonna shot for Truth or Dare (1991)

Madonna shone a spotlight on kinkiness and querness; she put difference and diversity at the forefront at a time when it was largely marginalised. I will end with a look at the ways in which Erotica changed the scene and the artists who were inspired by it. This article from Rolling Stone talks about Erotica as a masterpiece and the importance of the Sex book regarding a change in the conversation and greater openness:

“Some loathed this classically trained dancer/DIY provocateur – a megastar peer of Prince and Michael Jackson since her 1984 blockbuster Like a Virgin – with a venom reserved for successful women forging their own path. But for her vast audience, she was nothing less than liberating, and her uninterrupted string of hits defined pop for a decade. What some considered violations of taste made her more commanding: Even the way she toyed with ordinarily unflappable talk show hosts like David Letterman was more rock & roll than actual rock stars.

But in much of what follows on the LP, the woman behind the vixen doesn’t get what she wants: Her relationships fall apart as she awakens from spells cast by deceptive lovers (“Bye Bye Baby,” “Waiting,” “Words”). Booze, chain–smoking, and anonymous sex can’t numb the pain (“Bad Girl”), and a friend steals her man (“Thief of Hearts”). Meanwhile, comrades die (“In This Life”) while kindred outcasts struggle (“Why’s It So Hard”). “I’m not happy this way,” she sings in “Bad Girl.” Sensuality was merely part of the picture: Erotica is Madonna’s concept album about love and intimacy under the shadow of plague.

“I think the problem is that everybody’s so uptight about [sex] that they make it into something bad when it isn’t, and if people could talk about it freely, we would have people practicing more safe sex,” she told Vanity Fair at the time. “We wouldn’t have people sexually abusing each other, because they wouldn’t be so uptight to say what they really want, what they really feel.” Maybe that’s a little simplistic, but it’s genuinely humanitarian. At a time when the straight media essentially characterized all sex as dangerous, Madonna tried to illustrate that it could be safe and stimulating, particularly if we open our minds, free our bodies, and try something besides standard intercourse.

Accordingly, Erotica is also filled with love. The album’s steamiest – and funniest – cut, “Where Life Begins,” celebrates cunnilingus with cheeky wordplay, but also sweetness and warmth: Crooning over Andre Betts’ hip-hop ballad beats, she beckons the listener, “Go down where I cannot hide,” as if to suggest her womanhood is this chameleon’s constant truth.

Maybe the double-header of Erotica and Sex was a lot to take for those who were not used to works so challenging and brave. In 1992, Pop music was fairly safe; Erotica sort of blew open the doors and liberated so many artists and fans. I agree that the songs on the album are not as chart-friendly and light as a lot of her best work, yet Erotica is a more nuanced album that is sophisticated, confident and incredibly powerful.

Look at artists today such as Lana Del Rey, Beyoncé and Frank Ocean and you can hear shades and aspects of Erotica in their work. Many would argue Madonna was the result of artists before her like Debbie Harry, but Madonna’s Erotica led us to artists like Britney Spears, Katy Perry and Lady Gaga: a new generation of artists who were empowered and free from restraints. One other reason why I wanted to revisit Erotica is because of Pop today. One can say that modern acts like Ariana Grande have been inspired by 1992-era Madonna, but I do think the album could help create a revival of Pop. I think the modern Pop sound is largely flat and lacking in anything that interesting. Erotica is not, as many claimed back then and do now, cold and soulless. It is an album that has warmth, vulnerability and incredible range. There is not a lot in today’s market that reaches the same heights and blows the mind – maybe Pop has become too safe or there is a fear of being too expressive. In any case, some of the best Pop artists of the past couple of decades are so revered and popular because of Madonna. Although Erotica is an enormously influential album I feel, twenty-seven years after its birth, Pop has sort of stepped back and become safer. There are plenty who felt Erotica was a career-ending album, but maybe that was just an overreaction of the time. As a result, there was not quite the level of appreciation and respect aimed at the album as there should be. Listen back now and it still sounds incredible and like nothing else. Madonna would go on to create a finer album in Ray of Light; nobody can deny the fact that Erotica remains…    

 PHOTO CREDIT: Getty Images

ONE of her greatest achievements.

FEATURE: Songs for the Hard of Hearing: Queens of the Stone Age’s Vinyl Reissues and a Chance to Inspire the Rock Scene

FEATURE:

 

Songs for the Hard of Hearing

Queens of the Stone Age’s Vinyl Reissues and a Chance to Inspire the Rock Scene

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MAYBE it is hard to see a direct connection…

but I am looking around Rock at the moment and not seeing a lot of swagger and variation. There are some great Post-Punk bands and, aside from the likes of Foals, Sharon Van Etten and The Raconteurs, there has not been much in the way of interesting Rock. Perhaps there are some lesser-reviewed records I have missed; I do think Rock has taken a back seat to other genres over the past few years – which will fuel that eternal question: Is Rock Dead? I do not think Rock will ever die out but, when it comes to a band who have managed to compel and stand tall throughout their career, few hit harder than Queens of the Stone Age. Their eponymous debut arrived in 1998 and, since their last album (Villains in 2017), the band have hardly dropped a beat. I will talk about their music in a minute but, for those who have longed for some Queens of the Stone Age classics on vinyl, your prayers have been answered! Tone Deaf explain in detail:

“This year is turning into a big one for fans of Josh Homme, with the first four records from Queens Of The Stone Age set to receive a vinyl reissue.

Back in the mid-’90s, stoner-rock fans were undoubtedly heartbroken to learn of the break-up of genre icons Kyuss. Having delivered crushing riffs and melodic grooves for close to a decade, things found themselves looking up soon after when Josh Homme announced the formation of new band, Queens Of The Stone Age.

Releasing their self-titled debut in 1998, the band signed to Interscope soon afterwards and entered the mainstream with records like Rated R, and Songs For The Deaf, whose lead single ‘No One Knows’ topped the 2002 Hottest 100.

BACK ON HIGH-QUALITY 180GRAM VINYL

AVAILABLE NOVEMBER 22

RATED Rhttps://t.co/Qb7HDKl8WU

SONGS FOR THE DEAFhttps://t.co/iTmrCYFKZS

AVAILABLE DECEMBER 20

LULLABIES TO PARALYZE https://t.co/dJ0zLIng8E

ERA VULGARIShttps://t.co/SlnHVYuLQN pic.twitter.com/Yc5vI6Gnpk

— QOTSA (@qotsa) October 11, 2019

Now, a bunch of the band’s records are set to receive a special vinyl reissue, with these classic records coming to a turntable near you.

Announced via social media yesterday, the band’s Interscope discography is set to be reissued in the coming months, with Rated R and Songs For The Deaf dropping on November 22nd, while Lullabies To Paralyze and Era Vulgaris are planned for release on December 20th.

Released on high-quality, 180gram vinyl, these records are set to be a vital addition to the collection of any self-respecting stoner-rock fan. While there’s no word whether these reissues will contain vinyl-only tracks like ‘Ode To Clarissa’, ‘Bloody Hammer’, or ‘Running Joke’, we’re definitely hoping these classics will make an appearance.

