FEATURE: Terrorvision: Can the United Kingdom Ever Realistically Compete in the Eurovision Song Contest?

FEATURE:

Terrorvision

Can the United Kingdom Ever Realistically Compete in the Eurovision Song Contest?

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I cannot claim to be…

IN THIS PHOTO: James Newman is the U.K.’s entrant for this year’s Eurovision Song Contest/PHOTO CREDIT: Tomodo Photography

a big fan of Eurovision, but it does provide a sense of theatre and excitement that one cannot argue against. Although the music on display is not always so good and conventional, it is a rare occasion where nations are joined together in a single night. I know there is always going to be bias and nations voting for/against one another – the United Kingdom is going to fare worse than other nations because of political tensions. I guess there is an added burden this year, as we have left the E.U., which will create extra tension and a sense of isolation. Maybe, no matter how good a U.K. song entrant is, we are going to suffer because other nations do not like us. The United Kingdom's five winners of the Eurovision Song Contest are Sandie Shaw’s Puppet on a String (1967); Lulu with Boom Bang-a-Bang (1969 tied); Brotherhood of Man with Save Your Kisses for Me (1976); Bucks Fizz with Making Your Mind Up (1981), and Katrina and the Waves with Love, Shine a Light (1997). It has been twenty-three years since our last victory, and one suspects that it will be a very long time until we win again. Some argue that the Eurovision Song Contest is irrelevant, and British music is not representative of the artists we showcase every year. This is true, but that makes me wonder why we send such weak songs into battle.

Look at other nations and the sort of spectacle they present, and the U.K. looks pretty weak in comparison. I have nothing against James Newman but, his track, My Last Breath, is pretty poor. In this BBC article, there was a note of positivity:

 “James Newman has produced the UK's best Eurovision entry in years - but will that be enough?

The 31-year-old, whose younger brother is Brit Award nominee John Newman, has already written for Ed Sheeran, Jess Glynne, Calvin Harris and Little Mix.

He got a Brit Award and a Grammy nomination for his work on Rudimental's song Waiting All Night. On the other hand, he co-wrote Ireland's 2017 Eurovision entry, Dying To Try, and got knocked out in the semi-finals.

In May, he'll head to Rotterdam as a solo artist with a mid-tempo banger called My Last Breath. It's short and direct, with the sort of "woah-oh" hook that would make Chris Martin envious”.

Although Eurovision is about fun and catchy songs, is a track that reminds us of Coldplay really a mark of quality?! We seem to have this fixation with sending in entrants that you would hear on BBC Radio 1 or 2: songs that are chart fodder and do not challenge the mind or have any depth top to them. The fact that someone has written songs for big artists is not a great thing. Ed Sheeran and Jess Glynne can hardly be called brilliant or have that much credibility. Maybe they appeal to people whose musical tastes are not that broad, but it is not like Newman has worked with genuinely credible and decent artists.

Can we solely blame tactical voting and resentment against the U.K. for our poor form?! I think it is the rather weedy and unmemorable calibre of songs we dish out that could be blamed. It is not like the U.K. is short of exciting and decent Pop, either – the likes of Charli XCX and Dua Lipa show we have promise. We have a sensational Grime and Rap scene, and we can produce wonderful artists across all genres. Perhaps the more respected and high-profile artists feel Eurovision is beneath them but, as this review from The Guardian shows, Last Breath is another colour-by-numbers, lumpen effort:

“Is My Last Breath going to change this? Probably not. It’s a serviceable song that nods to the earnest post-Ed Sheeran acoustic troubadours exemplified by Lewis Capaldi and to the tub-thumping folksiness of Mumford & Sons’ debut album; the chorus throws in some Coldplay-ish massed “woah-oh”ing. You can see the logic: these artists represent three of Britain’s most successful musical exports of recent years. My Last Breath wouldn’t sound out of place on the Radio 2 playlist – but nor would it stand out on the Radio 2 playlist. The hook is OK, rather than indelible.

The main sense of intrigue about My Last Breath comes from the man singing it: Newman has a successful career as a songwriter, having been employed by Jess Glynne, Little Mix and Rudimental. You look at his track record and think: you’re doing pretty well, so why are you doing this? Why would you want to subject yourself to what is almost inevitably going to happen on 16 May in Rotterdam? Do you think this is the song to turn our fortunes around? Or are you possessed of some crazed, masochistic desire to give a succession of brave smiles to camera and half-heartedly wave a little union jack on a stick as Belarus gives the UK a desultory deux points and we’re left for dust on the leaderboard by North Macedonia?”

With so much choice at our feet in terms of established artists, why are we not moulding potential Eurovision entrants in their shadow? Rather than have the lamentable ballads and the mid-pace songs, what is wrong with a decent Pop effort or a track that has edge and potency? Look at the way we present ourselves on stage too. Whereas other nations have dancers and big sets, the U.K. is reserved, stripped-back and devoid of any festivity. Although we are maligned by many other nations, the fact there doesn’t seem to be much passion and effort project explains why we have not won for so long. It seems pointless repeating patterns and sending up the same type of artist year in year out. We can change things and have a chance of getting some points on the board, even if making the top-five seems like a stretch – no matter how good our entrant is, we are not going to win. It is the fact we barely scrape any points at all which makes me wonder why we are bothering and why our song choices every year as so beige. Let’s hope that the inevitable embarrassment this year spurs us on to reconsider next year; to be compete with a great song and make the nation proud – not that the U.K. has had much to proud of the last couple of years! I do fear the U.K. are in for a mauling this year, as so many other nations are fielding much stronger songs. Maybe another low-scoring year is just what we need to…

PROVOKE us into action.  

FEATURE: Vinyl Corner: PJ Harvey – To Bring You My Love

FEATURE:

 

Vinyl Corner

PJ Harvey – To Bring You My Love

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QUITE a few classic albums are celebrating anniversaries…

IN THIS PHOTO: PJ Harvey in 1995/PHOTO CREDIT: Kevin Cummins

very soon but, last week (on 27th February; some sources say 28th February), PJ Harvey’s brilliant and hugely memorable To Bring You My Love turned twenty-five. Released through Island Records, it is the third album from the iconic songwriter. Before To Bring You My Love, Harvey was performing as part of the PJ Harvey Trio; this was her first proper solo album. Producing alongside Flood and John Parish, it would be the start of a rich and long-running relationship between the three. In terms of the topics addressed on her third album, there is a shift away from previous efforts. If Rid of Me (released in 1993) is more negative or angry regarding love and loss, there is a since of longing and passion. Powerful, moving declarations sit alongside biblical imagery in an album that sounds as staggering and memorable now as it did twenty-five years ago. I think that, in terms of musical brilliance, 1994 and 1995 are hard to beat. Maybe there was something in the air, or perhaps it was a golden time for music that cannot be explained. In any case, To Bring You My Love ranks alongside the finest albums of 1995. The reviews at the time were hugely positive and, since then, critics have been keen to laud and explore an album from a singular talent. In their review, this is what AllMusic had to say:

“Following the tour for Rid of Me, Polly Harvey parted ways with Robert Ellis and Stephen Vaughn, leaving her free to expand her music from the bluesy punk that dominated PJ Harvey's first two albums. It also left her free to experiment with her style of songwriting. Where Dry and Rid of Me seemed brutally honest, To Bring You My Love feels theatrical, with each song representing a grand gesture. Relying heavily on religious metaphors and imagery borrowed from the blues, Harvey has written a set of songs that are lyrically reminiscent of Nick Cave's and Tom Waits' literary excursions into the gothic American heartland.

Since she was a product of post-punk, she's nowhere near as literally bluesy as Cave or Waits, preferring to embellish her songs with shards of avant guitar, eerie keyboards, and a dense, detailed production. It's a far cry from the primitive guitars of her first two albums, but Harvey pulls it off with style, since her songwriting is tighter and more melodic than before; the menacing "Down by the Water" has genuine hooks, as does the psycho stomp of "Meet Ze Monsta," the wailing "Long Snake Moan," and the stately "C'Mon Billy." The clear production by Harvey, Flood, and John Parish makes these growths evident, which in turn makes To Bring You My Love her most accessible album, even if the album lacks the indelible force of its predecessors”.

Maybe it is the mix of a raw and transfixing voice set against desirous lyrics and yearning that makes PJ Harvey’s third studio album such an intoxicating brew. Perhaps it is something else. I have revisited the album recently, and I am still struck and moved by this remarkable work. Back when the album was released in 1995, Entertainment Weekly reviewed To Bring You My Love:

“Polly Jean Harvey doesn’t give love a bad name, just an intense one. On album No. 4, she continues grappling with all things carnal and sensual: Her lyrics convey desire and love, while her barbed-wire voice betrays uncertainty about giving over that much of herself. Instead of topping the musical squall of her earlier work, though, the British alterna-queen has opted for arrangements (some of them sans drums) as spare and spooky as the sound of footsteps on an empty street. She should have pared down some of the excessive wind-rain-desert imagery, but To Bring You My Love (Island) is the most welcome of rarities: a move toward maturity without any loss of Harvey’s visceral power”.

Although one cannot find To Bring You My Love on vinyl easily, there are options, and I almost decided to do this as a standalone feature, rather than put it in Vinyl Corner. I think, if you can, grab it on its true format, as this is an album that demands to be played on vinyl! Of course, PJ Harvey has gone on to record so many other phenomenal albums, and she has evolved, grown, and captured the heart of millions. There is debate as to which of her albums is best, though one feels To Bring You My Love should be in most people’s top-three. Rather than bring in my own feelings and experiences of the album, I thought mixing in some reviews and other pieces would better serve this stunning album. The Quietus have been celebrating To Bring You My Love’s twenty-fifth anniversary, and discussing the evolution of Harvey from her first couple of albums:

“By 1995, Harvey had spent a depressing amount of time debunking the assumption that her music was autobiographical. Many had figured that the brutal imagery of her 1992 debut, Dry, must have stemmed solely from real-life experience; the truth was that if you’d cut her open, she’d have probably bled greasepaint. It could be violent and disturbing, but she also played for murky laughs by deliberately sending up tired virgin-whore tropes, pivoting from a licentious other woman’s leer on ‘Oh My Lover’ to an ingenue’s clumsy breathlessness on ‘Dress’. And while her nervous breakdown gave Rid Of Me a bleak backstory, that album wasn’t a confessional outpouring either.

As Judy Berman’s terrific reappraisal explains, its songs were about performances – the parts people were forced to play, or tried to challenge – as well as being stellar performances themselves. Sometimes Harvey became other characters, like Tarzan’s fed-up other half, or Eve venting her spleen at the serpent. Sometimes she adopted a terrifying alter-ego: her delivery on ‘50 Ft Queenie’ was, she said, inspired by the braggadocio of hip hop, a literally monstrous way of bigging herself up.

Harvey knew she had to throw herself fully into her ideas to pull them off. "If you write words like that and sing it in the wrong way, it’s a complete disaster," she told Rolling Stone. Her voice may have sounded like a force of nature, but focusing on its elemental power sold short her judicious precision, the way she manipulated it to do her bidding. When she told the LA Times her favourite singer was Elvis, they assumed she meant Costello because of their shared sense of musical ambition; she was actually talking about Presley, another artist who, like her, knew exactly how to use their primal talent. “I love his singing, the passion, the depth in his vocals,” she enthused.

But on To Bring You My Love, Harvey is less like either Elvis and more Marlon Brando: an actor with intense, chameleonic charisma, as tough, scary, heartbreaking or unnerving as each role demands, bringing the record’s desperate souls to life with her full-blooded, full-bodied portrayals. “I’ve lain with the devil, cursed God above,” she seethes over the title track’s sinister, serpentine guitar and eerie organ, full of such bitter longing that her voice shakes and trembles and sounds inhuman; when she rasps “I was born in the desert, I’ve been down for years”, she sounds like a hungrier, lustier incarnation of the rough beast from WB Yeats’ The Second Coming.

On an album that explores how anyone can be unhinged by the all-consuming craving for sex, love, spiritual salvation and human connection, it’s the perfect transformation: a spurned admirer turned into an unearthly creature, dragging herself across the sand and bringing the apocalsypse with her”.

I have featured PJ Harvey a few times on my blog, but I am not sure whether I have covered To Bring You My Love. If you can track down a vinyl copy, then that is awesome; if not, you can stream the album. It is a wonderful work from one of the world’s greatest talents. I am not sure what she has planned next in terms of studio albums and plans, but I am sure (whatever comes) will be amazing. 1995 was, as I said, a year that had more than its share of genius albums but, in my opinion, PJ Harvey’s To Bring You My Love had…

VERY few equals.

FEATURE: From Dingwalls to the Roundhouse: The BBC Radio 6 Music Festival 2020 Playlist

FEATURE:

From Dingwalls to the Roundhouse

IMAGE CREDIT: @BBC6Music

The BBC Radio 6 Music Festival 2020 Playlist

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THERE are some great festivals happening…

PHOTO CREDIT: @BBC6Music

this year, but a lot of them will face criticism over a lack of gender equality and musical variety. It is hard getting the balance right, but there are festivals that easily manage to get the mix spot on when it comes to gender and genres. The BBC Radio 6 Music Festival occurs between 6th-8th of this month in the historic and iconic Camden. Here are some more details:

“The line-up features headline sets from: Michael Kiwanuka, Mike Skinner, Róisín Murphy, Kate Tempest, Bombay Bicycle Club, Sports Team, The Big Moon and KOKOROKO as well as performances from Anna Meredith, Black Country, New Road, black midi, Brittany Howard, EOB (Ed O’Brien - who will be performing his debut European show at the 6 Music Festival), GAIKA, Ghostpoet, Greentea Peng, Hot 8 Brass Band, Jehnny Beth, Jordan Rakei, Kim Gordon, Kojey Radical, Melt Yourself Down, Nadine Shah, The Orielles, Robert Glasper, The Selecter, Squid, The Staves, Sudan Archives and Warmduscher..

Live music, Q&A sessions, DJ sets and more will take place across the weekend at some of Camden’s most popular venues: Roundhouse (main space and Sackler space), FEST Camden, Dingwalls and Electric Ballroom.

IN THIS PHOTO: Michael Kiwanuka plays the BBC Radio 6 Music Festival By Night at the Roundhouse on Friday, 6th March/PHOTO CREDIT: Jodie Canwell

On Sunday 8 March, International Women’s Day, 6 Music Festival By Night will see an all-female line-up in the Roundhouse main space, including Kate Tempest, Kim Gordon, Anna Meredith, Jehnny Beth and Nadine Shah.

Paul Rodgers, Head of 6 Music, says: “I’m delighted that the 6 Music Festival will be bringing so many talented artists to Camden, to play in historic venues like the Roundhouse, FEST, Dingwalls and Electric Ballroom. We hope you’ll join us at a gig - or else enjoy a weekend of live music, celebration and fun on BBC 6 Music, BBC Sounds, BBC Four, BBC iPlayer and BBC Red Button.”

Lauren Laverne says: "It’s a fantastic line-up in a brilliant location. I can’t wait to see the artists behind some of my favourite records of the past year - Brittany Howard, Michael Kiwanuka and Kate Tempest - as well as some of the brightest hopes for 2020 like Squid and The Orielles." 

Mary Anne Hobbs says: “Super-hot line-up in 2020, personally I’m excited to be DJing before Mike Skinner at Dingwalls. I'd always love to read the graffiti on the walls of the ladies loos, back in the 80s, it was just as pointed as the NME.”

On Thursday 5 March, Steve Lamacq will broadcast his show live from Dingwalls, including a special festival edition of Roundtable and a 6 Music Recommends night will follow, showcasing a selection of the stations favourite new music finds including Pongo and Ghum.

IMAGE CREDIT: @BBC6Music

On Wednesday 4 March from 7pm, BBC Music Introducing will take over the Roundhouse, Sackler space. BBC Music Introducing’s Jess Iszatt and 6 Music’s Tom Robinson will host the evening and the line-up will feature Hak Baker, Beabadoobee and Sorry”.

It will be a buzzing and hugely memorable festival, featuring some of the finest artists in music. To celebrate the BBC Radio 6 Music Festival, I have put together a playlist featuring the acts who will play the event (keep abreast of the station’s Twitter, Facebook, and Instagram accounts for more details and updates). Although tickets are now sold out, there will be broadcasts that you can tune into throughout the three-day festival. If want to get involved with the BBC Radio 6 Music Festival, take a listen to the playlist below and tune in to BBC Radio 6 Music…

IN THIS PHOTO: The Staves are playing the BBC Radio 6 Music Festival By Day at Dingwalls on Sunday, 8th March/PHOTO CREDIT: The Staves

FROM Friday, 8th March!

FEATURE: One for the Record Collection! Essential March Releases

FEATURE:

One for the Record Collection!

IN THIS IMAGE: The cover for Alicia Keys’ upcoming album, ALICIA

Essential March Releases

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MARCH is a fantastic month for new albums…

IN THIS PHOTO: Anna Calvi/PHOTO CREDIT: Eva Pentel

so you might want to save some pennies and get on it! On 6th March, Anna Calvi releases Hunted. Make sure you pre-order a copy, as it is an album that adds new elements to her 2018 release, Hunter. It is, as Domino describe, going to be interesting:

“18 months after the release of Hunter, which explored sexuality and breaking the laws of gender conformity, Anna Calvi revisited her initial, more intimate recordings of those songs. The versions on Hunted find her masterful guitar playing and formidable vocals distilled to their bare essence, in the company of collaborators Courtney Barnett, Joe Talbot (IDLES), Charlotte Gainsbourg and Julia Holter. The tracks on Hunted shine under the light of a different lens, one that brings the innate fragility of the compositions to the forefront and exquisitely melds together the dichotomy of the hunter and the hunted, the primal and the beautiful, the vulnerable and the strong”.

I am a big fan of Anna Calvi, so I cannot wait to see what we get. The recent single, Eden (ft. Charlotte Gainsbourg), is tremendous, and it is interesting hearing Calvi take the original song and bring it in a new direction. Not only has Anna Calvi got big plans for 6th March; a few other artists are worth your attention. Released through Ample Play, Cornershop release the long-awaited England Is a Garden. Make sure you get a copy, as it is great to have Cornershop back – their last album, Hold On It's Easy, was released in 2015.

Here are a few more details regarding their forthcoming album:

“In the latest of a series of albums that have mirrored the exceptional story of the band itself, Cornershop return with a new album England Is A Garden on Ample Play Records. It is an album that strides in an upbeat fashion, to deliver a full listening experience, bringing songs of experience, empire, protest and humour, steeped in the way only Tjinder Singh would come with. Listen to a first taste of the album now, No Rock: Save In Roll, that is to say that there is not one without the other, that rock, for all its focus on death is the saviour of life. The anvil here is music itself, and a celebration of Tjinder’s birth place - The Black Country, which also gave birth to heavy metal that has gone on to influence the world to dirty rock, whether the streets are lined with pylons or palm trees, the Black Country has allowed us to see things differently. So the sound here goes back to Englands’ Midlands with two thumbs up to the feeling of hearing heavy metal from the back of a stage, as we all ride on and await the female backing vocals of our song to come in”.

Make sure you get Moby’s latest, All Visible Objects. This is how Pitchfork announced the album’s release back in January:

“Moby has announced his new album, All Visible Objects. It’s out March 6 via Mute. Moby also shared a new track, “Power Is Taken,” which features Dead Kennedys drummer D. H. Peligro.

The proceeds from All Visible Objects will go to charity, with each individual track benefiting a different outlet. They include environmentally focused organizations (Brighter Green, the Rainforest Action Network, Extinction Rebellion) and animal welfare groups (Mercy for Animals, Animal Equality, the Humane League, the International Anti-Poaching). The ACLU, the Physicians Committee, the Good Food Institute, and the Indivisible Project are also named as beneficiaries.

Moby’s last album, Everything Was Beautiful and Nothing Hurt, came out in March 2018”.

I am going to get my copy because, as Rough Trade write, it is definitely an interesting record:

“Recorded in the legendary EastWest studios, Moby created this album in Studio 3 where Pet Sounds was recorded, using the same board that was used in the making of Ziggy Stardust and the same piano that Sinatra used to record some of his most notable hits. Keeping with Moby’s history of donating to charity (in 2018, he started selling off his records and collection of synthesizers and drum machines, donating the proceeds to charity), he is using this album as a sounding board to bring attention to a long list of charities dedicated to preserving our planet and all its inhabitants”.

U.S. Girls’ Heavy Light is one you should purchase, as this is an artist who everybody needs to know. In this extract, 4AD provide more details:

“The highly anticipated seventh album by U.S. Girls, the protean musical enterprise of multi-disciplinary artist Meg Remy, will be released on 6th March entitled Heavy Light.

While Remy has been widely acclaimed for a panoply of closely observed character studies, on Heavy Light she turns inward, recounting personal narratives to create a deeply introspective about-face.  The songs are an inquest into the melancholy flavour of hindsight, both personal and cultural.  Remy makes this notion formally explicit with the inclusion of three re-worked, previously released songs: ‘Statehouse (It’s A Man’s World)’, ‘Red Ford Radio’, and ‘Overtime’, the latter of which is released today as Heavy Light’s lead single.

Heavy Light follows 2018’s internationally critically-acclaimed breakout album In A Poem Unlimited.  Recently named one of the best albums of the decade by Pitchfork, it was lauded by the likes of The Guardian, The Sunday Times, Crack and Q Magazine for being Remy’s most accessible record in her then decade-long career”.

Circa Waves bring us the dichotomy that is Sad Happy. You can pre-order your copy, and it is interesting to see how the band approached this two-part album. They have released the ‘happy’ part of the album: the ‘sad’ part arrives on 13th March:

“Continuing the theme of double-albums being the new “thing”, Circa Waves have announced that their forthcoming fourth studio album will also be split into two-parts.

Called ‘Sad Happy’, the “sad” part will be available on 10th January with the “happy” follow-up available from 13th March, and the group are sharing first track ‘Jacqueline’ to give a little glimpse into what we can expect.

“We live in a world split into two extreme halves,” Kieran Shudall explains. “One moment you’re filled with the existential crisis of climate doom and the next you’re distracted by another piece of inconsequential content that has you laughing aloud. I find this close proximity of immense sadness and happiness so jarring, bizarre and fascinating. Our brains rattle back and forth through emotions at such a rate that happiness and sadness no longer feel mutually exclusive. This idea was the blueprint for ‘Sad Happy’ and is the theme that underpins the album. Sad / Happy is written in my Liverpool home, it’s also hugely inspired by my surroundings and the love I have for the city. It runs through thoughts on mortality, love and observations of people”.

The upcoming band spoke to NME about their new concept and the first, optimistic, half of the record:

“Liverpool guitar pop firebrands Circa Waves own take on the double header album comes with ‘Happy’ at the start of 2020, side one of their new album which will combine with its more sullen sister-piece ‘Sad’ to make a full album a few months later. But the two halves aren’t as easily defined as the titles suggest; there’s plenty of upbeat sounds on both, only the tone is different. “It’s more the vibe of the lyrics,” frontman Kieran Shudall explains. “I’ve always been a fan of sad euphoria…”.

Is the ‘Happy’ side of the album going to be relentless joyous, just smashing us full in the face with positivity?

Kieran: “Potentially, yeah! You might feel too happy at the end of listening to it! It’s positive but if there’s anything the world needs now it’s positivity. I think the job of a band is to entertain and pull people out of living the everyday 9-to-5. The ‘Happy’ side is the antidote to the terrible things going on today.”

What was the thinking behind releasing the album in two distinct halves?

“We were inspired by how quickly pop and hip-hop move and didn’t want to be left behind. We felt like alternative music needed a quicker turnaround. People tend to consume music at such a high rate now. An album, as soon as it’s released, it’s kind of done with and people expect the next thing”.

Two more albums to look out for are from Porridge Radio and The Districts. The former release Every Bad on 13th March, and you can pre-order it here. If you are new to the band/album, here is a bit more information:

“About the album Porridge Radio grew out of Dana Margolin’s bedroom, where she started making music in private. Living in the seaside town of Brighton, she recorded songs and slowly started playing them at open mic nights to rooms of old men who stared at her quietly as she screamed in their faces.

Though she eventually grew out of them, for Margolin these open mic nights unlocked a love of performing and songwriting, as well as a new way to express herself. She decided to form a band through which to channel it all, and be noisier while she was at it – so Porridge Radio was born.

Inspired by interpersonal relationships, her environment - in particular the sea - and her growing friendships with her new bandmates (bassist Maddie Ryall, keyboardist Georgie Stott, and drummer Sam Yardley) Margolin’s distinctive, indie-pop-but make-it-existentialist style soon started to crystallise. Quickly, the band self-released a load of demos and a garden-shed-recorded collection on Memorials of Distinction, while tireless touring cemented their firm reputation as one of UK DIY’s most beloved and compelling live bands.

As the band’s sound – bright pop-rock instrumentation blended with Margolin’s tender, open-ended lyrics – has developed and refined, Porridge Radio have also received enthusiastic radio airplay on the BBC, Radio X and more. Now, they are taking that development a step further, as they put out their label debut, Every Bad”.

I have been familiar with the band for a little while now, and I am excited to see what we will get from their second album. I think Porridge Radio are a band who have a big future and will be playing some very big festivals soon. Porridge Radio’s Dana Margolin spoke to the guys ar Stereogum about the band’s new album:

 “Though Every Bad is the band’s second album, everything points to it feeling like a debut: It features a few songs dating back to the beginning of the project, and its booming production gives it the feeling of a significant breakthrough after five years of toil. Today, they’ve officially announced the album will arrive on 3/13 via Secretly Canadian. The announcement comes with a new single, “Sweet.” Following superb recent tracks like “Give Take” and “Lilac,” “Sweet” is another leap forward for the band, Margolin’s lyrical adaptability coming to the fore.

“You will like me when you meet me/ You might even fall in love,” she sings over indie rock that swells and retreats like the ever-present sea. You can’t quite work out whether it’s an honest, endearing statement or a slightly creepy one. This intriguing middle ground continues throughout the album, with a lot of second guessing required on the listener’s part. Margolin says she wrote the song trying to imitate Lorde’s nimble, playful “Loveless,” from 2017’s Melodrama — and though musically the pair don’t have too many ties, they both possess a similar emotional dexterity.

Margolin has described Every Bad as “an unfinished sentence,” and the spaces in between are as vital to the album as its color and shape. “I love that it doesn’t hold all the answers,” she affirms. “The title, Every Bad, feels like it’s full of potential as a part of a sentence that could go any way. It could fit into so many sentences that could mean so many things, and I think a lot of my lyrics are like that as well, the way that they can change shape over time depending on who you are or where you hear it. It’s unfinished because everything has the potential to be reimagined and re-understood and re-misunderstood”.

The Districts’ upcoming album, You Know I’m Not Going Anywhere, is also out on 13th March, and I advise people to check it out. If you can see the band touring in the U.S., then do so.

Their upcoming album is going to be very special: 

“A deeply personal album for bandleader Rob Grote - all of the songs were written in his bedroom as a means of coping with struggles he was facing at the time with no intention of them putting them on a record. He wound up with 32 songs during that writing session, of which he and the band chose the 11 featured on the new record. The new album was produced by the band and frequent collaborator Keith Abrams, and mixed by Dave Fridmann (The Flaming Lips, Spoon, MGMT, Tame Impala)”.

There are five more albums out next month that are worth your pennies. If you want a list of what other albums are out in March, you can check here.  I am excited by Alicia Keys’ ALICIA. You can pre-order the album here, and it is the seventh studio album from the American superstar. Although this interview is not linked to ALICIA, I wanted to bring it in (the interview is from last year), as Keys was asked about her success and image in modern music:

“12 Grammy Awards, 11 Billboard Music Awards and 5 American Music Awards... hasn’t success become something of a routine?

No way! You must be kidding! The minute I start looking at things that way, I’m in big trouble. I’ve genuinely, honestly enjoyed every step of it. The creative process is so fascinating, so magical that I’m forever dumbfounded by it. It’s like, ‘Wow!’ So when things like that come of it, it’s always the biggest blessing. The awards don’t make me feel cocky, quite the contrary: I always accept any form of recognition with the greatest humility. And when people rattle off numbers like that, I’m in shock.

IN THIS PHOTO: Alicia Keys

You seem like quite a gentle soul for a bona fide r’n’b diva... don’t you ever hurl cellphones or demand that your assistants never look you in the eye?

People actually want you to act like a diva. People are always telling me: “Oh! Alicia! You’re so normal!” Well, aren’t I supposed to be? People come to expect you to be totally unreasonable, capricious and completely off your rocker. I’ve met ‘em. There are artists that I love, and I’ve met them, and I’m like: “Wow! I don’t ever want to meet you again! You’re acting so damn ridiculous that I’m going to end up hating you!”

How can you possibly have sold thirty-five million records in an age of free downloading on the net?

The problem arose when there was a lack of good, complete albums. People got sick and tired of liking a particular song, and then buying the album, only to discover that it sounded like someone had thrown a bunch of crap songs together on it. When you produce an album that’s a journey, an experience that moves you from beginning to end, then folk will buy it. Music-lovers want to be treated with respect and not just messed around.

To what extent is image a deal-breaker for an accomplished singer, songwriter, composer and producer such as yourself?

Image carries way too much importance in the music industry today. You can completely suck and yet run a successful career as a recording artist on the sole strength of your image. I’ve never played around with my image to sell records: what you see is what you get. It takes too much time and energy to pretend, and it distracts from what ultimately matters: the music”.

There are some other gems that you will want to investigate next month. One of my favourite modern artists, Baxter Dury, releases The Night Chancers on 20th March. You ca pre-order the album here, and I would encourage people to do so. Dury’s lyrics are poetic and unique; he brings together these fabulous images and beautifully uneasy scenes together:

“Baxter Dury releases his brand new album The Night Chancers through Heavenly Recordings. The album was co - produced by long time collaborator Craig Silvey (Arcade Fire, John Grant, Artic Monkeys)a nd Baxter, and was recorded at Hoxa studios West Hampstead in May 2019.