In related news, stoner-rock fans are also in for a treat later this month, with Josh Homme set to release the first new music from his Desert Sessions collective since 2003 on October 25th.

After teasing the project’s return earlier this year, fans began to speculate something was up following rumours of Dave Grohl and ZZ Top’s Billy Gibbons working on the next Queens Of The Stone Age record.

As it turned out, these rumours were only half correct, with Gibbons soon being confirmed to appear to the newest record from The Desert Sessions, alongside an all-star cast of collaborators, including Stella Mozgawa (Warpaint), Jake Shears (Scissor Sisters), Mike Kerr (Royal Blood), Carla Azar (Autolux, Jack White), Les Claypool (Primus), Matt Sweeney and Matt Berry (The IT Crowd)”.

I am glad Josh Homme is working on new music and, although we might not see a new Queens of the Stone Age album for some time, it is great the Ginger Elvis is concocting some fresh tunes. As vinyl continues to grow and we are still buying it, you will get artists bringing out their older albums on the format. I love reissues, because there is something magical in vinyl. Hearing an album like Rated R (my favourite Queens of the Stone Age album) on vinyl is something I am not going to pass by – I am going to grab a copy. Whilst this news story might only appeal to fans of Homme and his crew, I think the release of these albums on vinyl should act as a guide to bands of the moment. I can’t remember when, but I wrote a piece years ago concerning Queens of the Stone Age; arguing why they were one of the last true Rock bands around. Look around now and there are few acts who have the same elements as the legends Queens of the Stone Age. It is good to see fired-up Post-Punk and Alternative bands; we have some great Indie-Pop and bands who are doing things their own way. I miss Rock music that is anthemic and sticks in the head. I am not sure what it is about Queens of the Stone Age, but they can get the hips wiggling with their mix of cool-cum-gritty.

Listen to classics like No One Knows (from Songs for the Deaf) and The Lost Art of Keeping a Secret (from Rated R) and these songs are ingrained in the brain. I think there was a cut off period when we had great Rock bands producing these timeless and incredible songs. We no longer have The White Stripes around – although Jack White is working with The Raconteurs -, yet the fact there is a new podcast available suggests there is an appetite for the superb duo. I am not suggested Rock has evolved to the point where it is too serious but, like Pop and other genres, there is a sense of fun and groove missing. Queens of the Stone Age have never lost that sense of the funny and cheeky, even when the amps are near explosion and they are threatening to set fire to the studio! They have barely calmed with age and Josh Homme remains one of the coolest leads ever. Maybe that is another thing: the absence of iconic and fascinating frontmen/women. Again, there are a few bands who seem to match the spirit and brilliance of Queens of the Stone Age. I think a lot of today’s Rock is either pretty negative or tries to hit the heavens and falls flat. Sure, artists can still pen hooks and melodies; what I am finding is fewer and fewer artists are able to write in an optimistic way but bring the noise – there are some more angered Queens of the Stone Age songs, but there is tenderness and cool in every beat.

I think it is that effortless cool and flow that has always defined the Queens of the Stone Age sound. Maybe the band are unique in that sense? If Pop music has fallen on its arse and has lost the art of being able to create big choruses and fun, maybe Rock has a bigger role to play now more than ever?! If Rock music exists and continues to move, it is clear there has been a transmogrification since the early-‘00s. This article from earlier in the year explains how Rock has stalled a bit – and the definition of a Rock star is changed:

“So what does this tell us? Well, for one, it's clear that people don't know what rock is anymore, and modern rock is in such a dismal place that listeners are revisiting Queen to scratch that itch. "For the last few years, the Billboard rock charts have been an abysmal slog of new pop artists that occasionally hold guitars like fashion accessories," wrote Noisey. The article goes on to cite the uncanny rise of The Guardians of the Galaxy 2 soundtrack, which dominated the chart for 22 weeks and eventually hit number one. At the 2018 and 2019 Grammys, they didn't even bother to air the Best Rock Album category. This year's winners, Greta Van Fleet, whose album Anthem of a Peaceful Army debuted at #3 on the Billboard 200, are only famous because they sound like a B-list Led Zeppelin. "Greta Van Fleet is all costume," read a scathing review on Pitchfork, referring to the band's cliche 70's fashion choices. "They make music that sounds exactly like Led Zeppelin and demand very little other than forgetting how good Led Zeppelin often were." The group's nostalgic appeal only adds to the stagnancy of modern rock and proves that even the genre's up-and-comers can't craft anything new from its ashes.

So what's next for rock and roll? Well, The Black Keys recently debuted their first new song in five years, but it's not exactly a groundbreaking addition to their discography. As for The Arctic Monkeys, their highly anticipated Tranquility Base Hotel & Casino polarized its fans, with many dismissing the project as melodramatic and self-indulgent. "Even a nice classic-feeling pop melody...devolves into a lurching drag," wrote Rolling Stone of the project. Critics had similar critiques on Jack White's Boarding House Reach. "Sadly, the years have steadily whittled the playfulness from White's material," wrote Pitchfork. "His work is now too lumbering and unmoored for anyone to take much pleasure in it."

Even the term "rockstar" is being pinned more frequently to rappers, with artists like Lil Uzi Vert and Danny Brown now claiming the title. As artists like Breaking Benjamin, Nickelback, Gerard Way, Slipknot, and Buckcherry continue to create carbon copies of their early 2000s sound, artists like Juice WRLD, XXXTentacion, and the late Lil Peep have fused rock with Hip-Hop influences – with the resulting concoction brandishing a whole new subgenre of music. Rock has officially retired, and the longer these dying acts hold onto the mantle (i.e. Adam Levine at the Super Bowl) instead of passing it over to where it belongs, the sadder they inevitably become. Let the greats be great, but can we stop pretending that "modern rock" exists?”.

Maybe, then, Queens of the Stone Age are one of the last surviving Rock bands who can genuinely hold a candle to the very best! I do think there has been a widening of the Rock scope and, in a bid to keep the genre fresh and expansive, some of the heart and purity has vanished.

Maybe tastes have altered, and we are favouring other genres. I look around at articles that ask whether Rock is dead and what has happened. I am not suggesting the reissues of Queens of the Stone Age albums will ignite a new Rock revolution…it might give upcoming bands some guidance and inspiration when they are penning their tunes. Maybe the pressures we feel in life and on social media is impacting the sound and feel of genres like Rock. It is a shame, but Queens of the Stone Age prove that Rock still can thrill and is not entirely dead. Maybe Muse are one of those bands who are still injecting fun, drama and something interesting into Rock but, largely, there are few thrills and standout moments. As we wonder when the next Queens of the Stone Age album will arrive, make sure you snap up their vinyl releases and enjoy the music. I know many out there are die-hards; some will be new converts, but everyone needs to check out the mighty Queens of the Stone Age. I think, as we celebrate some old/new arrivals, it will give impetus for artists; some charge and lightening that, let’s hope, resonates with artists out there. Rock is not completely doomed but, as we listen to what is out there, one cannot say it is overly fruitful. I think, with more bands like Queens of the Stone Age in the world, Rock music will be…

IN a much better state.