From thrilling affairs that dissolve into sweaty desperation (Night Chancers) to the absurd bloggers, fruitlessly clinging to the fag ends of the fashion set (Sleep People), via soiled real life (Slum Lord) social media – enabled stalkers (I’m not Your Dog) and new day, sleep – deprived optimism (Daylight), the record’s finely drawn vignettes, are all based on the corners of world Dury has visited.

Baxter says “Night Chancers is about being caught out in your attempt at being free”, it’s about someone leaving a hotel room at three in the morning. You’re in a posh room with big Roman taps and all that, but after they go suddenly all you can hear is the taps dripping, and all you can see the debris of the night is around you. Then suddenly a massive party erupts, in the room next door. This happened to me and all I Could hear was the night chancer, the hotel ravers”.

On 27th March, there are a few albums that are worthy of attention. Little Dragon’s New Me, Same Us is going to be a corker. If you needs a few more details about the album, this is what Rolling Stone wrote about the Swedish four-piece’s upcoming album:

“New Me, Same Us will arrive March 27th via Ninja Tune. The album was entirely self-produced and recorded at the four-piece Swedish band’s home-built studio in Gothenburg.

The band said in a statement: “This album has been the most collaborative for us yet, which might sound weird considering we’ve been making music together for all these years, but we worked hard at being honest, finding the courage to let go of our egos and be pieces of something bigger. We are all on our own personal journeys, full of change, yet still we stand united with stories we believe in, that make us who we are.”

Little Dragon will kickoff their 2020 tour in Europe this March, and will tour the U.S. starting in April. They previously shared the single “Tongue Kissing” in October, and released their Love Chanting EP in 2018”.

The last two albums I want to mention are from very different artists. The iconic Pearl Jam give us the mighty Gigaton on 27th March. You can pre-order the album. In an interview with Rolling Stone earlier this year, the band’s guitarist Stone Gossard talked more about the album:

“Pearl Jam guitarist Stone Gossard explained how the group’s upcoming album, Gigaton, captures “the spirit of the band” in a new interview with Zane Lowe on Beats 1 radio.

The first single from Gigaton, “Dance of the Clairvoyants,” found the band exploring funkier and more experimental sonic territories, with Gossard saying the track exemplifies “the outer edge of something that we haven’t tried before, a new way of configuring our sort of collaborative talents.” But he went on to note that “Dance of the Clairvoyants” is just one of several flavors on the record.

“There’s definitely some really straight-ahead rock songs,” he said. “There’s some very spare and very simple ballads. It’s got it all, I think. And it’s really us. We really did it by ourselves. [Eddie Vedder] did a great job. There was a pile of songs, and he sort of took and really, really, in the last two months, mixed and sort of selected the tracks that really were going to be special. And he did such a great job of bringing everybody’s personalities out. It was probably different than any of us would’ve made individually, but it really captures, I think, the spirit of the band.”

Gossard also touched on Vedder’s lyrics, which he called “stunning” and said grapple with the weight of the world in clever and abstract ways. “He’s not going to come out and say exactly in sort of very plain language maybe what you might think after reading the newspaper,” Gossard said. “But I think that his mysticism and his way of using words and art and music is a powerful sort of tonic. I think that underlying it all is going to continue to be a hopeful and beautiful but at times tragic message.”

Gigaton will be released March 27th, and it marks Pearl Jam’s first album since 2013’s Lightning Bolt. The band is set to embark on a 16-date North American tour March 18th in Toronto”.

IN THIS PHOTO: The cover of Waxahatchee’s forthcoming album, Saint Cloud

The last album that is an essential purchase next month is Waxahatchee’s Saint Cloud. Released through Merge Records, go and get your copy of what will be one of this year’s best albums. If you want to know more about Saint Cloud, here are some details:  

“What do we hold on to from our past? What must we let go of to truly move forward? Waxahatchee’s Katie Crutchfield spent much of 2018 reckoning with these questions and revisiting her roots for answers. The result is Saint Cloud, an intimate journey through the places she’s been, filled with the people she’s loved.

Written immediately in the period following her decision to get sober, the album is an unflinching self-examination. This raw, exposed narrative terrain is aided by a shift in sonic arrangements as well. While her last two records featured the kind of big guitars, well-honed noise, and battering sounds that characterized her Philadelphia scene and strongly influenced a burgeoning new class of singer-songwriters, Saint Cloud strips back those layers to create space for Crutchfield’s voice and lyrics. The result is a classic Americana sound with modern touches befitting an artist who has emerged as one of the signature storytellers of her time. Many of the narratives on Saint Cloud concern addiction and the havoc it wreaks on ourselves and our loved ones, as Crutchfield comes to a deeper understanding of love not only for those around her but for herself. This coalesces most clearly on Fire, which she says was literally written in transit, during a drive over the Mississippi River into West Memphis, and serves as a love song to herself, a paean to moving past shame into a place of unconditional self-acceptance.

Over the course of Saint Cloud, which was recorded the summer of 2019 and produced by Brad Cook (Bon Iver), Crutchfield peels back the distortion of electric guitars to create a wider sonic palette than on any previous Waxahatchee album. It is a record filled with nods to classic country, folk-inspired tones, and distinctly modern touches. To bolster her vision, Crutchfield enlisted Bobby Colombo and Bill Lennox, both of the Detroit band Bonny Doon, to serve as backing band on the record, along with Josh Kaufman (Hiss Golden Messenger, Bon Iver) on guitar and keyboards and Nick Kinsey (Kevin Morby) on drums and percussion. Saint Cloud marks the beginning of a journey for Crutchfield, one that sees her leaving behind past vices and the comfortable environs of her Philadelphia scene to head south in search of something new. If on her previous work Crutchfield was out in the storm, she’s now firmly in the eye of it, taking stock of her past with a clear perspective and gathering the strength to carry onward”.

This month is a busy and eclectic one for new music, and I have pointed you in the direction of some of the best on offer. Of course, one can stream the albums, but do try and purchase where you can. Also, there are some other big albums out in March, so go and have an investigation if you get a moment. We are still in February, but it is clear that 2020 is going to be...

IN THIS PHOTO: Circa Waves

ANOTHER year packed with gold.

FEATURE: Different Tracks on the Same Side: Pete Paphides, Broken Greek, and a Familiar Musical Passion

FEATURE:

 

Different Tracks on the Same Side

IMAGE CREDIT: Quercus/@petepaphides

Pete Paphides, Broken Greek, and a Familiar Musical Passion

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IT is quite common for me to write…

PHOTO CREDIT: @sohoradio/@petepaphides

a feature of my own based on an interview or feature concerning a musician. It is not often I am moved and inspired by a music critic. That may seem like a slight, but it not a bad thing: most of my features relate to events concerning musicians and stuff revolving around the moving modern scene. I am publishing a piece next week that relates to Pop music and how some people are nostalgic and yearn for the warmth of past Pop, and how others prefer the variety and more experimental nature of modern Pop – and how the best blend is to keep hold of the past’s glory and keep an open heart and mind to the wave of modern music. I am not going to get into a discussion about modern Pop and whether it is as catchy and heartwarming as the older stuff (it isn’t), and whether the Pop market is weaker (it is not; it is just more eclectic) and if Pop needs a big boost of positivity in these hard times (there are a few acts bringing in sunshine – including Dua Lipa and The Orielles -, but we could do with more anthems, big choruses and a bit of a return to the past). It is a complex and subjective matter talking about modern Pop and its relationship with years past. I digress, though. I was struck by an interview concerning the music critic and broadcaster, Pete Paphides.

IN THIS PHOTO: Pete Paphides captured in 2007/PHOTO CREDIT: Chris McAndrew

Although Paphides and I have a few things in common – we both live in North London, we are both fantastic about music, and we are both music journalists/critics (although he is far superior) -, our experiences and childhoods are/were very different. Although Paphides is a tad older than me (well, fourteen years) and we would have been exposed to different albums when we were young, I was affected and inspired by the interview in The Times. Not only does his London home look idyllic and a space of creativity, love, and musical discussion – he is married to the journalist, author and writer, Caitlin Moran -, but I was enticed by what lingered beneath the record sleeve, as it were. On 5th March, one can purchase his book, Broken Greek. Not only has it received some great reviews and reactions so far; it is fascinating to hear about the impact music had on a young boy who would go on to make music his career; the very real link between discovery and that burning passion to follow music as a career. Here are some details regarding Broken Greek:

“Non-fiction publisher Katy Follain secured UK and Commonwealth rights from Jo Unwin at JULA for publication in spring 2020.

The book covers Paphides’ early childhood in Birmingham, the city where his parents had moved from Cyprus, charting how the writer found solace from his problems in pop music.

IN THIS PHOTO: ABBA

Its synopsis explains: “Shy and introverted, he stopped speaking from age four to seven, and found refuge instead in the bittersweet embrace of pop songs thanks to 'Top of the Pops' and 'Dial-A-Disc'. From Brotherhood of Man to UB40, from ABBA to The Police, music provided the safety net Pete needed to protect him from the tensions of his home life and to navigate his way around the challenges surrounding school, friendships and phobias such as visits to the barber, standing near tall buildings and Rod Hull & Emu. With every passing year, his guilty secret became more horrifyingly apparent to him: his parents were Greek but all the things that excited him were British.”

Follain admitted she pestered Paphides for 17 years to write a book ever since reading his Time Out columns. She said: “At last, I have been rewarded for my patience: Pete has written one of the most extraordinary childhood memoirs I have ever read, full of poignancy, humour and vivid detail, so much so that as the reader you are there in this lost kid’s head, feeling all the feels. Not only that, Pete can write about music like no one else can, and I cannot wait for others to experience what I did when I read his book. It has been worth the wait.”

Paphides, who is married to Caitlin Moran, started his career in music journalism at Melody Maker before going on to write for Time Out, the Guardian, Mojo, Q, Observer Music Monthly and the Times, where he spent five years as their chief rock critic. He has made several music documentaries for BBC Radio 4, contributes to BBC Four music documentaries and he also made a pilot for BBC 6 Music show "Vinyl Revival" which was later commissioned for two series.

IN THIS PHOTO: Paphides is married to the authour, screenwriter and journalist, Cailtin Moran

He said: “At the end of 2016, I started writing down an episode from my childhood without a clear idea of what it was for. Somehow it felt different to previous things I’d written about my early life. Upon a friend’s advice, I sent it to Jo Unwin at JULA and, to my delight, she offered to represent me. By the beginning of 2019, it had turned into a book. The plan had always been to send it to Katy first and I’m thrilled and relieved by her response”.

I will come to the aforementioned Times interview soon, but I would encourage people to buy Broken Greek, as it is as important as any memoir/autobiography from any musician. I think the industry puts a lot of focus on musicians and those at the forefront. Whilst it is important to learn about musicians’ beginnings and discover the sounds that shaped them, I think we should give more spotlight to music critics/journalists. In the interview with The Times, Robert Crampton reflected on his links with Paphides: “I’m five years older than Paphides. Because his obsession with pop music started so young, however, our reference points are almost identical. The thrill of Abba doing Waterloo at Eurovision”. I cannot claim to have had a similar upbringing to Paphides – who grew up above a chip shop in Birmingham; he is the son of Greek-Cypriot immigrants. Though now his life seems very happy and comfortable, his early life was very different and far from where it is at the moment.

PHOTO CREDIT: @rexcuando/Unsplash

The reason for writing this feature – aside from pointing people in the direction of Paphides and his coming-of-age book – was to remark how Pop and music in general can change lives across language and cultural barriers:

“Perhaps this explains why the songs coming from the radio, and later the TV once he’d discovered Top of the Pops, had such a searing, lasting influence on him. “I was trying to find a way into things,” he remembers. “I was curious.” But he was also shy and reticent, reluctant to commit to one culture or another. He was far from being ashamed of his family heritage, but he witnessed his dad’s homesickness – on Sundays, his only day off, the older man would play Greek Cypriot folk music in the flat above the shop. “I felt suffocated slightly by that. It didn’t feel like a joyful thing. There was this disjuncture between the music and where we were. There was a sadness in the air.”

Paphides agrees that, back at the age of seven, he was looking – subconsciously – for a bridge into Britishness. He found it in music. “One impulse for writing the book was that, for those of us who have written about music our whole adult lives, things are different now. We can’t be gatekeepers any more. People used to get their pocket money or wages and open the music press to see what to buy. Now we’re in a ‘try before you buy’ world. People don’t respond to being told what to like, but rather to writing that articulates your relationship with the record. That seems more truthful. We don’t experience music in isolation.”

Another reason for writing Broken Greek was that Paphides wanted to honour the sacrifice of his mum and dad. Now 78 and 82 respectively, they still live in Birmingham, in Solihull rather than Acocks Green where he grew up. Aki works in fashion and lives in south London. The brothers are still extremely close. “It’s a hard thing to give up all your support systems and come to another country. It’s difficult for any marriage to survive that pressure. Theirs has”.

I am not saying British Pop music liberated Paphides and changed his life, but I am moved how a shy and introverted boy living in a different nation (he lived in Cyprus before moving to Britain) was drawn to British music. I love how, in The Times’ interview, we learn about Paphides’ top-fifty albums and his relationship with Caitlin Moran – a person (Paphides) who has a huge heart but, in reality, has come a very long way; the importance music has can be reflected in his 50,000+-album collection and his endless passion for artists new and old. If Paphides’ experiences and heritage is a world away from mine, I read The Times interview – and I have been struck by a lot of the feedback regarding Broken Greek – and found parallels and fascinating takeaways. In terms of my own shyness and introvert nature, music provided me a connection to my peers and people in general. If music now is more digitally-shared and not as communal as it was decades ago – I cannot imagine many children talking about new albums and singles in the playground like me and my friends did in the 1990s -, the way it can speak to people and change their lives is amazing!

For me, British Pop and Dance music helped me make sense of a tough period of my life – from primary school in, around, 1988 through to sixth-form college in 1999 – and made me feel less alone. Although I cannot directly identify with someone like Pete Paphides and his childhood, I was touched by how he talks about music and its power. I can identify with his passion and obsession with music, and how it helped a shy child (and young man) grow and learn. I have discussed my childhood and music before but, after learning more about Broken Greek, it has made me think about music and how it helped me. Paphides, in a way, found a voice/conversation through a variety of artists at a time when his home life was strained and he was feeling isolated – indeed, how the Pop scene and biggest albums of the 1970s would have given him strength and company at a time when life was very unsure and he was struggling with phobias and cultural identity questions. It is remarkable how music, especially Pop, can provide a dialect and friendship that can connect people from different walks of life. Not only did I avidly buy music and digest Pop and Dance (and other genres) so I could share them with friends; the struggles of school and growing up were quite harsh for someone who was (and still is) introverted, shy and anxious.

I learned to read fairly late into childhood, and I found a lot of subjects hard to grasp. Even though I have a degree and did well in the end, school and further education was a struggle, and I felt music provided a comfort blanket and sense of strength that I could not find anywhere else. If Pete Paphides had a sense of guilt regarding his love of British music (and European acts like ABBA), and how that contrasted with his childhood and the fact his parents were (and are) Greek, one cannot underestimate how important music was to him; how it provided belonging and fascination when he needed it most. I could write a larger feature regarding Pop music and how magical it is, but I was blown away by The Times’ interview and what we will learn in Broken Greek. I can, actually, see Broken Greek being turned into a comedy-drama/film – if it is not already in the works – maybe Paphides and his wife, Cailtin Moran, could write it together?! -, because it has that mix of the moving, humorous and familiar. I have never met Paphides before (and probably never will get that chance), but I was fascinated how music changed his life in such a radical way. When I write about my young life and how my musical tastes, I often wonder whether there are like-minded souls and whether anyone can really relate. I am really glad Paphides is settled and happy now, but I cannot get out of my mind the image of the young boy losing himself in music and wrestling with so many questions. His life and progress begs for film/T.V. adaptation – although he might want to keep his childhood and personal life personal -, and many people will be moved to tears when they read Broken Greek. Although his recollections and revelations are unique to him, there are so many people - generations and nations apart - who will feel connected to such an inspiring…  

BROADCASTER and journalist.  

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

FEATURE:

 

Sisters in Arms

IN THIS PHOTO: Princess Nokia

An All-Female, Winter-Ready Playlist (Vol. VIII)

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THIS weekend…

IN THIS PHOTO: Yazmin Lacey

is another blustery and unpredictable one but, when it comes to music, there is more than enough brilliance to keep us indoors and listening! I think we all need the sort of comfort and strength music provides and, in a very busy week, these female-led gems are all you need. This is one of the biggest weeks of the year for great new releases. From mainstream artists to those you might not have heard of, there is going to be something in the playlist that captures your attention. Settle down and have a listen to a selection of new tracks from some truly…

IN THIS PHOTO: The Orielles/PHOTO CREDIT: Neelam Khan Vela

ORIGINAL and amazing artists.  

ALL PHOTOS (unless credited otherwise): Artists

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MALKA - Tiny Fires

Princess Nokia – Happy Place

Simonne Jones – Abduction

LOONY – WhiTE LiE

PHOTO CREDIT: Jason Frank Rothenberg

Dirty Projectors – Overlord

Siv Jakobsen – Island

PHOTO CREDIT: Camille Blake

Laurel Halo – Hyphae

Alex Jayne – 90s Dream

PHOTO CREDIT: Brian Vu

Half Waif – Halogen 2

PHOTO CREDIT: @arvidnybergmusic

After Eden – Outlaw

IMAGE CREDIT: Malky Currie

Vanessa Forero – YHWH

Maddy Storm – Dizzying Heights

Fi – All I Have

Jessie Ware – Spotlight

Annie Taylor – A Thousand Times

Lianne La Havas – Bittersweet

Sharna Bass – Private Love

Yazmin Lacey – Morning Matters

Kelly Lee Owens – Melt!

Winnie Raeder – BABY

Chandler Juliet – Love Language

Olivia Dean – Crosswords

PHOTO CREDIT: Lindsay Ellary for GQ

Phoebe Bridgers – Garden Song

The Naked and Famous – Come As You Are             

PHOTO CREDIT: Neelam Khan Vela

The Orielles – 7th Dynamic Goo

Soccer Mommy – lucy

Tallsaint – Feel Like Myself

PHOTO CREDIT: Shervin Lainez

Katie Von Schleicher – Caged Sleep

Charlotte OC – Freedom

Gordi – Sandwiches

PHOTO CREDIT: Dean Chalkley

Alice Jemima – Minefield

PHOTO CREDIT: @lottieanneturner

KAHLLA – In the Morning

 

Zeplyn – Brother

ZELAH – Static

Azure Ryder – Dizzy

Mabel – Boyfriend

Sierra Hull – Middle of the Woods

Palehound – See a Light

FEATURE: Sound Investment: The Difficulty of Launching Your Own Podcast

FEATURE:

 

Sound Investment

PHOTO CREDIT: @farber/Unsplash

The Difficulty of Launching Your Own Podcast

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ONE need only do a bit of basic searching…

PHOTO CREDIT: @juja_han/Unsplash

to see how many podcasts are out in the world! There is pretty much a podcast for every taste, and the market is growing by the day. Music is an area of the podcast empire that I do not think is that overly-exploited and hectic. One can research what podcasts are out there but, in terms of gaps, there are a few. Of course, that may be because there is not a demand, or someone has not thought of it yet. Podcasts are great, as they allow people to express their opinions and air their ideas without having to go via radio. I am currently pitching an idea for a radio commission, and there is so much competition and procedures. The advantage of going down this route is that you are in the hands of professionals and do not have to stump up a lot of money. The podcast can be made whenever you like and you do not need approval for an idea – you can, as I say, do anything you want to do. It is great to have that freedom now, so anyone can be heard around the world. Whilst the podcast list is exhaustive and confusing, you can find some great ones if you look through search engines; there are others you stumble upon by luck. I wonder whether there is a website that brings together all podcasts available; so one can search through and find the one they want and other like it.

PHOTO CREDIT: @austindistel/Unsplash

It is no revelation when I say I have wanted to get a Kate Bush podcast up and running. There are a couple of great Bush podcast available, but mine would be a more forensic look at her albums, bringing in guests – musicians, journalists and fan – who would discuss her work and there would be a combination of musical clips and interviews. In terms of concept and intent, there is no more work needed; the stumbling blocks seem to revolve around financing, studio space and getting things off the ground. I have talked about podcasts and my idea before, and I have got some great advice regarding equipment needed and websites to consult regarding set-up. Although the basic equipment is not a massive overhead, things get more complex when it comes to recording. Many people record from their houses but, owing to the fact I am in a small house, sound quality would be poor and I do not have the room or privacy to record a podcast – and I would not feel comfortable having guests ferry themselves across London – it does get more costly. I know money is an unavoidable barrier when it comes to any project, but one is not always lucky to have the space and right environment to record a podcast free of charge. There are facilities in London such as Outset Studio, which offer great facilities. Even so, the cost of hiring a studio for an hour is £35; similar studios have the same sort of quote.

PHOTO CREDIT: @filmlav/Unsplash

Although the equipment purchase is a single cost that, hopefully, will not need to be repeated, there are running costs and ongoing expenses that, for people with very little savings, is a nightmare. My podcast would not be live but, even for each one-hour episode, it would take longer than an hour to record. I want to put together a series of twelve episodes so, if each took just over an hour to record, I’d be looking at a cost of £420+. Guests also need to be booked, and there are other considerations. Great articles like this give a guide regarding price, depending on the sort of sound quality you want. There are a few steps to carry out when launching a podcast, including finding a good hosting site, but cost is an issue that might limit aspirations and scope. I have heard a few good podcasts that have had quite poor sound quality and, although it gives it a nice homemade feel, one looks for something crisp, clear, and professional – or has a professional feel. When it comes to a musician and playing tracks, sound quality is paramount. I have found an article that provides guidance regarding song clearance and cost, and there is that drawback when making a music-related podcast. Of course, artists and labels deserve payment to have their songs used but, even if you include a few songs per episode, that comes to another big cost!

PHOTO CREDIT: @cowomen/Unsplash

I can understand that even a relatively unambitious podcast runs in at quite a price, but what of those people who want to produce something that is a bit larger in concept?! I return to the top of this feature, and the radio commissioning route. Here, the costs and expertise are handled; one has less financial stress but, perhaps, a lot less flexibility regarding concept, running length and where that podcast/show is broadcast. It is a pickle and, whilst my intent and passion has not waned, my financial situation has – the inevitable result of living in London! I have my concept and plan regarding a podcast series, and a good idea of the guests, sound clips and songs. I have options when it comes to distribution and assistance regarding platforms – getting it launched on Spotify or somewhere similar. I know ambition and dreams do not get realised easily and, more often than not, financial issues outweigh intent, talent and focus. I am not sure whether crowd-funding is the way to combat high costs, or whether that has its perils – and how would backers be rewarded? It is a bit frustrating having energy and enthusiasm for a podcast, but there is that financial hurdle that, whilst not impossible to overcome, does slow things down considerably. I am still determined to get a podcast out there but, if you want to produce something that is quite deep and differs from what is already out there, it can be quite…

PHOTO CREDIT: @farber/Unsplash

A big investment.  

FEATURE: The February Playlist: Vol. 5: A Stupid Kind of Love That Can’t Cool Me Down

FEATURE:

 

The February Playlist

IN THIS PHOTO: Lady Gaga

Vol. 5: A Stupid Kind of Love That Can’t Cool Me Down

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AS this is the last day of February…

IN THIS PHOTO: Christine and the Queens/PHOTO CREDIT: Camille Vivier

it is a chance to celebrate a leap year with a selection of terrific songs! I think this week has been the busiest and biggest week for new music. There are fresh tracks from Lady Gaga, Carseat Headrest and Taylor Swift. There are tunes from Christine and the Queens, Caribou and Princess Nokia. It is such a varied and exciting week for music so, as the weather is predictably grim and ‘British’, it is best to stay inside and listen to some fantastic cuts. As we are into the weekend now, it is best to get it started…

IN THIS PHOTO: Caribou

WITH a real bang.

ALL PHOTOS/IMAGES (unless credited otherwise): Artists

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Lady Gaga - Stupid Love

PHOTO CREDIT: Kris Fuentes Cortes

Car Seat Headrest - Can't Cool Me Down

Taylor Swift - The Man

Christine and the Queens - La vita nuova

Jessie Ware – Spotlight

The Naked and Famous - Come As You Are

Lianne La Havas – Bittersweet

Phoebe Bridgers – Garden Song

Doja Cat - Say So

Princess Nokia – Harley Quinn

Disclosure – Ecstasy

Soccer Mommy – bloodstream

Caribou – New Jade

Kelly Lee Owens – Melt!

PHOTO CREDIT: Jason Frank Rothenberg

Dirty Projectors – Overlord

Mabel – Boyfriend

PHOTO CREDIT: @denisha_anderson

Oscar Jerome - Sun For Someone

PHOTO CREDIT:  Alan Messer

Rumer – Hard TimeS for Lovers

Noel Gallagher’s High Flying Birds – Come on Outside

PHOTO CREDIT: Neelam Khan Vela

The Orielles – 7th Dynamic Goo

Rufus Wainwright – Damsel in Distress

Loote – This Is How U Feel

Stephen Malkmus - Shadowbanned

Perfume Genius – Describe

Real Estate - The Main Thing

Gorillaz (ft. Fatoumata) - Désolé Diawara (Episode Two)

Orlando Weeks – Safe in Sound

Leonard Cohen - Thanks for the Dance

PHOTO CREDIT: Charlie Cummings

The Snuts – Coffee & Cigarettes

Half Waif – Halogen 2

FEATURE: Behind the Music: How Artists’ Illnesses Can Open Up Conversation

FEATURE:

 

Behind the Music

IN THIS PHOTO: Ozzy Osbourne

How Artists’ Illnesses Can Open Up Conversation

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THAT may sound like a vague title…

IN THIS PHOTO: slowthai/PHOTO CREDIT: Phil Smithies for DIY

but this is something I have covered before. I think a lot of people do not really think about the artists we listen to and whether, like you and me, they have conditions and illnesses that affect them. There has been, thankfully, a lot more discussion around mental-health recently; it is a subject that is still not as prevalent in the mainstream and media as one would like, but things are changing. I often wonder whether there is taboo regarding artists and whether they can open up about illness. Now that social media is dominant, being revealing can have its downsides. There are people that support you, but there are others who will attack and troll. I will mention Lady Gaga later – because she is an artist who has been quite open about her health problems -, but there have been a couple of recent incidents that involved well-loved artists speaking about their struggles. They have both been met with support and kindness. Not that record labels and the media expect artists to be stoic and not talk about illness, but I think there is something very brave in speaking out. Slowthai is an artist who has been in the media for the wrong reasons recently. But, as this recent article in NME explains, he has discussed his life with ADHD:

“Slowthai has opened up on his battle with ADHD, and says the behavioural condition has left him with a “need to be loved”.

The ‘Nothing Great About Britain’ rapper, real name Tyron Frampton, discussed the condition in a lengthy Twitter post.

“I often laugh when I feel anxious, this awkward laughter only shows how uncomfortable I feel,” wrote Frampton on Twitter. “I’ve always been socially awkward and found it hard to articulate to people how I truly feel, often lie. Sometimes it’s harder to stay quiet than force conversation and it makes my skin crawl.”

Frampton added: “I build myself up from pieces of other people and when I look in the mirror I shiver ’cause I feel like I’m wearing someone else’s skin.”

After explaining how he has a “need to be loved’, Frampton explained how he has previously considered taking his own life.

“I think about the end every night. But I’m too afraid to say goodbye,” he explained”.

I think, in a way, slowthai’s ADHD explains some of his recent ‘erratic’ behaviour – where he was inappropriate with Katherine Ryan at NME Awards as he collected his Hero of the Year gong from the host -, but it does definitely not let him off of the hook. Life people with other forms of mental illness, it can be hard maintaining a career in the creative industries. Inevitably, success and pressure can have negative impact, and I think slowthai’s ADHD has been as responsible for his focus and energy as it has been some of his less glorious moments. Fans and the media can raise artists to the status of superheroes, so it is difficult talking about an illness that is very common and human. I know slowthai will get a lot of support and, let’s hope, he is provided some guidance and rest by his management and label. He will not want to slow down too much, but I think he needs to take a breather soon to catch up with himself and recharge.

There are others with ADHD that will look up to slowthai and be inspired by him. We do not realise that musicians are just like me and you, in the sense that they are not immune to illness and it can affect them in a very big way. Another artist who has recently spoken about his health struggles is the legendary Ozzy Osbourne. The Black Sabbath icon has been diagnosed with Parkinson’s, and it means that he has to cut back on touring. Through his career, Osbourne has faced obstacles, but this is his biggest test. He has said he is focusing on his health and family and, whilst it will be disappointing to cancel some dates and slow things down, he needs to put himself first. This recent interview reveals more about his Parkinson’s and an accident that proceeded his diagnosis:

“Still, Ozzy went along with the plan. He’d been in a slump since a serious fall in February 2019, when he’d hit his head on a metal bed frame and seriously fucked himself up. He needed something to get him back to work, and recording his hook for the Post Malone track ‘Take What You Want’ went so well that Watt worked up the courage to ask Ozzy if he’d be up for making a whole album.

“I was feeling sorry for myself, miserable and in fucking agony,” remembers Ozzy. “I’ve never been laid up for a year in my life and still been in so much pain at the end of it, but Andrew Watt and fucking Post Malone and my daughter Kelly got me going in the right direction. If it’s not a big hit that’s fine, but this album is quite possibly one of the most important albums I’ve ever made because it saved my life.” 