FEATURE: Spotlight: Vagabon

FEATURE:

 

Spotlight

Vagabon

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THERE have been some hefty tunes…

PHOTO CREDIT: Philip Cosores

flowing this year, but I do think that Water Me Down by Vagabon is among the very best! It is a gorgeous, spellbinding song from an artist who is growing and producing her finest work. I shall talk about her debut album and the transition to her upcoming eponymous record. Laetitia Tamko was born in Yaoundé, Cameron, but is based in New York. She made that move at the age of thirteen so that her mother could attend law school. Tamko attended the City College of New York and graduated from the Grove School of Engineering in 2015. It is amazing to see how Tamko transitioned from her childhood in Cameroon to the bustling New York. One can imagine there are few similarities to be found; maybe there is an energy and electricity in the air that made that switch fairly stress-free. It was inevitable the ambitious and curious Tamko would be drawn to the sounds and sights of New York. She was given her first acoustic guitar, a Fender, at the age of seventeen. By 2014, Vagabon was uploading videos to Bandcamp, and we had this intriguing moniker. It is not only the guitar that Vagabon bonded with: drums, keyboards and synths can be found across her 2017 debut, Infinite Worlds. I mist admit…I didn’t discover that album until this year; I had only just discovered Vagabon and was blown away by the music!

Although there are not a huge number of reviews online concerning Infinite Worlds, it did receive hugely positive feedback from critics. The album is rich with personality, depth and wonderful moments. In this review, AllMusic share their thoughts:

“The first sound heard on Vagabon's debut album Infinite Worlds is Laetitia Tamko's voice. Equal parts smoky croon and swooping shout, her vocals hook listeners right away and don't let go until the final notes of the album trail away. In between the opening indie rock-heavy "The Embers," which features grinding guitars and the kind of early-'90s dynamics that would make Tsunami proud, and the last song, "Alive and Well," a haunted indie folk ballad, Tamko takes on a wide range of styles and sounds. From electro folk ("Fear & Force"), surging punk pop ("Minneapolis"), and strangled post-punk ("100 Years") to waltzing indie pop ("Cleaning House") and drifting ambient electronic pop ("Mal á L'aise"), she pretty much gets everything she tries right; matching her intoxicating vocals with strong melodies and simple, but very sturdy, songs. Tamko makes most of the music on the album herself, playing guitar, drums, and keys with enthusiasm and skill. The few ringers who help out don't do much to sully the home-cooked feel of the album or make it sound any less intimate. Infinite Worlds is an inward-looking album, perfect for soundtracking quiet evenings spent pondering life choices and wondering what it all means. Tamko sounds like she's done plenty of each and that comes through clearly in her vocals, the expansive nature of her melodies, and the overall restless and questing spirit of the album. It's a very promising debut that definitely positions Vagabon as one to watch in the future”.

I would urge people to check out Vagabon’s debut, because it is a stunning work from an artist who had already found her voice and feet in 2017. When I heard news there was a sophomore album coming from Vagabon, I was very excited. Although Vagabon is almost here, there was some change and shift. The title has not always been Vagabon. As this Pitchfork article explains, Vagabon was going to call the album All the Women in Me:

“Vagabon is changing the title of her sophomore album. The record, previously known as All the Women in Me, is now called Vagabon. The LP is also getting a new release date. It was previously set to come out September 27, and will now arrive October 18 via Nonesuch. Below, check out the new cover art for Vagabon along with the updated tracklist.

“My original album title and two lyrics were inspired by and referenced poetry by a writer I greatly admire, Nayyirah Waheed,” Vagabon said in a statement. “When I learned that she preferred I not quote her words, I made changes out of respect for her wishes”.

Even though the title has changed from something that suggests a lot of different personality sides to something more linear and focused, perhaps, Vagabon is, obviously, a personal and important album. I cannot wait for it to arrive on 18th October. It is going to another one of these albums that challenges for the ‘best album of the year’ title. It has been such a wonderful, diverse year for music, and I do think Vagabon is just what we need right now! I love the soulfulness of her voice and how engrossing her songs are. One is entranced by the power of the vocal and the sumptuousness of the music. Each track has its own skin and flavour; each is very fulsome and nuanced that you are compelled to come back time and time again. I know there will be a lot of love put out there for Vagabon – let’s hope there are a few more reviews out in the world! The songwriter has been conducting some interviews recently. When speaking with Uproxx, she was asked about the adaption period from her debut to her upcoming release:

 “Walk me through the process after touring behind Infinite Worlds and how you started working on the songs for this self-titled record.

I had been on tour for two years behind Infinite Worlds, which is a long time. My life was planned out and I was just going, going, going. I wasn’t really think about doing another album, because I didn’t have a deal that forced me to do one, and I didn’t have that history as a musician to think about when you start doing another album. I was kind of beginner’s mind for the whole thing.

I had written little things here and there, but once tour started dying down I realized I really had to get serious, because to keep touring you need to keep making albums. Tegan And Sara asked me to write a song for their album, and it kind of put me in this mindset of writing again. I wanted to do a good job for them, so I wrote a song I felt really good about, and it kind of broke me open. I was almost thinking, if I tried to write songs again, it would all go away. You know, you’re only good as your last thing, and people were saying this album was good, so I wanted to stay on it.

But once I sat down and wrote something it was like okay, I know how to do this. I kind of got in my head that I had gotten lucky, or that I’d won some sort of lottery, or gotten into this position just by chance. Even though I don’t believe that. So for this one, I just wanted to make something that I was impressed by. I wanted to showcase the timestamp this time of my artist victory, and Infinite Worlds was timestamping another time. I just want to timestamp all the growth I go through in making music. And it’s still so early.

“Water Me Down” is another one of my favorite songs on this new album, because of the struggle in the lyrics versus the happiness of the melody. I wanted to hear about writing that one, and working with that contrast.

I’m glad you picked up on that! It’s the comfort of knowing I can deal with it. Like, when something really bad is happening, even as it’s happening, I don’t feel victimized. For the first time in my life, I feel like I can move past being the victim or the survivor. And I still feel so tiny in those hard moments, that’s why the lyrics are introspective and looking inward.

But it was an obvious moment where I was like ‘Aha, I don’t have to be stuck in this. It doesn’t have to be you did something to me.’ Through all the processing and healing I’ve done, I wanted to put that work into the music. So the song feels triumphant, that you can feel happy that something is ending. There’s never been a time in my life where I didn’t feel like one bad thing was a threat to my whole life.

I do love the fact Vagabon is writing music in a positive headspace. She is a strong woman who has seen challenges and hardships; she is writing songs that promote strength against the tide; resilience and wisdom when many others might retreat and submit. Such is her force and spirit, one is lifted by her heart and power. At a time when a lot of artists are quite angry and producing music that has cynicism and an air of defeat, Vagabon helps get the blood running and the smiles forming.

Sure, there are some dark and tough experiences assessed on Vagabon, yet there is that determination to come through the other side and not let anyone take her down. I shall end things in a minute bit but, whilst reading some interviews she has recently provided, I was struck by her upbringing and how important was early on. It seems like something primal and essential seduced Laetitia Tamko. In this feature with Pitchfork, we learn more about the young artist’s start and musical passion:

“Like many immigrant households, Tamko’s was fastidious and pragmatic. “My parents always told me, ‘You can love music all you want, but always have a Plan B,’” she recalls. Her fallback ended up being engineering school, for the uncomplicated reason that it required fewer years in the classroom than a medical or law degree. It wasn’t an obvious fit—Tamko isn’t naturally great with numbers, and she sometimes got 50s on her math tests in high school. Through sheer will and self-discipline, she muscled her way to graduation from her program at Manhattan’s City College of New York, and into a job as a computer engineer. Tamko doesn’t imagine ever returning to her former profession—she wants to make records for the rest of her life—but the rigor of her experiences in hard science has informed her practice as a musician. “I’m used to being tortured to be good at something,” she tells me, before clarifying, “I don’t want to romanticize being tortured.”

 PHOTO CREDIT: Jane Bruce

Tamko’s success is clearly owed to her talent, drive, and stamina, but she is right that her story stands out for its sheer improbability. As a teenager, her exposure to music came mostly from the radio and MTV, where she discovered the Avril Lavigne-era pop-rocker Fefe Dobson, who she recalls as the only guitar-playing brown girl to get much air time. She picked up a starter Fender around age 17, but put it back down for an extended period when she got busy with school. A guy in her engineering program was a guitarist who talked incessantly about his band, and the idea of people she knew playing music intrigued her. She eventually started sneaking her own instrument into the jazz practice rooms on campus.

Home, and being separated from it, comes up a lot on Vagabon. Its lyrics seem to point to relationships stretched thin by distance, but when asked if she was missing anyone in particular while she was out touring Infinite Worlds, Tamko demurs. She acknowledges that much of her new material came from a feeling of rootlessness, but says that “very few songs are about a person; it’s more just about a feeling of not being in place.” And, to be fair, this is hardly a new concept for Tamko—just look at her chosen stage name”.

There are a few tour dates ahead for Vagabon and, if you can go and see her, make sure you do! She is a wonderful live performer and artist who is filling hearts and dropping jaws around the world. I cannot wait to see what the next few years hold but, right now, grab Vagabon on pre-release and experience a truly sensational album. I cannot wait to see what the finished album sounds like but, knowing Vagabon’s music, it is going to be immense! Make sure you follow the wonderful Vagabon and step into her…

BEAUTIFUL world of music.

________________

Follow Vagabon

Facebook:

https://www.facebook.com/vagabonjour

Twitter:

https://twitter.com/vagabonvagabon

Instagram:

https://www.instagram.com/vagabonvagabon/

Spotify:

https://open.spotify.com/artist/17mwzDXKn4ra9cuxXaptwp

YouTube:

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

FEATURE: Vinyl Corner - Lianne La Havas - Blood

FEATURE:

 

Vinyl Corner

Lianne La Havas - Blood

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AS it is Black History Month in the U.K.…

PHOTOS: Lianne La Havas

I am putting some amazing albums in Vinyl Corner from black artists around the world. Today’s feature concerns the brilliant Lianne La Havas and her second album, Blood. I would recommend you get it on vinyl as the album cover is fantastic, but there is a banquet of brilliant music to be found! Drop the needle on this brilliant album and you are brought into this wonderful space where your senses crackle and your imagination runs away! Released on Warner Bros. Records, Blood followed the success of her debut album, Is Your Love Big Enough? in 2012. Following Is Your Love Big Enough? coming into the world, La Havas performed at various venues and festivals; she visited Jamaica and, when there, it compelled her to connect with her roots and throw in some new sonic strands. La Havas met producer Stephen McGregor at the same time and one cannot underestimate her time in Jamaica regarding the inspiration for Blood. The title says it all, really: songs about her family and roots; what swims through her and makes her heart beat. Compared to her debut, there is more slink, syncopation and groove on Blood. The album benefits from a wider palette and the fact La Havas worked with a variety of producers. She took this amazing template we heard on Is Your Love Big Enough? and stepped away from the largely acoustic sound.

Blood is a bigger, hotter record that combines several different sounds. There are some beautiful Neo-Soul moments, but La Havas brings in some Pop, Jazz and Reggae. Songs sort of form a story, rather than stand separate. It is the cohesive flow and fluidity of Blood that makes it so fascinating, complete and appealing. We get some nice reversed drums, cool effects and unusual sediments on Blood. The production is altogether more ambitious; La Havas experimenting more with sound and emotional resonance. There are some huge, colourful moments that sit perfectly alongside the more delicate, introspective and emotional. Blood gained a lot of positive feedback when it came out in 2015 and it, to me, is one of the best albums of the year. With terrific singles like Unstoppable, Blood spoke to so many people and marked La Havas as a special talent. The combination of sounds on Blood – Reggae, Neo-Soul and Pop – was quite rare from a British artist in 2015…it is still not often employed. One gets some sweet vibes and dance, but there are rawer edges and plenty of electricity. AllMusic reviewed Blood and had this to say:

 “Among the collaborators here are Stephen McGregor (son of Freddie McGregor), retro-soul specialist Jamie Lidell, Disclosure's Howard Lawrence, and pop heavy weights Mark Batson and Paul Epworth. La Havas goes for a bigger, bolder, more produced sound without glossing over her singer/songwriter/guitarist origin. The point is made in the opener, a storybook love song about being swept away that is carried on a rhythm firmer than anything heard on the debut.

On "Tokyo," La Havas' yearning and state of disorientation is intensified by hazy effects and an appealingly chunky and slow groove that wouldn't be out of place on Jessie Ware's Devotion. "Midnight" and "Ghost" likewise wouldn't have the same resonance if merely sung and strummed, while "Never Get Enough" enters discretely but repeatedly veers into a dissonant stomp of lust and vexation. A few moments, like the wistful "Wonderful" and candid closer, are as hushed and restrained as the first album's highlights. The most vivid autobiographical song is "Green & Gold," a standout Lidell collaboration referencing La Havas' growth into an adult who is proud and understanding of her background and identity. This work leaves the debut, impressive as it was, in the dust”.

When they were reviewing Blood, Drowned in Sound discussed her artistic growth and fearless experimentation:

“One of the innumerable ways in which La Havas exhibits her maturation as an artist on Blood is through a manifest lack of hesitance when it comes to experimentation. On 'Grow', the instrumental commences with subdued, aural guitar strumming, then metamorphoses into an accelerated timbre on the chorus, dictated by vociferous drums. La Havas’s vocals equally become more clamorous to supplement the tempo, all the while displaying a causative command of the song. Infused with the concurrently clamorous and chaotic ambience of Kingston, Jamaica dance halls, La Havas’s invigorated artistry seems to be exhibited at every turn on the album.

‘Never Get Enough’ is an even more stunning example of La Havas’s experimental dabblings. Like ‘Grow,’ the verses are laced with a quieted, melodic essence until the instrumental abruptly discharges a flurry of distorted synths. Oscillating between delicate harmonising and howling, La Havas’s emphatic emotional paroxysms on the chorus enrich the song’s content, of a person craving a love interest to the point of addiction.