PHOTO CREDIT: Greg Doherty/Getty Images

“I didn’t say it before, but I knew I had Parkinson’s fucking 18 years ago,” he reveals. “I was diagnosed in 2003 and I’ve been doing gigs since then. The problem I’m having right now is this fucking neck problem I’ve had since I fell over and had to have surgery…” At this point he starts to get up, and he tosses his head and hair forward so that he can show me the gnarly scar on the back of his neck, but the commotion brings Sharon in from the next room. “Ozzy,” she pleads. “Don’t – it’s horrible!”

Sharon isn’t sure Ozzy’s quite right about his illness. “You had Parkinson’s, but it wasn’t active,” she explains to him, then turns to me to elaborate: “He was born with a gene called the PARK2 gene, but it wasn’t active. It’s like being born with certain cancer genes. They’re not active, and it’s usually stress or shock to the body that makes them active.”

Ozzy looks up at her from the armchair, confusion written across his face, and asks: “Is it active now, then?”

It will be a hard road ahead for Osbourne, and I know there has been a lot of love from his fans. We do not expect our favourite artists to suffer from serious illnesses, but I think artists like slowthai and Ozzy Osbourne will help raise discussions, make others (with the same condition) know they are not alone. I know of people who live with fibromyalgia and, until a few years ago, there had not been a lot of discussion in the music industry.

IN THIS PHOTO: Lady Gaga/PHOTO CREDIT: Daniel Jackson for Allure

Back in September 2017, we learned more about the condition as it affected one of music’s biggest artists:

“On Monday it was announced that Lady Gaga has cancelled her European tour, due to begin next week, because of “severe physical pain that has impacted her ability to perform”. She has fibromyalgia, and has made a Netflix documentary, Gaga: Five Foot Two, to raise awareness about this long-term condition. A statement says: “She plans to spend the next seven weeks proactively working with her doctors to heal from this and past traumas that still affect her daily life and result in severe physical pain in her body. She wants to give her fans the best version of the show she built for them when the tour resumes.”

We’ve all heard of Lady Gaga, but fibromyalgia syndrome (FMS) may be more of a mystery. It is a condition that is hard to diagnose, explain or treat. And many people with the condition say they struggle to get medical professionals to take their symptoms seriously. FMS is a long-term condition that causes widespread pain. Its debilitating symptoms include extreme tiredness, muscle aches, difficulty sleeping and concentrating; headaches and bloating are also common. In Lady Gaga’s case, it is easy to see how she may have initially put these problems down to touring and performing. But the fatigue and pains persist even when you rest, and can be far more draining than normal tiredness.

People with FMS often notice that a fairly innocuous injury, such as stubbing a toe, hurts more intensely and for longer than it should. And even a light touch that shouldn’t hurt at all can be experienced as an unpleasantly painful sensation. The fatigue means you need to sleep a lot but wake up feeling groggy, stiff and achy. Even mental processes feel sluggish, so it becomes a huge effort to concentrate or learn anything new, and your speech may sound slow and a bit muddled. Patients call this “fibro-fog”, and it is not clear whether Lady Gaga experiences it or not”.

I wanted to write this article because, as we are becoming more aware of the extent of mental-health concerns like depression and anxiety, I think there are some illness that are relatively under-exposed, in the sense we do not hear them discussed in the media a lot. I have mentioned merely a few artists – two who have made the music news recently -, but I think it forces us to look at artists in a very human way. There is this façade and shield artists have to deploy when touring and promoting, and I feel too much pressure is put on their shoulders. Of course, Ozzy Osbourne and slowthai are in very different situations, but I think there will be many people out there who are going through the same experiences who will identify and, perhaps, feel more confident in discussing their illnesses because of that. To any artist that is dealing with an illness, whatever it may be, the entire music community…

WISHES them all the very best.

FEATURE: Hard for the Heart: How Duffy’s Brave Revelation Will Give Strength to Other Women

FEATURE:

 

Hard for the Heart

How Duffy’s Brave Revelation Will Give Strength to Other Women

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ON Tuesday (25th) evening…

many of us reacted to something horrible that was reported. It has been almost a decade since Duffy released her second studio album, Endlessly. Many of us have been wondering whether she will release more music and why she has been away from the spotlight for so long. Although there are personal reasons why she stepped back from music, a post on her Instagram revealed some shocking news. I woke up yesterday and saw the news reports in this article from The Guardian:

“Aimee Duffy, the Welsh pop singer known as Duffy who retreated from the public eye following her hugely successful debut album Rockferry, has said she was drugged, held captive and raped by an unidentified person.

In a statement on her official Instagram account she said: “The truth is, and please trust me I am OK and safe now, I was raped and drugged and held captive over some days. Of course I survived. The recovery took time. There’s no light way to say it. But I can tell you in the last decade, the thousands and thousands of days I committed to wanting to feel the sunshine in my heart again, the sun does now shine.”

She does not detail when the attack happened, but said she came to the decision to reveal the attack after a journalist had contacted her: “He was kind and it felt so amazing to finally speak … In the following weeks I will be posting a spoken interview. If you have any questions I would like to answer them, in the spoken interview, if I can.”

View this post on Instagram

You can only imagine the amount of times I thought about writing this. The way I would write it, how I would feel thereafter. Well, not entirely sure why now is the right time, and what it is that feels exciting and liberating for me to talk. I cannot explain it. Many of you wonder what happened to me, where did I disappear to and why. A journalist contacted me, he found a way to reach me and I told him everything this past summer. He was kind and it felt so amazing to finally speak. The truth is, and please trust me I am ok and safe now, I was raped and drugged and held captive over some days. Of course I survived. The recovery took time. There’s no light way to say it. But I can tell you in the last decade, the thousands and thousands of days I committed to wanting to feel the sunshine in my heart again, the sun does now shine. You wonder why I did not choose to use my voice to express my pain? I did not want to show the world the sadness in my eyes. I asked myself, how can I sing from the heart if it is broken? And slowly it unbroke. In the following weeks I will be posting a spoken interview. If you have any questions I would like to answer them, in the spoken interview, if I can. I have a sacred love and sincere appreciation for your kindness over the years. You have been friends. I want to thank you for that x Duffy Please respect this is a gentle move for me to make, for myself, and I do not want any intrusion to my family. Please support me to make this a positive experience.

A post shared by @ duffy on Feb 25, 2020 at 10:12am PST

Duffy, 35, adds: “You wonder why I did not choose to use my voice to express my pain? I did not want to show the world the sadness in my eyes. I asked myself, how can I sing from the heart if it is broken? And slowly it unbroke.” She pleaded for support, and for no intrusion into her family life.

With a vintage pop sound that matched contemporaries like Amy Winehouse and Adele, Duffy’s 2008 debut album Rockferry was sensationally successful. Powered by the chart-topping single Mercy and the ballad Warwick Avenue which peaked at No 3, it became the UK’s biggest selling album that year, and won her three Brit awards. It eventually sold over 9m copies worldwide, and was a hit in the US, reaching the top five and winning a Grammy”.

A lot of people reacted to the news yesterday and on Tuesday and, with the news still fresh and impacting others, there will be shockwaves felt for a very long time. I have seen a few Twitter posts that ask how many incidents like this we will see. We have all seen the news involving Harvey Weinstein, and how he has been brought to justice for the vile sexual assaults he perpetrated over many years. In Hollywood, there is the #MeToo movement, which has spread to the wider world. I have posted an article that asked whether music needs a similar movement because, over the past few years, there have been many cases of sexual assault and rape in the music industry.

From artists like R Kelly and Ryan Adams accused and put in the spotlight, to artists like Kesha and Duffy speaking out about their ordeals, one wonders how many other women in music have bene affected. Sadly, there are too many cases of women being abused and assaulted, and something needs to change. We do not know the details of Duffy’s situation – and whether she was raped by someone in the music industry -, but her words and courage will give other women the courage to speak out. One can only imagine how hard it was for her to type that Instagram post, and what it has been like living with what she has for so many years. One has a horrible feeling that there are other women in the music industry who have faced something similar to Duffy; who have either been silenced or have not felt like they could speak up until now. Ahead of International Women’s Day on 8th March, I do think more discussions need to happen regarding women in music and how they are treated. Whether women affected by sexual abuse are victims of men in the industry or those outside of music, I think there need to be campaigns that shine a light on a problem that is not going away. It is complicated regarding resolution and progression, but artists like Duffy will start movement and, as I said, give other women the courage to speak about their experiences. I really wanted to write something following the news about Duffy, as it is a shocking and upsetting thing to hear about. Let’s hope that she will be okay and, I know, everyone in music will send Duffy…   

SO much love.

FEATURE: Spotlight: Phoebe Green

FEATURE:

Spotlight

PHOTO CREDIT: Sara Carpentieri

Phoebe Green

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I think we can all agree that anyone called Phoebe…

is pretty kick-ass and cool. To be fair, I can only think of Phoebe Waller-Bridge and Phoebe from Friends – who, to be fair, is fictional. That said, Phoebe Green is a very cool artist that you need to follow! I am basing my recommendation off of her music and, with Easy Peeler and Dreaming Of out in the ether, Green is already turning heads. Although she has only put out a bit of material, the impact of her music and power of her personality has made her an artist to watch closely – NME named Green as one of their one-hundred to look out for this year. I am going to include her music in this feature but, as I am not overly-familiar with her background and ambitions, I am going to source from a few interviews. Forgive a lack of strict chronology, as I am going to go back and forth a bit. I want to, first, source from an interesting BBC article published last April, where we learn more about her upbringing and how she values the power and importance of lyrics:

“Born and bred in the small Lancashire seaside town of Lytham St Annes, Green - who is studying in Manchester - has just released her debut single, Dreaming Of. It's an uptempo indie pop track whose breezy production by Mercury Prize nominees, Everything Everything's Alex Robertshaw, masks some biting questions about issues of identity and self-worth.

You don't get to choose what makes me blue / I don't want to compromise myself for you / You always find a way back in / You creep, you crawl under my skin.

PHOTO CREDIT: Sara Carpentieri for DAZED

Green puts "everything, literally everything" into her lyrics, she explains.

"I find it so hard to write anything if it hasn't happened to make me want to write it. So I only really write about stuff that is actually going on and people that I actually know. I really want to explore more, because I'm just a very opinionated person, but I only seem to write about what I'm actually feeling.

"I think I do want the music to be a lot more representative of me, the person and my world views and stuff like that."

She started trying to write songs from the age of 12 but went one better than most when, aged 17, she recorded 02:00 AM; a 10-song mini-album, which she self-released on Spotify and which has accumulated more than three million streams without a record label or distribution deal.

"I basically could never, ever sleep when I was in sixth form, I just had really bad insomnia," she says.

"So, I just started writing down my notes on my phone, like every little thing that was going through my head. And then if I came up with any melodies or anything like that, I would just kind of like hum them really quietly into my phone, because everyone else would be asleep”.

I love the fact that Phoebe Green is an original artist who refuses to compromise. I can never understand why big Pop artists are all over the place, and the best artists out there – i.e., the new ones who do things differently – are not more celebrated.

Maybe that is the way things will always be, but I do thing Green will rise her way through the ranks and be a mainstay of the future. When it comes to new artists like Green, there is that air of mystery that you do not get with mainstream artists. I only discovered Green a couple of months ago, but I have been intrigued by her sound. Easy Peeler has a slightly drawled-yet-cool vocal, and there are these brilliant stabs of electric bush that rush and take the song in a new direction. Green and her band are super-talented and tight, and they create songs that strike instantly and readily, but the lyrics keep you coming back as you try to get to the bottom of them. Green has been involved with a few interviews, and one learns something new from each. When she spoke with the guys at DAZED in August last year, we learn more about the importance of Manchester, and where her ideas come from:

 “How has Manchester impacted your approach to art?

Phoebe Green: It’s made me more appreciative of other genres and styles, massively. I’m a lot more likely to actively seek out bands and artists that don’t fall into the same category as me, so that I don’t get complacent and find myself within a scene where all the bands sound the same. Manchester has an incredible queer art scene as well, with it being a pretty small city it’s definitely exposed me to work that I otherwise might not have come across. I’m lucky to have artists and musicians as friends that are so creative and talented.

Where have you been getting your ideas from recently?

Phoebe Green: I’ve been writing a lot about changes within myself, and therefore changes in my relationships as a consequence. I find that kind of thing really interesting. I like writing about the way I perceive others and the way they perceive me, and how we treat each other as a result.

Are there any other artists you’re excited by that you want to shout out?

Phoebe Green: My good mates Witch Fever are one of the best live bands I’ve ever seen. They’re a feminist punk band that are so unapologetic with their rage, their sexuality, and their emotion. Their performances are incredible. Alex Rave & the Sceptical are a new band fronted by my boyfriend, they put on a really good show, along with our friends Document, who I share a guitarist with and are doing dead well, and Bleach Boy, another really amazing band. All of them are unique, but make such a cool, eclectic scene”.

There are a lot of great acts out in the world at the moment and, understandably, it is difficult narrowing them down and keeping everything in mind. Phoebe Green’s music is clever and cool; it has a filmic quality to it, and her and the band stir this incredible potion that emanates so many different emotions and visions. It is best to listen to her music but, as one can do that and glean so much about Green, I want to source from a couple of other interviews.

In a pretty cool feature in NME back in September, Green was asked some pretty ‘interesting’ questions:

Scenario: We’ve given you a shit load of money to make a big budget video – what do you do

“Probably like the ‘Easy Peeler’ video, in the whole ’50s noir, gangster/glam style but a full film following a lead character (me) with a big catharsis, probably a gory death, and a big romantic ending. Really beautiful cinematography, maybe with a narrator and all. Obviously full of my own musical numbers.”

What do you want to achieve with your music?

“I really want it to be the soundtrack to all kinds of memories, I of course want people to connect with my lyrics, but also I just want to write really cool, interesting songs that capture the person I am and the world I‘m in at particular points in my life.”

If your tour bus was hanging over the edge of a cliff and you needed to throw out one band member as ballast, which member would it be and why?

“It’d probably end up being me because not only am I incapable of making minor decisions, I can see me throwing myself out with the stress of the situation”.

I am not sure what Green has planned for the rest of this year, but many people are keen to see how she follows the amazing music she has put out already and whether there will be an E.P. or albums. Critics are already on board, and her music has won praise from both sides of the Atlantic. Pitchfork sat down to review her track, Dreaming Of, and  were suitably impressed:

 “Phoebe Green styles herself on social media as the “shirley temple of the north [of England]”. But in case you missed the sarcasm, the Manchester-based singer-songwriter is no one’s little darling. “I don’t want to compromise myself for you,” she announces over shuffling drums on her debut single “Dreaming Of,” a synth-filled indie-pop song that grows ever more biting. (She sighs on the chorus: “You make me feel like I’m anyone/Does it make you feel less insecure?”)