Although Blood only features ten predominantly short songs, the myriad flashes of brilliance render the album’s brevity irrelevant. Fittingly titled, ‘Good Goodbye’ is a sentimental ode to her listeners - inhabits of a “wondrous world.” Similarly to the ensuing tracks, Blood’s poignant finale simultaneously showcases La Havas’s burgeoning ingenuity and blossoming maturation as an artist. Concluding a cohesively stellar album, La Havas provides a 'good' sonic goodbye. Fans can only hope that the 25-year-old’s "goodbye” is not permanent, and she will keep releasing premium material”.

Earlier, I was mentioning how La Havas mixed genres on Blood; how she might be seen as a Neo-Soul artist. I have read so many reviews where she compared to others and you get those labels. I guess we do it to every artist but, when it comes to black artists, do we run the risk of stereotyping?! I think it is important to assign an artist to genres, but Lianne La Havas has experienced the same tags and descriptions her entire career. When speaking with The Guardian back in 2015, she addressed the subject:

“There are moments on Blood that recall the artistry and ambition of Jill Scott or Lauryn Hill, comparisons that have led to La Havas being described as a neo or nu-soul artist. These are not labels she welcomes.

“I eventually want to get rid of genre,” she says. “I don’t think it helps. The music is what it is. The 10 tracks on my album – none of them sound the same to me. Also …” She pauses. “I just think soul gets misused. Whatever you are singing about, you are singing about a real thing. So someone like Bon Iver could be considered a soul artist rather than folk because he plays acoustic guitar. So I would not be happy with ‘neo soul’.”

These generalisations are, she thinks, based on skin colour alone. “I have a big problem with it.I don’t know how deep I want to go into it now because I have a lot to say on it, but I just don’t believe you should be classed a certain genre because of your skin colour. It seems ludicrous because I don’t think people make stuff sound the way it does because of their colour.”

New tracks like Green and Gold and the majestic Grow are testament to this liberation. Beyond the stargazing and the odd moment of existential despair is hope. “I wanted it to be hopeful. I wanted it to be joyous, I guess. I seemed to feel better as I did each part of this album. I was using music to discover what I liked. Womanhood, feeling like an adult, but not being quite mature yet – I wanted to celebrate that.”

Blood is not without its moments of easy listening. But there is something unusual about her music compared to the rest of the millennials currently selling records. There is no trace of London Grammar’s quarter-life crisis, nor is there Sam Smith, Ed Sheeran and Adele’s hankering for long-term commitment, for joint bank accounts, for settling down. Lurking beneath the serenity, La Havas, with her astral love affairs and first-name terms with the most libidinous man alive, is a star. Floating through the darkest reaches of space”.

You can visit her website to get all the latest news but, as she recently signed back in to Twitter, it seems like there might be some activity. A pinned tweet from 2017 suggested it was time for new music so now, as she is sending out tweets, does this mean we might get some new music this year or in 2020? It does seem like something is brewing, and it will be good to have La Havas back. I love Blood and think it is an album that everyone should investigate. Throw away genres and labels and experience Blood as a pure, complete body of work from an artist who put her heart and soul into every song. Four years after its release, it still sounds so new and revealing – you listen and things you did not notice before coming through. As we look ahead and wonder whether album number three is just around the corner, ensure you pick up a copy of Blood. It is a stunning, beautiful album from…

ONE of Britain’s very best.

FEATURE: Tracks of My Years: A Revision: The One Song That Means the Most to Me

FEATURE:

 

Tracks of My Years

A Revision: The One Song That Means the Most to Me

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THIS is a subject that I am returning to…

 PHOTO CREDIT: @willfrancis/Unsplash

because, back in 2015, I first tackled this hard question. Back then, I selected Tears for Fears’ Everybody Wants to Rule the World as the track that matters the most to me. It is interesting pondering the songs that make up our lives and why they are so pivotal. That track was included on the Scottish band’s 1985 album, Songs from the Big Chair, and that huge hit was all over the radio. I must have heard that song for the first time when I was about three in 1986. It might have been slightly before that, but I know that song was my first memory of life – that is why I highlighted it as the most important song in my life. One cannot discount how powerful a moment like that is; when music comes into your life, that particular song holds huge power. If I was to be on Desert Island Discs – not that this would ever happen! -, the one record I would save from the waves if Tears for Fears’ Everybody Wants to Rule the World. Every time I hear the track, I am transported back to a very special time; the literal first memory of life. From the glistening, charging introduction to the incredible chorus, it is a song that stands up to the test of time and actually sound relevant today – tragic as that might sound (the track is about politicians vying for power and trying to wipe out one another). I do love the track and, if push comes to shove, it would be the one song I would save from a fire (or a wave).

I have been readdressing the subject because I saw a tweet where several personalities were talking in London at an event where they discussed the song that matters the most to them. Although Everybody Wants to Rule the World is my first life memory and one of my favourite tracks, I wanted to re-explore my feature from four years ago. There are other tracks that evoke hugely powerful memories and are vital parts of my life. As a massive Kate Bush fan, I think back to when I first encountered her music. That would have been when I saw the video for Them Heavy People (from her debut album, The Kick Inside, of 1978) when I was a child. There are songs from The Beatles that bring me back to my childhood and, through school, there are varied tracks that have scored some great days. From a unique and unexpected occasion in middle school to the sounds of The Shamen’s Ebeneezer Goode to my high school prom where Sixpence None the Richer’s Kiss Me and Basement Jaxx’s Red Alert, for different reasons, had a big effect on me. At every stage of life, there have been songs to soundtrack and score my growth and experiences. I am thankful for all of them, regardless of how minor they seem. I love that I can recall songs that were played when heading off to family holidays (and unexpected trips to Butlin’s in Bognor Regis where I was taken out of school by surprise) and those that were played in the family house.   

There have been few songs from recent times that have defined big moments, but I know there will be more to come. We all have songs that mean something to us for different reasons. Madonna’s Material Girl was one of the first music videos I saw; The Prodigy’s Firestarter and Beastie Boys’ Intergalactic take me back to a very happy time at school. There are so many more that, to anyone else, would not mean anything at all. One of the great things about streaming services and sites like YouTube is the fact we can all play those songs that give us that blast and memories. As memories fade and we lose a lot of our past, the music is still there and can help keep the past tangible. Why does it matter which song is most important and why update a line of thought from four years ago? Well. For one thing, we do not often focus our musical love to a single song. We live in a time where there is pretty much every song released available in some form or the other. There is so much music out there and, whilst we have tracks that are always in our head, how often do we sit back and think about the song that means the most?! I maintain the importance of Tears for Fears’ Everybody Wants to Rule the World, but I think there is a single track that not only takes me back to childhood but provides inspiration to this day: Steely Dan’s Deacon Blues. It is my favourite song ever and is from the band’s 1977 album, Aja. Again, a few years back, I wrote about the song in the same way as I did Everybody Wants to Rule the World.