On her self-released 2016 mixtape 02:00 AM, Green showed an uncanny ability to move between power-anthem choruses and moments of tenderness. “Dreaming Of” offers more of the same with a self-reflexive twist: Despite the song’s uplift, her lyrics reflect on how bittersweet it is to finally get what you want, only to discover that it’s not as perfect as you imagined it would be. For Green, though, this is empowering: As she sings the final chorus, the band swells to a new size and her radiant voice fills the enormous space around her. In a world that attempts to make young women feel small, Green finds the fuel to make herself sound huge. Or, as she put it on Twitter: “she is releasin a fuckin tune”.

I do know that Green and her band have some gigs upcoming, and it will be a great chance to see this captivating new talent in her element. I did say how I am not sure whether there is more music coming soon but, in October, Green spoke with DORK . She was asked about sources of inspiration, but there was also a bit of discussion about future recording plans:

“Is there anywhere or anything you find yourself repeatedly looking to for inspiration?

I think I draw a lot of inspiration musically from seeing my friends playing and going to see new bands as often as I can, but my favourite sounds definitely come from old artists like the Beatles, Shangri Las, Bowie etc. Very cliché, I know, but I like not to be too pastiche about it but rather to take elements from past records and incorporate modern lyrics to create something more current and accessible. Then you have the familiarity and comfort of that retro sound but the relatability of the modern-day commentary.

Do you have a bucket list of things you’d like to achieve? What do you reckon’s next to be ticked off?

I’d love to sell out a few venues around the UK this year, but I really wanna do a European tour in the next couple of years, even if it’s a support slot. I’m already over the moon with supporting Swim Deep in October, they’ve honestly been one of those bands I’ve listened to for years, mum and dad were well happy, it’s one of the only CDs we have in the car that they voluntarily listen to. But yeah, more tours and festivals would be nice. And an album, obviously, which I don’t think I’m too far off”.

Get involved with Phoebe Green and keep an eye to see where she goes next. I have included social media links below, so you can get you fix of Phoebe Green news and happenings. Go see her perform and check out her music, because Phoebe Green is…

ONE of 2020’s most promising artists.

______________

Follow Phoebe Green 

Facebook:

https://www.facebook.com/phoebegreenmusic/

Twitter:

https://twitter.com/ph0ebegreen

Instagram:

https://www.instagram.com/ph0ebegreen/

YouTube:

https://www.youtube.com/channel/UCK5vpLWqqmrnHda0XxQXXTg

Spotify:

https://open.spotify.com/artist/5qt7yk11uFzsBUC3CgbyNP

FEATURE: When You Was Fab: George Harrison at Seventy-Seven: The Ultimatum Playlist

FEATURE:

 

When You Was Fab

George Harrison at Seventy-Seven: The Ultimatum Playlist

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IT is sad that we no longer have George Harrison…

IN THIS PHOTO: George Harrison - with The Beatles - performs Rain and Paperback Writer for Top of the Pops in London on 16th June, 1966/PHOTO CREDIT: Mark and Colleen Hayward/Redferns

in the world, because I think he could talk a lot of sense and write music that reflects on these hard times. The former Beatles died in 2001, and I think he is very underrated as a songwriter. When we think of The Beatles, a lot of the focus is on Paul McCartney and John Lennon. Harrison’s contributions cannot be ignored and, between his work with The Beatles, as a solo artist, and as part of the Traveling Wilburys, Harrison made an enormous impact on music. To celebrate what would have been his seventy-seventh birthday today (25th), I have put together a playlist of the best Harrison-fronted/written songs that showcases his talents as a singer and songwriter. I think it is important to give a nod to one of the most important and influential artists…

IN THIS PHOTO: George Harrison attends a press conference to launch the new book by Derek Taylor, Fifty Years Adrift, at the Sydney Opera House on 30th November, 1984/PHOTO CREDIT: Peter Carrette Archive/Getty Images

WHO has ever lived.

FEATURE: Vinyl Corner: Manic Street Preacher - The Holy Bible

FEATURE:

 

Vinyl Corner

Manic Street Preacher - The Holy Bible

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I have featured the Manic Street Preachers on…

IN THIS PHOTO: The Manic Street Preachers in 1994/PHOTO CREDIT: NME

Vinyl Corner before – I included This Is My Truth Tell Me Yours – and, whilst I was hoping to spotlight Everything Must Go, I cannot easily find that album on vinyl. I have found The Holy Bible on vinyl and, if anything, it is a more interesting and influential album. There are a couple of reasons for including this album. For one, 1st February marked twenty-five years since the band’s lyricist (with Nicky Wire) and rhythm guitarist went missing. Also, James Dean Bradfield (the band’s lead) celebrated his birthday on Friday (21st). The Manic Street Preachers released Gold Against the Soul in 1993 and, whilst it does contain some great songs, the album is patchy in places. The Holy Bible was a follow-up that exceeded expectations and wowed critics – 1996’s Everything Must Go continued to impress, despite the fact it was the first album recorded without Richey Edwards. The Holy Bible was the band’s third album, and the writing and recording saw Edwards living with severe depression. One can look at the lyrics and hear the songs to get a feel of where Edwards’ mind was and how, perhaps, what would follow. Despite the fact Edwards was self-harming and abusing alcohol, he helped craft an album which is among the best and most important of the 1990s. The Holy Bible – among other things – concentrates on human suffering, and politics, and it is an album that stays in your head the minute you hear it.

Before the Manic Street Preachers recorded The Holy Bible, it was felt – especially by their drummer Sean Moore – that they had gone astray; maybe Gold Against the Soul was a departure and the next album needed to be a grassroots response. Maybe the Welsh Rock band had become a little American and were taking in influences from U.S. Rock bands. The Holy Bible is the band stripping things back and producing something rawer and more honest then they ever had. Nicky Wire and Richey Edwards split lyrics fairly evenly prior to The Holy Bible but, this time around, Edwards took on the majority of the lyrics – after Edwards disappeared, Wire became the band’s lyricist. There is debate as to how much Wire did contribute and, through the years, Wire discovered he penned more than he thought – chunks of Of Walking Abortion and Mausoleum are his. It was initially felt that Edwards wrote 75% or so of the lyrics, but I think that figure has come down considerably. Regardless, The Holy Bible is considered Edwards’ album; a representation of his mindset and look into his world – Wire, it seems, was able to connect with Edwards regarding the lyrical tone and subject matter. In 1994, bands like Blur and Oasis were rereleasing big, unifying albums full of anthems. The Holy Bible’s acknowledgment of The Holocaust, starvation, and British imperialism was completely out of step with those bands; the Manic Street Preachers never did fit into the Britpop movement – the outsiders who, perhaps, were saying something more important than many of their peers.

If Everything Must Go (The Holy Bible’s follow-up) is the Manic Street Preachers moving on after personal loss and doing things differently, The Holy Bible is a dark and uncomfortable album that I recommend people listen to. I am not usually drawn to albums as bleak (in places; not everywhere), but The Holy Bible is such a powerful and important album, that proved to be a watershed moment for the Manic Street Preachers. The Holy Bible is an album that mixes the personal with voyeuristic – which James Dean Bradfield struggled with some songs, in terms of how to write music for them -, and a lot of the tracks sound radio-friendly, but they are defined by quite explicit and radio-unfriendly lyrics! In spite of the fact that The Holy Bible is not as commercial as a lot of albums that were out in 1994, press reaction was extremely positive – I have barely seen a negative review of the album. There has also been a lot of retrospective acclaim for The Holy Bible. Here is what AllMusic wrote in their review:

“Only in that brief moment in the '90s, when the record industry was grappling with the impact of alternative rock going mainstream and just as Brit-pop was hitting its stride, could the Manics release such a dark, difficult album on a major label, get it played on such pop-oriented programs as Top of the Pops and MTV’s Most Wanted, and make appearances at the Glastonbury and Reading festivals. And then, in a flash, it was over. Richey James went missing on February 1, 1995, and after that The Holy Bible was frozen in amber, forever seen as his last will and testament, just like how In Utero seemed like a suicide note in the wake of Kurt Cobain's suicide in April 1994.

After James' disappearance, plans for an American release of the LP were shelved, but in retrospect, it's likely that The Holy Bible -- like some latter-day Manics albums -- would never have had an American release at all. To those who know the album -- and it's a small, dedicated group of partisans who do, since not only didn't it see American shores for a decade, but it didn't sell as well as previous or subsequent Manics albums in the U.K. -- it can comfortably be compared to the Clash's London Calling, but that's not quite accurate, no matter how much inspiration the Manics drew from the Clash. London Calling is a sprawling, exuberant celebration, so generous and big-hearted it can't be contained by a single album, whereas The Holy Bible is a bleak, introspective, insular album that's bracing in its darkness. It's not that The Holy Bible deliberately alienates listeners, but that it wears its pain too openly and presents it too vividly to be an easy listen. It can be a cathartic experience, but it's the kind of experience that doesn't lend itself to everyday listening: not only was it too dark, it was too English for a mass American audience, but years later, those things don't seem to matter as much, and in its tenth anniversary edition it can finally be seen -- and easily heard by American audiences -- as a singular, bracing rock album, quite unlike any LP before or since”.

The Manic Street Preachers recorded their thirteenth album, Resistance Is Futile, in 2018, but I think The Holy Bible remains their most important work. I personally prefer Everything Must Go and This Is My Truth Tell Me Yours (it always annoyed me there isn’t a comma between ‘Truth’ and ‘Tell’), but I have to show respect to an immense and vital record!

Before closing, I want to bring in an article that looked back at The Holy Bible, twenty-five years after its release:

“Since its release twenty-five years ago, the record has been autopsied countless times. In articles, essays, interviews, documentary films, and PHD dissertation after PHD dissertation. Biographies of the band, such as Simon Price’s exquisite Everything, dwell on the era that surrounds the record, hovering over the details that led to the writing and creation of the music, the Beatlemania type frenzy of the band’s tour in Thailand, the European gigs with Suede, the British festival appearances, the mismatched military uniforms, the infamous Top of the Pops performance of the record’s first single “Faster” that generated over 25,000 complaints from viewers, the final gig at London’s Astoria where the band smashed up every instrument, amplifier and light fitting causing thousands of pounds worth of damage.

Despite its dour worldview, antagonistic posture, and, at the time, quite poor sales, The Holy Bible has been recast as a triumph of extreme art, a perception that the fans and the band themselves have been happy to help promote. The record has also been honored with two in-depth retrospective reissues—one on its tenth anniversary and another on its twentieth—followed by a tour and a cumulative performance at Cardiff Castle in which the band dolled themselves up in military regalia and spun the record out in its entirety followed by another set of crowd-pleasing hit singles.

To think of The Holy Bible as an anomaly, a blade that punctures the narrative of the band, is a mistake. It has to be heard as a perfectly executed part of the evolution in sound. The real spanner in the works came with the disappearance of Richey Edwards that changed the direction and tone of the remaining members. The confrontation heard on Generation Terrorists and The Holy Bible was scaled back and could never really be repeated, though they certainly tried on 2001’s Know Your Enemy.

No more youthful proclamations of “I laughed when Lennon got shot” as they had delivered on “Motown Junk” or “I am stronger than Mensa, Miller and Mailer” as they had boasted on “Faster.” Now the band’s approach was “analysis through paralysis” (from the EMG era B-side “Dead Trees and Traffic Islands”), or in other words, treading on the shadow of Edwards whilst still, in essence, remaining the same band to themselves and their fans, new and old.

So, yes a lot has been written and said about The Holy Bible. And what I've written here is not original nor has it added anything new to the discussion about this record. I've lightly trod on the same ground everyone else has. Everyone is guilty”.

The Holy Bible, even to this day, knocks you back and unfurls new layers. It is an extraordinary album that was the last to feature Richey Edwards. 1994 was a magical and packed time for genius and these stunning albums. The Holy Bible, by some, gets overlooked when we assess the best from 1994, but it is a masterful album that stands out…

FROM a phenomenal year for music.  

FEATURE: All We Ever Look For: Might We See Some Kate Bush Anniversary Releases This Year?

FEATURE:

All We Ever Look For

IN THIS PHOTO: Kate Bush shot for the cover of Never for Ever’s second single, Babooshka, in 1980/PHOTO CREDIT: John Carder Bush

Might We See Some Kate Bush Anniversary Releases This Year?

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ALTHOUGH we have to wait until the…

IN THIS PHOTO: Kate Bush photographed by her brother, John Carder Bush, in 1980

autumn to mark the anniversaries of two of Kate Bush’s finest albums, it has me returning to that subject of re-releases and anniversary editions. I have written about a couple of albums that are celebrating anniversaries ext week: Led Zeppelin’s Physical Graffiti is forty-five tomorrow (24th), whilst Tears for Fears’ Songs from the Big Chair is thirty-five the following day. Of course, on 8th May, we mark fifty years of The Beatles Let It Be – the final album to be released from The Fab Four. Kate Bush is not one for retrospection but, through her career, there have been occasions where she has revisited the past. When she produced her Hammersmith residency, Before the Dawn, in 2014, she performed songs from past albums – most taken from Hounds of Love (1985) and the exceptional Aerial (2005). In 1986, The Whole Story was released – it was a greatest hit package that I remember seeing (there was a VHS version) when I was young. She re-released her back catalogue in 2018 and released vinyl sets that collated her work for fans and newcomers. The same year, she brought out a book of lyrics; collating some of her most memorable tracks in a lovely edition. Bush has always been one for looking forward and doing something new but I wonder, as we await a possible eleventh studio album -, there are going to be many who would like to see anniversary editions of two fabulous albums. Never for Ever was released on 8th September, 1980 whilst her big smash, Hounds of Love, was released on 16th September, 1985 (also, Aerial, is fifteen on 7th November).  

Both are important albums for different reasons. Never for Ever was released during a busy time for Kate Bush. She released her first two albums in 1978 – The Kick Inside and Lionheart -, and then went to do her Tour of Life in 1979. There was so much attention her way and huge expectations. Whilst Lionheart did not perform as well as The Kick Inside – the label rushed her into a second album and she there was not a song as big as Wuthering Heights on Lionheart (although Wow came close) -, the Tour of Life was a sensation, and Bush could have taken some time out to rest and plan her next moves. Instead, she delivered Never for Ever in 1980; how many artists can release three studio albums and a huge tour in the space of just over three years?! In my view, Never for Ever is Bush’s most-underrated album. With three huge singles – Breathing (14th April, 1980), Babooshka (27th June, 1980), and Army Dreamers (22nd September, 1980) – released, the album went to number one in the U.K.  – it was the first ever album by a British female solo artist to top the U.K. album chart, as well as being the first album by any female solo artist to enter the chart at number one. It is not a surprise that Never for Ever was so successful, given the way people reacted to her Tour of Life and (an album) that boasted songs like Babooshka, All We Ever Look For and The Wedding List.