The reason Deacon Blues is the most important song to me is because, as I said earlier, it connects me with my childhood but is giving me guidance and purpose now. Steely Dan were played in my house when I was young, but I always associate Deacon Blues with my late aunt – she would play them a lot and I think I first heard Deacon Blues whilst in her company. That period of my life was very special and I associate the song with some very important memories. Deacon Blues means a lot to me not only because of a sense of nostalgia but, in its lyrics, I sort of identified to an extent. I am going to bring in a feature where its creators Walter Becker (who died in 2017) and Donald Fagen talk about the song and its story. A lot of my favourite songs are in my head because they are fun and make me feel better: Deacon Blues means so much because I can find wisdom in the lyrics. That might sound a strange thing to admit because, as you can see from this feature, the hero of the track is not someone many would aspire to be:

“Donald Fagen: Walter and I wrote “Deacon Blues” in Malibu, Calif., when we lived out there. Walter would come over to my place and we’d sit at the piano. I had an idea for a chorus: If a college football team like the University of Alabama could have a grandiose name like the “Crimson Tide,” the nerds and losers should be entitled to a grandiose name as well.

Walter Becker: Donald had a house that sat on top of a sand dune with a small room with a piano. From the window, you could see the Pacific in between the other houses. “Crimson Tide” didn’t mean anything to us except the exaggerated grandiosity that’s bestowed on winners. “Deacon Blues” was the equivalent for the loser in our song.

Mr. Fagen: When Walter came over, we started on the music, then started filling in more lyrics to fit the story. At that time, there had been a lineman with the Los Angeles Rams and the San Diego Chargers, Deacon Jones. We weren’t serious football fans, but Deacon Jones’s name was in the news a lot in the 1960s and early ‘70s, and we liked how it sounded. It also had two syllables, which was convenient, like “Crimson.” The name had nothing to do with Wake Forest’s Demon Deacons or any other team with a losing record. The only Deacon I was familiar with in football at the time was Deacon Jones.

Mr. Becker: Unlike a lot of other pop songwriting teams, we worked on both the music and lyrics together. It’s not words and music separately, but a single flow of thought. There’s a lot of riffing back and forth, trying to top each other until we’re both happy with the result. We’ve always had a similar conception and sense of humor.

IN THIS PHOTO: Walter Becker (left) and Donald Fagen in Los Angeles in 1975/PHOTO CREDIT: Ed Caraeff/Getty Images

Mr. Fagen: Say a guy is living at home at his parents’ house in suburbia. One day, when he’s 31, he wakes up and decides he wants to change the way he struts his stuff.

Mr. Becker: Or he’s making a skylight for his room above the garage and when the hole is open he feels the vibes coming in and has an epiphany. Or he’s playing chess games against himself by making moves out of a book and cheating.

A mystical thing takes place and he’s suddenly aware of his surroundings and life, and starts thinking about his options. The “fine line” we use in the song [“So useless to ask me why / Throw a kiss and say goodbye / I’ll make it this time / I’m ready to cross that fine line”] is the dividing line between being a loser and winner, at least according to his own code. He’s obviously tried to cross it before, without success.

Deacon Blues, like so many other songs, takes me back to a period when I was discovering music and learning so much about myself. When I first heard Deacon Blues, I was fairly new to Steely Dan and was being exposed to this incredible sound; where musicianship was paramount and there was more than a catchy chorus or something commercial – it was so much about the feel and true depth of music.

 PHOTO CREDIT: @nickmorrison/Unsplash

Living in the city and trying to make a career out of music journalism, I can emphasise with the hero of Deacon Blues: a man who has no solid plan but has a certain optimism that is hard to ignore. I adore all the layers of the song and the fact it is so nuanced; a glorious combination of musicians performing this stunning song. Every time I play the track, I get something new from it. There is this feeling in the song that our hero will find his way and, as a bit of an anti-hero, there is something quite charming about his stumbling plight. Deacon Blues is a song that celebrates those who lose and, whilst that is not something to aspire to in life, I am inspired by the spirit of the song. I feel better when listening to Deacon Blues; I feel stronger and, at the same time, more reflective. Also, I strive to be better and not give in when listening to the track – what more could one ask for?! Maybe other songs will replace Deacon Blues as the most meaningful to me but, as it has struck me quite hard, I doubt anything can dislodge it anytime soon! After being inspired after seeing a tweet – regarding a few well-known people discussing the most meaningful song to them -, I was thinking about music and a song that holds power over the rest. We all play so much music of a day, and I do wonder whether we consider the power and importance of certain tracks. I have found catharsis and a sense of hope thinking about songs that matter the most to me and, ultimately, that one that stands out from the rest. If you get the time, have a think about those tracks you carry deep inside you and that special one that…    

 PHOTO CREDIT: @fimpli/Unsplash

MEANS the most to you.

FEATURE: The Whole Story? Why Now Is the Time for Another Kate Bush Greatest Hits Collection

FEATURE:

 

The Whole Story?

PHOTO CREDIT: Clive Arrowsmith 

Why Now Is the Time for Another Kate Bush Greatest Hits Collection

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THIS is not just me…

 PHOTO CREDIT: John Carder Bush

finding any excuse to write another Kate Bush feature (although I don’t need much of a reason!). Whilst the world awaits Bush’s eleventh studio album – whenever that might be -, I do think it is a perfect time for another Kate Bush greatest hits package. Not only is The Sensual World thirty on 17th October – as we celebrate her classic albums, inevitably, we will cast our mind to her work in general and fondly remember -, but Bush has only really put out a couple of packages that collated her best tracks. The Whole Story was released way back in 1986 and was intended to capitalise on the commercial success Bush enjoyed following Hounds of Love’s release the previous year. The Other Sides was released this year and, as the title suggests, is a collection of B-sides and non-album songs fore the most part. Last year, we did get box-sets that not only included her studio albums but dd give us these B-sides and cover versions. It is wonderful we have the original albums in the world, and we can get hold of all Bush’s work in gloriously remastered condition! I never thought she would put her albums back out and, prior to last year, there were some albums that were not available on vinyl or were expensive to buy. I do think there are many coming to Bush’s work now who might want a narrower representation of her work.

Sure, everyone should consume as much of Bush’s work as possible but, with vinyl so expensive to buy, I do worry a lot of people are missing out. I think 1986’s The Whole Story was the best first musical autobiography but, as thirty-three years has past since then, a revision and update would be fitting. Consider the fact that Bush’s work has evolved since 1986 and she has released a lot of great material since. Some might claim that, as we are not streaming mostly, can’t we just get her music online and compile our own ‘Kate Bush’s greatest hits’?! That point is valid, yet I think a physical product that one can carry around and keep is much more special and less subjective. I do think, in terms of vinyl, we might be limited to about twenty tracks at the most, so it would be a squeeze narrowing things down. Even so, I think you could put out a pretty healthy spread that would be career-spanning and please most fans. Over ten studio albums, you’d roughly get two tracks per album. I think you could extend it to a four-vinyl, twenty-four track collection and not price people out. You’d imagine Wuthering Heights and The Man with the Child in His Eyes would be shoe-ins from The Kick Inside (1978); Wow from Lionheart (1978) and Babooshka, Army Dreamers and Breathing from 1980’s Never for Ever. There are familiar selections there and, to be fair, these tracks appear on other compilations.