Also, this was the album when a more political tone was coming into her music. Breathing is from the perspective of a fetus who is aware of nuclear war outside the womb; Army Dreamers concerns the waste of young lives who are sent to war to die. The mix of the more accessible tracks and those with a bigger message made it Bush’s most complete and lyrically varied album to that date. Although Bush is not a perfectionist – she has said so herself -, she is someone who makes sure songs are right, and that can often mean doing multiple takes to get the right sound. Bush was only twenty-two years old when Never for Ever was released, and I listen back almost forty years later and marvel at the sheer scope, confidence, and quality of the record. Maybe the inclusion of more political songs stemmed from a (patronising) interview Bush was subjected to by Danny Baker back in 1979 where there was an impression (from Baker) that Bush was nothing more than a fluffy Pop artist; someone who was a bit hippy-dippy and lacked seriousness. Regardless, Never for Ever is a remarkable album, and you just know there are alternate takes and little gems that are in the Kate Bush vault. I realise Bush has released remastered sets that includes original studio albums and some rarities. Fascination regarding her work continues, and I think Never for Ever’s fortieth later in the year warrants celebration and new inspection. It was a new phase in her career, and she would shift directions two years later when releasing The Dreaming.

I am not sure how many alternate takes and tracks there are left in the archives, but there are B-sides that could be included onto the original album. Some might say the fact we have Never for Ever in remastered form means that, two years from that, it might not be a necessary release. Like The Beatles and other bands that have seen classic albums released with extras on their anniversary, it is a rare chance for fans to get a more detailed insight into the creation of an album; to hear early versions of huge songs and little snippets from the studio. Nearly forty years after the release of Bush’s third studio album, it still sounds unlike anything else. The same can be said for her fifth studio album, Hounds of Love. Released in 1985, it is widely considered to be her finest album. It received tremendous and impassioned reviews when it was released, and is her most accomplished work. With The Ninth Wave second side to the album – the story of a woman out at sea and waiting to be rescued – to the more accessible first half, Hounds of Love is a masterpiece. Only twenty-seven when Hounds of Love was released, it is another album of extraordinary ability and depth from an artist so young. After the rather stressful process of recording The Dreaming, Bush needed to make some changes.

That album was her most experimental to date, and her record label, EMI, were a bit disappointed by its relatively poor sales and the fact it took her two years to release another album after Never for Ever – now, two years seems a pretty quick turnaround! In 1983, Bush discovered a fantastic space in the countryside that allowed her to move out of London; she found this wonderful barn/facility that she turned into her own studio and, with her boyfriend, Del Palmer (her engineer and long-time friend and performer), and family close, it was a hugely happy and productive time. Songs like Running Up That Hill, Cloudbusting and Hounds of Love are instantly recognisable; The Ninth Wave is this engrossing and wonderfully rich series of songs charting the isolation of a woman at sea who, happily is rescued as she sees all of her hope fade away. Hounds of Love is considered one of the 1980s’ best albums, and it has not had an anniversary release yet. Maybe a thirty-fifth anniversary is not that important but, consider the fact Tears for Fears have released a thirty-fifty anniversary set for the less-adored Songs from the Big Chair, and it makes me wonder whether Bush or EMI will dip into the vault and bring out a Hounds of Love special. It is a wonderful record that Bush is very proud of and counts as one of her all-time favourite releases – I think 2005’s Aerial remains at the top of her list.

When it comes to reviews, one would be pushed to find one that is anything less than glowing and radiantly positive. This is AllMusic’s take on Kate Bush’s 1985 masterwork:

“Kate Bush's strongest album to date also marked her breakthrough into the American charts, and yielded a set of dazzling videos as well as an enviable body of hits, spearheaded by "Running Up That Hill," her biggest single since "Wuthering Heights." Strangely enough, Hounds of Love was no less complicated in its structure, imagery, and extra-musical references (even lifting a line of dialogue from Jacques Tourneur's Curse of the Demon for the intro of the title song) than The Dreaming, which had been roundly criticized for being too ambitious and complex. But Hounds of Love was more carefully crafted as a pop record, and it abounded in memorable melodies and arrangements, the latter reflecting idioms ranging from orchestrated progressive pop to high-wattage traditional folk; and at the center of it all was Bush in the best album-length vocal performance of her career, extending her range and also drawing expressiveness from deep inside of herself, so much so that one almost feels as though he's eavesdropping at moments during "Running Up That Hill." Hounds of Love is actually a two-part album (the two sides of the original LP release being the now-lost natural dividing line), consisting of the suites "Hounds of Love" and "The Ninth Wave."

The former is steeped in lyrical and sonic sensuality that tends to wash over the listener, while the latter is about the experiences of birth and rebirth. If this sounds like heady stuff, it could be, but Bush never lets the material get too far from its pop trappings and purpose. In some respects, this was also Bush's first fully realized album, done completely on her own terms, made entirely at her own 48-track home studio, to her schedule and preferences, and delivered whole to EMI as a finished work; that history is important, helping to explain the sheer presence of the album's most striking element -- the spirit of experimentation at every turn, in the little details of the sound. That vastly divergent grasp, from the minutiae of each song to the broad sweeping arc of the two suites, all heavily ornamented with layered instrumentation, makes this record wonderfully overpowering as a piece of pop music. Indeed, this reviewer hadn't had so much fun and such a challenge listening to a new album from the U.K. since Abbey Road, and it's pretty plain that Bush listened to (and learned from) a lot of the Beatles' output in her youth”.

It is a remarkable album, and people are still hugely moved by Hounds of Love. It is great that one can buy Hounds of Love on vinyl – it was hard to get a new copy before 2018 -, and I play the album now and then. I would love to see whether there are alternative versions of the tracks from the album.

Like Never for Ever five years before, I can imagine Bush and her musicians/engineer working through these songs before the finished version came about. I know for a fact one of the singles from Hounds of Love, The Big Sky, started out completely differently, and it was a struggle getting the song from where it started to where it ended up. I think a thirty-fifth anniversary edition of Hounds of Love could include alternate takes/early versions, some snippets of reviews around the time the album was release, in addition to the original album and B-sides. It would expand on what is already out there and give people a chance to experience this legendary album in a new light. As I keep saying, I am not sure what Bush’s plans are this year and whether there is a new album being worked on. Even if she is releasing something later this year, I do think there is a demand and genuine space for anniversary editions of two of her best albums. Bush has shown that she is not adverse to looking back, and I don’t think she would be repeating herself if Never for Ever got a special edition to mark its fortieth, and Hounds of Love’s thirty-fifth was celebrated with a new set. I, and so many other music fans, love that studio process and wondering how these immense songs began and how they changed through the recording process. Never for Ever and Hounds of Love arrived five years apart, but they are extremely different alums that arrived, in a way, after intense periods in Bush’s life – Never for Ever after touring and a relentless first couple of years; Hounds of Love followed the busyness and draining (but exceptional) The Dreaming. 1980’s Never for Ever and 1985’s Hounds of Love are two remarkable albums from…

IN THIS PHOTO: Kate Bush captured in 1985/PHOTO CREDIT: Guido Harari

A true genius.

FEATURE: Drama and Common Sense: The Dominance and Importance of U.K. Grime and Rap

FEATURE:

Drama and Common Sense

IN THIS PHOTO: Dave won the Best Album prize at this year’s BRIT Awards for PSYCHODRAMA on 18th February

The Dominance and Importance of U.K. Grime and Rap

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IT was the BRIT Awards earlier in the week…

IN THIS PHOTO: Lewis Capaldi won two awards at the BRITs

and there was a mixture of surprise and the expected. On the expected side of things, there were some great performances – including Billie Eilish premiering her new Bond theme -, and Lewis Capaldi walked away with a couple of awards - he won the Best New Artist award, and he won Song of the Year for Someone You Loved. I was surprised Mabel won Female Solo Artist as, nominated alongside her, was Charli XCX and FKA Twigs. I have nothing against Mabel, but I think FKA Twigs was more deserving. Perhaps it was a Brit-appropriate win as, in terms of music, they tend to go for the more commercial artists rather than those who have released stronger, deeper worker. This BBC article rounds up the winners and highlights:

“Mabel won best female artist, and was congratulated by her mother, Neneh Cherry, who took home two Brits exactly 30 years ago.

Billie Eilish choked back tears as she accepted the award for best international female, having been overwhelmed by the audience's response to her performance minutes earlier.

"I felt very hated recently," said the 18-year-old, who had earlier told the BBC she had stopped reading comments on social media.

"And when so was on the stage and I saw all you guys smiling at me… It genuinely made me want to cry. And I want to cry right now, so thank you."

Best male artist went to Stormzy, who performed a stunning medley of songs from his second album, Heavy Is The Head, accompanied by more than 100 performers, including a gospel choir, a saxophonist, and Nigerian artist Burna Boy.

The night opened with a brief tribute to Love Island host Caroline Flack, formerly a backstage presenter at the Brits, after her death on Saturday.

"She was a kind and vibrant person with an infectious sense of fun," said the show's presenter Jack Whitehall.

"I'm sure I speak for everyone here when I say our thoughts are with her friends and family."

There were several references to the lack of female nominees at the ceremony; with Paloma Faith and Foals saying they hoped for better representation at next year's awards.

Whitehall also acknowledged the imbalance as he introduced the award for best female, saying: "Environmental issues have been a big theme of awards show this year. And in the spirit of sustainability the Brits has been recycling all the same excuses for why so few women were nominated".

It was a night of fun on Tuesday (18th), and there were no massive upsets or any real surprises. That said, many expected Lewis Capaldi to win Male Solo Artist and Divinely Uninspired to a Hellish Extent to scoop the Mastercard Album of the Year. It is good that, unlike previous years, there was diversity in regards the type of music celebrated.

It is not all about chart-based Pop and, in a year that is still having to answer criticism of gender imbalance, the fact that several black artists won awards, is a positive step. A couple of things struck me about the change of tide at the BRIT Awards. Before I explain, here in a piece that reacts to a standout performance from Dave:

“Rapper Dave performed a politically charged version of his song Black at the Brit Awards, before picking up the biggest prize of the night for his album Psychodrama.

The 21-year-old accused Boris Johnson of being "a real racist" in additional verses, before touching on the Grenfell Tower victims and the Windrush generation.

He also criticised the media's treatment of the Duchess of Sussex, and paid tribute to London Bridge terror attack victim Jack Merritt as "my brother in arms".

"It is racist whether or not it feels racist/The truth is our prime minister's a real racist," he rapped, later adding: "Now if you don't want to get it then you are never gonna get it/How the news treats Kate versus how they treated Meghan".

Maybe the lack of progress – regarding female artists not being nominated – and few shocks/surprises (there was not a lot of controversy or rebellion) meant that, in many ways, it was business as usual. The most extraordinary and powerful moments came from Dave and Stormzy.

It got me thinking about how music has changed and how the words ‘popular music’ have also shifted meaning. When I was growing up, popular music was dominated by Pop artists and Rock bands. These acts, largely, put out feelgood songs, with hooks and big choruses. Although Mabel and Billie Eilish won awards on Tuesday, listen to the type of music they make, and it is very different to Pop of the past. Eilish makes slightly darker music, more reliant on atmosphere and innovation rather than epic choruses and a big sound. Mabel is a commercial artist and, whilst her songs appeal to a certain demographic, they do not necessarily appeal to a wider audience and stay in the head. Everyone is entitled to their own opinion, but I am not a fan of modern Pop music (as a genre), and I find a lot of it rather boring and forgettable. I am also not a fan of Rap and Grime – not as much as I used to be –, but one cannot deny its importance. In many ways, the dominance of Pop and Rock has been replaced by Rap and Grime. If Pop, Rock and other genres were the biggest scenes in years past, they are not necessarily as powerful as they were before. Artists right across the spectrum are bringing politics and important themes into their music, but it seems that artists like Dave and Stormzy are representative of modern times and needs.

Even though the music is angrier and less melodic than popular sounds of years past – which is why I only occasionally dip in and out of Grime and Rap -, it shows that music fans want truth and artists who speak about the big things. From rallying against racism and the Government, to addressing gentrification and crime, artists like Dave are doing what Pop, Rock, and Punk artists used to do before: get people standing to attention and staying in the mind. Maybe the fact we are responding to more urgent and political music reflects a troubled time. Even though I hanker after the positive Pop of my youth, one cannot ignore young artists doing their own thing and producing music that resonates and connects. Rather than appeal to big Pop markets or to labels, the best Grime and Rap artists of today are speaking to and for those without a voice and, with no barriers, sending their message out to the masses – one can throw in artists like slowthai and Little Simz, who are also producing some sensational music. The burgeoning British Grime and Rap scenes are speaking volumes and moving people in a way that modern Pop and Rock cannot. The shift in tastes is not really a surprise. Whilst I do think music of the 1980s and 1990s was stronger because of its memorability and positivity, one has to accept that the 2010s (and 2020s) were defined by other sounds and lyrics themes. The finest Grime and Rap artists of today are more truthful and inspiring than most politicians and, in these tough times, they are…

IMAGE CREDIT: GQ

BRINGING people together.

FEATURE: Putting Music Back on the Screen: Is There Too Much Choice?

FEATURE:

Putting Music Back on the Screen

PHOTO CREDIT: @spencerimbrockphoto/Unsplash

Is There Too Much Choice?

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I was reading an interesting article…

PHOTO CREDIT: @lastly/Unsplash

that argued how we need a return for MTV. I have covered this topic before but, in those cases, it was a slightly nostalgic throwback to the days when music had more substance and there were fewer choices. Now, every music taste is catered for. There are artists in every genre releasing great music all of the time, and streaming allows us easy access to whatever sounds we like. It is great to have so much freedom and choice but, when there are so many artists and it is hard to keep abreast of everything going on. I have talked before about the lack of scenes and movements in modern music, and how we need some unity now. I can understand why MTV and music television faded away. When sites like YouTube and, before then, MySpace, arrived, it helped give artists access to the world. Before then, it was only the biggest acts and those with record deals that could get their music heard. The fact we have these platforms for artists to get their music heard is not only good for them, but it allows the listening public more choice and diversity. I would not want to change this but, as a recent article from Consequence of Sound highlights, we need T.V. stations like MTV – how it used to be – back:

“Even the most die-hard fanatics of the underground can admit that we owe a lot to the famed “Music Television” because it gave the world many of the acts we couldn’t imagine our lives without. No matter how punk rock you are, MTV introduced us to many of the artists that define us, still. From Michael Jackson and Madonna to Nirvana, Limp Bizkit, and Pantera. From Tupac to N’Sync. Whatever your personal feelings are towards these artists, MTV opened a lot of doors for genres, and those toes in the water made us see subcultures with new, interested eyes.

PHOTO CREDIT: @stereophototyp/Unsplash

It’s nice to have everything at our fingertips. YouTube is at the ready, iTunes locked and loaded, but there are too many choices. MTV worked because Headbangers Ball, YO! MTV Raps, Alternative Nation, and 120 Minutes fostered a community.

Those shows worked on the simple premise of if you like this thing, let us show you these other things like it. There are blogs curated to tastes and algorithms that help us to discover similar artists, but the shared cultural experience of the music video, not knowing what would come next, the charisma of the host … all of those things played a role in the growth of the music. There’s value to that magic.

With all of the options for streaming, for specialized channels, could a music-driven version of MTV make a cultural comeback? Would the kids adopt it? Considering how hyper-fractured our cultural touchstones are, I think the idea of shared reality is quaint, but also possible and needed. If you’re reading this, you love music. So, why can’t we get together like weirdos, leave the TV on all night, talk over fast food, and wait for that one moment of pure rock and roll fury to surprise us”.