Even as an ardent fan, I would buy a new greatest hits, because I think it would be fascinating seeing a track from 50 Words for Snow (2011) stacked up against one from The Kick Inside. Perhaps a further retrospective would encourage Bush to bring out a new studio album! I do think we will see new material from Bush in the next year or two, but there is an opportunity to bring Bush’s music to fresh ears; give her fans a collection of her best material. I can appreciate people saying that, when it comes to Bush, her albums are so rich and stunning that one could not break them up and it is impossible to distill her essence to a greatest hits package. Rather than see the endeavour as commercial, it is more a chance to put out a stunning body of work that shows how extraordinary Bush is; how she has captivated us and put out some of the most affecting music ever. Bush received a CBE in 2013 but, as I have argued in another feature, why has she not been made a Dame?! It seems an extraordinary oversight considering Bush’s career spans five decades. Lesser names have been made a Dame and I do think those in power – who can decide who is made a Dame – forget just how important and phenomenal Kate Bush is; what she has given to music and how inspirational her music is.

I do think some forget how many artists owe a debt to Bush and how unique she (Bush) is. We have all her albums out into the world, but a 2020 release of her essential songs – whether twenty-four tracks or a few more -, would underline and emphasise Bush’s brilliance and raw talent. When it comes to the brilliance of Kate Bush, one must look beyond the music itself. It is clear her visual aesthetic has inspired others; her sense of ambition and the boldness of her lyrics has changed the landscape of Pop. I do think a new greatest hits collection of Kate Bush’s work would help influence a whole new generation of artists coming through. I found this article from 2014, where Bush’s brilliance is celebrated. CHVRCHES’ valiast, Lauren Mayberry, talks about Bush’s influence on her and others:

“Yes, Bush has a distinctive aesthetic but this is another part of her as a performer – a furtherance of her art, rather than a tool to sell records as is, and has been, the case for many less talented artists. And talent Bush has. By the bucket. Her vocal – admired by nerdy singer types such as myself for its four-octave range – is instantly recognisable, beautiful, strong and cited as an influence by artists from Björk to Florence Welch. Her lyrics are deep, thoughtful, sometimes completely mad (she may well be the only artist to have reached the Top 20 with a song about James Joyce's Ulysses) but always idiosyncratic.

PHOTO CREDIT: John Carder Bush 

I have found in this industry that outside observers – be they label bods, critics or the public – often have a very strong idea of what they think you should be doing. It covers everything from what one should and should not discuss in interviews to how to dress, how to sing, what to sing about and how to perform. It is endless, but you have to drown it out. Bush is one of the many performers who taught me that being whoever and however you want to be is the most genuine thing that any artist can be. Just make sure that vision is completely yours, and protect it with everything you've got”.

There are a lot of people around the world asking whether we will get another Kate Bush album; whether it will be in the next year or so, or whether we will need to wait a bit longer. Even as we pine and speculate, the appetite and love of her existing music is so strong. I do think there are a lot of people either fresh to Bush’s music or not aware of its width and variety. I think a fresh greatest hits package would bring more people in and demonstrate just how consistent and original Bush is. In any case, one can find her music on Spotify, and I would encourage people buy her albums on vinyl. To listen to her music is to be taken away and transported into the song itself. There is no other musical experience like it and, since 1978, Bush has stood out on her own! You never know when an album will arrive and what Kate Bush is up to. You can bet your bottom dollar she is working on something but, as we well know, one never knows…

WHAT will come next.

FEATURE: Man in the Mirror: Following a New Michael Jackson Documentary, Is It Time to Put His Music Back on the Radio?

FEATURE:

 

Man in the Mirror

IN THIS PHOTO: Michael Jackson in 1994/PHOTO CREDIT: Timothy White 

Following a New Michael Jackson Documentary, Is It Time to Put His Music Back on the Radio?

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IT was hard to ignore the…

 PHOTO CREDIT: Getty Images

furore and outrage that greeted the Leaving Neverland documentary from earlier in the year. You can see the documentary here, that revolves around allegations by Wade Robson and James Safechuck towards Michael Jackson. When the documentary came to light, the press and radio stations were keen to have their say. A lot of the focus, as you’d image, geared around the severity of the accusations and the outcome was clear: Jackson was guilty and his music/legacy should be reviewed. This article from The Guardian brought together contributors to give their opinions; whether Jackson was still valid and okay to listen to. Alexis Petridis had this to say:

“I thought about that remark when the furore around the Leaving Neverland documentary blew up. More compelling allegations that Jackson was a paedophile will undoubtedly lead to more calls for his music to be treated the way Glitter’s is – unofficially banned from radio and TV, never mentioned in public (even the Glitter fans I met would only talk to me under a veil of anonymity). I can see why, but I don’t think it’s going to happen. You can’t easily eradicate Jackson from history: too many people have too much of their lives bound up with his music. And perhaps you shouldn’t. Perhaps it is all right that his music continues to be heard, so long as it comes with a caveat: that it reminds us great art can be made by terrible people, that talent can be weaponised in the most appalling way, that believing an artist automatically embodies goodness because we like their work is a dreadful mistake that can have awful consequences”.

The difference between an artist like Michael Jackson and, say, Gary Glitter and Rolf Harris is that no evidence has been found regarding Jackson’s alleged assaults. Even if one were 99% sure that he was guilty, he id dead (Jackson died in 2009) and there is no way he can be brought to justice. Leaving Neverland was a very powerful piece but, following its release, there was a split between Jackson’s fans and the rest of the world. It is insane to think how judgmental people were and how they leapt to conclusions without any proof. Jackson was eccentric and troubled, yet he was always tarred with a brush from early on. It is clear that he has a child-like spirit and love for children; controversy dogged his career and it seems like the Leaving Neverland accusations stemmed from a case in 1993; allegations that Michael Jackson sexually abused a child, Jordan Chandler. This article from Rolling Stone charts the timeline; I have selected a few key dates:

“May 1992 – Jackson befriends Jordan Chandler

According to an October 1994 story in GQ, Jackson began a friendship with Jordan Chandler in May 1992 after the owner of a nearby car rental business offered him a free rental if the singer agreed to call his 13-year-old stepson, who was a fan of Jackson’s music. In February 1993, Jordan, along with his sister and his mother June, stay at Neverland — Jackson’s compound — for the first of several visits. In late March, the family begins traveling with Jackson to places like Las Vegas, Morocco and Paris. During this period, according to the Chandlers, Jordan and Jackson would often sleep in the same room.

IN THIS PHOTO: Michael Jackson with Jordan Chandler/PHOTO CREDIT: REX 

May 25, 1993 – The National Enquirer publishes a story entitled Michael Jackson’s Secret Family

Jordan’s parents were long divorced, and his father, Evan Chandler, a well-known Los Angeles dentist, was reportedly upset that the tabloid story portrayed Jackson as a father figure. Jordan’s frequent trips to Neverland and other travels with Jackson had caused a disruption to Chandler’s visitation schedule, and he allegedly became suspicious that something untoward might be going on.

September 14, 1993 – The Chandlers sue Jackson for $30 million

The lawsuit accused Jackson of sexual battery, battery, seduction, willful misconduct, intentional infliction of emotional distress, fraud and negligence.

December 20, 1993 – Michael Jackson is strip-searched by police

Jackson’s genitalia and body were photographed and videotaped by authorities so they could be compared to Jordan’s description. Two days later, on December 22nd, Jackson released a now infamous video statement in which he insisted he was innocent and described the strip search as “the most humiliating ordeal of my life.” No arrest warrant was issued.

On December 28th, Jordan gave a sworn declaration detailing the abuse allegations; the declaration was leaked online in 2003.

January 25, 1994 – Jackson settles with the Chandlers and agrees to pay them $22 million

After months of negotiations, Jackson chose to settle the molestation case out of court, with $15 million set aside for Jordan in a trust until he turned 18. June and Evan Chandler each received $1.5 million. (The remaining money went to the Chandlers’ legal team.).

IN THIS PHOTO: Jackson with his then-wife Lisa Marie Presley in 1994/PHOTO CREDIT: Stephane Cardinale/Sygma via Getty Images 

February-April 1994 – Grand Juries decline to indict Jackson

Grand juries in both Santa Barbara and Los Angeles were presented with the prosecution’s case against Jackson, including testimony from both Jordan and June Chandler, but declined to indict. Authorities said the case remained open, but in July, Jordan Chandler told prosecutors he would refuse to testify at a trial. In September, Santa Barbara District Attorney Thomas Sneddon and Los Angeles District Attorney Gil Garcetti admitted their 18-month investigation had failed to produce incriminating evidence, and without Jordan’s cooperation, they could not file criminal charges against Jackson.

Jordan Chandler went on to attain legal emancipation from both of his parents. June Chandler testified at Jackson’s 2005 trial and said she had not spoken to her son in 11 years. Evan Chandler, who closed his dental practice in 1994, killed himself in 2009”.

There is this camp of people who are keen to find Michael Jackson guilty, regardless of whether there is evidence or not. The fact he paid the family, to some, indicates culpability, but nothing was ever proven. If it had, I would have viewed Jackson differently and would have been uncomfortable thinking of him as an icon and positive role model. There is that debate as to whether we can separate the artist and the music and, if they are guilty of child abuse, does that mean we need to ban their music?

It is a hard call but, in the case of Gary Glitter, it seemed stations had no choice. Michael Jackson’s stature and legacy does not mean he is immune from the same rules as someone like Glitter. Again, even if one thinks he is guilty, that is not proof. Every individual can decide whether they want to play Jackson’s music; there was such an outcry from the media following Leaving Neverland that called for the music to be banned, for his legacy to be questioned and, essentially, for people to sort of forget about him. A  new documentary is out, Michael Jackson: Square One, that questions a lot of what was said in Leaving Neverland and highlights flaws – the fact the accusations seem to be financially motivated and, as only five accusations have been made against Jackson, he does not fit the profile of a standard paedophile (who abuses far more children). Regardless of what side of the fence you are on, two recent documentaries have sort of cancelled one another out. Again, as there is no definitive proof against Jackson, stations around the world have banned his music. I know North American stations took a pretty hard line; there are stations in Australia that blackballed his music and, here in the U.K., it seems like the BBC has made it clear. I cannot remember the last time I heard a Michael Jackson song on BBC Radio 2 or 6 Music, but it would have been before the Leaving Neverland documentary was broadcast.

In this article from March, we get the sense that, perhaps, Jackson will never be allowed back:

“With Michael Jackson’s legacy in tatters following new child sex abuse claims, BBC Radio 2 appears to have quietly dropped the King of Pop’s music from its playlists.

The decision is said to have been made last week in the run-up to the broadcast on Channel 4 this week of the controversial documentary Leaving Neverland. In the four-hour, two-part programme, James Safechuck, 40, and Wade Robson, 36, claim that as children they were groomed, sexually assaulted and raped by the pop star over a number of years.

In a BBC interview last week, Robson said the abuse started when he was seven, adding: “Every time I stayed the night with him, he abused me. Fondling, touching, my entire body and my penis.”

The last time Radio 2 played a solo Jackson track was last Saturday, when it broadcast the 1979 hit Rock With You. The BBC said: “We consider each piece of music on its merits and decisions on what we play on different networks are always made with relevant audiences and context in mind”.

It is worth correcting the article when it says Jackson’s legacy is in tatters. His reputation might be, but his musical legacy can never be! Despite a lack of Michael Jackson music on the radio, there is a new musical arriving.

“The new Michael Jackson musical Don't Stop 'Til You Get Enough has been making its controversial way towards Broadway, first announcing a Chicago run then cancelling shortly after the documentary Leaving Neverland premiered. The production wasn't deterred, announcing a cold open on Broadway in summer of 2020.

The musical, now titled simply MJ, is currently in the midst of a developmental lab.

The new musical Don't Stop 'Til You Get Enough will feature a book by two-time Pulitzer Prize winner Lynn Nottage and a score made up of some of the best-loved, top-selling songs in recording history. Tony Award winner Christopher Wheeldon will direct and choreograph”.

There is also a new Michael Jackson release coming:

“A small-batch box set of film, music and memorabilia will be released to celebrate the 10th anniversary of Michael Jackson’s This Is It, the movie that captured Jackson’s final concert rehearsals before his death. Only 1,000 numbered copies will be made of the set that is available for pre-order at the Jackson online store and will be released on Dec. 11, Sony Music and the Jackson estate announced Friday (Oct. 4)”.

There is still demand and love for Michael Jackson and, with a new documentary seeming to nullify a lot of what was claimed in Leaving Neverland, surely it is time for radio stations to redress their policy. Jackson can still be found on streaming sites and you can buy his music. I do think that it seems severe Jackson is banned on a lot of stations, considering he has not been found guilty of anything. I can understand it is hard from the position of radio stations. They do run the risk of complaints.

I think it is unfair that an artist should have their music banned without any form of review and consideration. A lot of time has passed since the Leaving Neverland documentary and there has actually been very little mention of Jackson and any allegations since. Maybe radio stations are sweeping Jackson’s music under the carpet or going quiet in the hope people will go away. I discovered Jackson’s music through the radio and I think the radio is the most powerful medium when it comes to influencing and connecting people. There are artists out there who will miss out on Jackson’s music. I can understand it is not as simple as reinstating Jackson back on the airwaves: there would have to be some sort of transitioning period. It does seem a shame he is being ostracised by radio stations and I do hope, soon enough, his music starts to make its way back. One can quibble with the man himself but his music can never be scrapped; his legacy will never be overlooked and ignored – maybe there is a slight tarnish but, compared to other artist, it is not like he is that much worse. There does need to be reappraisal and respect for an artist who, musically, changed Pop and has inspired so many people. Not only has Jackson inspired artists but he has lifted people around the world! It has been a rather challenging year regarding his music and reputation but, in light of new findings and challenges, it is time to give Michael Jackson’s music fresh investigation. To deny the airwaves Michael Jackson’s legacy would be a crying shame because, when you look at things, it is obvious how much…

GENIUS music he has left behind.