PHOTO CREDIT: @ytcount/Unsplash

I agree with a lot that is written in the article. Whilst I do agree there was a higher standard of music before the introduction of streaming sites and options like YouTube, I think the biggest problem now is to do with division and too many options in too many places. I think there are some great artists that do not get discovered because it is hard to experience everything; others that are too exposed and, in a music world where there are countless artists, I do not think there is any structure or real magic anymore. I do not think one could return to the heady days of Top of the Pops or MTV because, let’s face it, there is something about today’s music and culture that seems less memorable and enticing as years ago. I do think there could be a modern relaunch of MTV – or a bespoke, new music channel – that would put focus on the importance of the music video; spend some time curating segments featuring the best new artists and, like days of old, put the album back in focus. There would still be streaming and all the existing options but, for those who want some clarity and depth to music discovery I think, ironically, a return to the older days is needed. Look around the channels we have now and there is only really one British music show: Later… with Jools Holland. By that, I mean shows that feature live performances and are not chart shows or whatever MTV throws out these days. So many artists perform on cookery or news shows because that is the only T.V. exposure available. I tune in to various radio stations, but I feel like I am missing out on a lot and, with the pace of modern life, things tend to zoom past. I am not sure what the solution would be, but it is obvious that there have been changes for the worse in the music industry. With all the choice we have, have we lost a lot of the feeling and excitement? I think so.

PHOTO CREDIT: @jamakassi/Unsplash

Maybe we are too modern to see a full return to music television, but I do maintain there is value in stations like MTV and how they used to be. I am not discouraging artists from making music, but even the most ardent music fan has to admit that there is a huge amount of choice that can be quite difficult to absorb. I am not sure we would remember classic music as we do now were it not for music television and the fact there was this visual experience. Not only, as I have said before, does music television allow us the best fresh sound; we can also learn about music of the past and important events. That question as to whether this generation would dispense with – or combine music television – streaming or make it less a part of their life is hard to say. We have streaming television services, so it sort of ties in with my features about music television and combining the elements of classic music television – videos and presenters – and integrating the best elements of today’s music culture (the fact new artists can get their music heard). I do feel, the more we are flooded with music the more we need direction and focus. I am not saying MTV or a new channel would instantly do that, but it would allow us to reconnect with music and culture in a way that we have not done for many years – the station could also bring in documentaries and music news. I do love modern music but I think, between streaming, radio, and every other platform, it can get…      

PHOTO CREDIT: @sickhews/Unsplash

A bit too much!

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

FEATURE:

Sisters in Arms

IN THIS PHOTO: Charlotte Dos Santos/PHOTO CREDIT: Nathan Bajar

An All-Female, Winter-Ready Playlist (Vol. VII)

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IT is another weekend…

IN THIS PHOTO: Emily Burns

and the weather is a little better than it was this time last week. Yet again, there are some phenomenal female artists putting out some sensational music. This week has been a really great one for music and, as you can see from this playlist, so many terrific tracks have come from women. As always, the variety is staggering; covering so many different sounds and genres. Have a listen to this packed playlist, and I know it will give your weekend a boost and buzz. Settle back, play these tracks and…

IN THIS PHOTO: Wye Oak/PHOTO CREDIT: Ryan Obermeyer

LET them work their magic.  

ALL PHOTOS (unless credited otherwise): Artists

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Coach Party – Breakdown

PHOTO CREDIT: Rosie Ann Butcher

Sophie Morgan – Bar to Bar

Call Me Loop – Downhill from Here

Cameron Hayes – Drown

Orla Gartland – oh GOD

Emmi Elliott – Face to Face

PHOTO CREDIT: Eddie Chacon

Best Coast – Graceless Kids

Caylee Hammack – Small Town Hypocrite

IN THIS PHOTO: Anna Calvi

Anna Calvi (ft. Charlotte Gainsbourg) – Eden (Hunted Version)

PHOTO CREDIT: Bao Ngo

Ada Lea – woman, here

PHOTO CREDIT: Alysse Gafkjen Photography

Katie Pruitt – Loving Her

Agnes Obel – Can’t Be

PHOTO CREDIT: Vanessa Heins

Sarah Harmer – Wildlife

PHOTO CREDIT: @cf.watkins

Wilsen – Wedding

PHOTO CREDIT: Aaron Lee

Yumi Zouma - Southwark

Allie X – Regulars

Pip Millett – Deeper Dark

Mae Muller – Therapist (Acoustic)

April – The Impossible Task of Feeling Complete

Grimes – New Gods

Lanterns on the Lake – Secrets & Medicine

Maggie Miles – WHATDOISAY?

PHOTO CREDIT: @rayana

Banoffee – Chevron

Charlotte Dos Santo – Helio

Gracie Abrams – 21

ShitKid – Always Amber

GRACEY – Gone

Emily Burns – Hello

Jessy Lanza – Lick in Heaven

Wye Oak – Walk Soft

FEATURE: The February Playlist: Vol. 4: Even If You Make Bad Decisions, We Will Always Love You

FEATURE:

The February Playlist

IN THIS PHOTO: Thundercat

Vol. 4: Even If You Make Bad Decisions, We Will Always Love You

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THIS week is not short…

IN THIS PHOTO: Charlotte Gainsbourg/PHOTO CREDIT: Interview Magazine

of huge tracks from mainstream artists and those slightly away from the spotlight. We have fresh cuts from The Strokes, The Avalanches (ft. Blood Orange), and Anna Calvi (ft. Charlotte Gainsbourg). Thundercat, Grimes, and Agnes Obel have songs out, as does Morrissey, The 1975, the incredible Sparks, and Glass Animals. It is an impressively full and varied week of terrific music. No matter what your tastes, there should be something in the playlist that tickles your fancy! It has been exciting seeing some real great songs arrive this week from some of the world’s most popular artists. If you need something to give your spirits a kick and a bit of energy, get involved with the best tracks…

IN THIS PHOTO: Grime

OF this week.

ALL PHOTOS/IMAGES (unless credited otherwise): Artists

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The Strokes – Bad Decisions

The Avalanches (ft. Blood Orange) - We Will Always Love You

IN THIS PHOTO: Anna Calvi

Anna Calvi (ft. Charlotte Gainsbourg) - Eden (Hunted Version)

Thundercat - Dragonball Durag

Grimes – You’ll miss me when I’m not around

PHOTO CREDIT: Danny Clinch

Pearl Jam – Superblood Wolfmoon

The 1975 – The Birthday Party

Glass Animals - Your Love (Déjà Vu)

Agnes Obel – Broken Sleep

Sports Team – Here’s the Thing

The Districts - Velour and Velcro

Sparks - Self-Effacing

Waxahatchee – Lilacs

Morrissey - Knockabout World

Wye Oak – Walk Soft

PHOTO CREDIT: Alex Knowles

Saint Saviour (ft. Willy Nelson) - Rock Pools

Aitch – MICE

Orla Gartland - oh GOD

Ozzy Osbourne - Eat Me

The Weeknd – After Hours

Coach Party – Breakdown

Yves Tumor – Gospel for a New Century

Biffy Clyro – Instant History

PHOTO CREDIT: Eric Gyamfi

Moses Sumney – Neither/Nor

Charlotte Dos Santos – Hello

Best Coast – Wreckage

Gerry Cinnamon - Where We're Going

The Lottery Winners – Headlock

PHOTO CREDIT: Kerrang!

All Time Low - Sleeping In

Maddie Jay - The Peanut Butter Song

FEATURE: Not Your Average Day Out… Why the World Needs an International Museum of Music

FEATURE:

Not Your Average Day Out…

IN THIS PHOTO: Stevie Wonder

Why the World Needs an International Museum of Music

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ONE of the problems with suggesting something…

PHOTO CREDIT: The Natural History Museum, London

as unwieldly as an International Museum of Music is, as you can imagine, that the world of music cannot be easily contained and explained in a single building. We have the superb National History Museum in London; one can also visit our Science Museum, and these facilities are invaluable in terms of education and delight – in fact, I have been meaning to return to the Natural History Museum for years now! They are great places to take the family because, not only is there the mix of interactive sections and displays; one can also enjoy time leisurely walking around in a calm and interesting environment. The fact one can also visit for free is another big bonus! One hopes these great institutions remains for decades and centuries more, as they benefit so many people. Whilst we house natural history and science in full wonder in splendid locations, what of music? There is an argument that one can stream and play music, whereas it is hard to get a tangible sense of natural history and science online. That is fair enough, yet there is the educational and tangible side to music that is either impossible to get online or very difficult. We have smaller music museums in this country; there is the British Music Experience in Liverpool, and there is the Universal Hip Hop Museum in the U.S. If you want a fix of music goodness, there are choices out there. The Internet is a valuable resource, but there is so much information out there and so MUCH music, one can miss out on a lot, and it can be tricky to hear and see it all!

PHOTO CREDIT: @mparzuchowski/Unsplash

If one does bring about an international museum for music, why not one for film too? That is another valid point, but I think music holds greater power and has made a bigger impact on the world than film. Music joins us all, and it is an international language. I have been wondering why there is not a museum as impressive and big as London’s National History Museum in the world as, surely, it would be a hit – apologies if there is an international music museum or something of that stature in the world (I have done a Google search and nothing comes up!). America is pretty well covered when it comes to smaller musicians that cover specific areas of music – including the National Museum of African American Music. Years ago, I wrote features mooting the possibility of a music café that mixed elements of a museum – interactive features and exhibits – with a traditional café. Maybe that concept is a slightly flawed design, but I think a museum could work really well. Of course, as I said at the top, one could not include every aspect of musical history in a building. That said, look at the size of bigger museums in London, and there is a lot you can pack in! In terms of what would be included, there would be different sections that focus on different areas and times - from Motown and Grunge across to Britpop and back to the Pop of the 1960s (The Beatles themselves deserve an entire wing!).

IN THIS PHOTO: Madonna in 1983

I think one gets complacent on the Internet, and we often do not have time to listen to a lot of music; if we do, it is either our reliable favourites or brand-new music. A museum of this size would not be only about older artists: indeed, new technology and music would be part of it. From exhibits about changing technology and devise – the Sony Walkman and iPod, for instance -, to big musical events, documentaries, and festivals, I think a lot of people would go. At the moment, we have some great music museums in the world that have incredible features such as instruments, classic costumes and albums. Even in America, I do not think there is anything as comprehensive as a National History-style museum. Just think about Hip-Hop itself and how much history there is there – whilst there is a Hip Hop museum in America, incorporating aspects of it into a one-stop museum would open fresh eyes to a genre and scene they might not be familiar with. There have been some iconic gig performances, music videos and music documentaries through the years and, rather than sift through YouTube or wait for them to appear on T.V., having access to them in a special space – either a cinema-type section or interactive displays – would be much more convenient. This weekend, I am writing a feature regarding new music discovery and whether a return to MTV’s classic dynamic – lose the reality T.V. shows and stick with videos and interviews – would help at a time when we are flooded with new music. The legacy and importance of MTV could also feature (in a museum).

IN THIS PHOTO: The Beatles in 1965/PHOTO CREDIT: PRNewsFoto/Apple Corps Ltd./EMI Music/AP Images

In terms of what, logistically, the museum would look like, I think it would be a three-floor space where there is a similar feel to somewhere like the Science Museum. Ranging from displays of music memorabilia and screens showing videos and documentaries, there would be bespoke areas that allow visitors to immerse themselves in a way that you cannot on the Internet. I think the Internet is so vast, and we can get overwhelmed by all the music and information out there. Having a single space where one could browse and digest information in a more ‘leisurely’ way seems like a good idea – I think there is a definite market and desire. As to where it would be based, logically it would have to be in the U.S. or U.K. – either in a city like New York/Los Angeles or London, Manchester or another big city (Glasgow and Liverpool are possibilities). As we move forward and become advanced, oddly, I think we are losing a bit of what made music special; at the very least, it is challenging taking in all the music, options and various websites around. Having a museum where one could learn, interact and have that physical side would, I feel, resonate and connect with so many people. It is in the concept stage, and I realise it would take – if it were to happen – years of planning and financing to bring it to life. I am always fascinated by music, but I find myself yearning for something more communal and interactive; a place I can go that would open my eyes and imagination in a way that has not happened for years. If an International Museum of Music were to see the light of day, I think it could stand…

PHOTO CREDIT: @milltownphotography/Unsplash

ALONGSIDE the best museums in the world.

FEATURE: Filter It Out: Instagram, Social Media and Protecting the Mental-Health of Musicians

FEATURE:

Filter It Out

PHOTO CREDIT: @anthonytran/Unsplash

Instagram, Social Media and Protecting the Mental-Health of Musicians

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MANY of were rocked by the news of…

PHOTO CREDIT: @freestocks/Unsplash

Caroline Flack’s suicide last Saturday (15th February). The former Love Island host was hardly allowed a moment to breathe by the press, and she was subjected to trolling on Twitter. There is no telling what exactly caused her to take her own life, though one can be sure the press intrusion, mocking and the nastiness she received online played their part. It is a desperately sad case, and the loss of a hugely popular figure and incredible human will, I hope, lead Twitter and other social media platforms to rethink the way they tolerate trolling. I am not saying there will be radical change, but social media sites and the tabloid press, between them, need to take their share of the blame – not to mention the trolls who perpetrated the abuse that, doubtless, would have impacted Flack considerably. Her death hit me very hard – despite the fact we never met -, and it, sadly, brought up the toxicity of social media and how it has allowed everyone and anyone to say anything they like. When it comes to online abuse and privacy invasion, artists are not immune. Nobody should have to face criticism or such ugliness on Twitter, and it shocks me so many artists have to shut down their social media account or had to come offline for a bit. Although Billie Eilish is a megastar whose has won awards and triumphed lately, one would hope that she would face very little negativity and unhappiness.

IN THIS PHOTO: Billie Eilish/PHOTO CREDIT: Vanity Fair

As this article explains, Eilish has had to step away from Instagram:

“Billie Eilish has announced that she is no longer reading the comments left on her Instagram account. Speaking to the BBC with her brother Finneas O’Connell about their Bond film theme song “No Time to Die”, the 18-year-old also shared some candid thoughts about the social media app and its affect on her mental health.

When asked whether she reads everything on Instagram, Eilish said she recently stopped reading comments, saying: “It was ruining my life, once again.”

O’Connell added: “I think you might see someone like a famous celebrity and you may think, ‘Sticks and stones, nothing I say is going to be potent to them… but it’s all very equal online.”

Eilish, who took home five Grammys this year for her debut LP WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?, continued: “Cancel culture is crazy. The internet is just a bunch of trolls. A problem is that a lot of it is really funny. I think that’s the issue, I think that’s why nobody really stops”.

It is interesting that Eilish mentions humour and how people find online abuse funny. I guess, when there is no filter or punishment, people feel like they can write anything they want and feel protected. One bad thing about Instagram and Twitter especially is how many fans artists accrue, and how easy it is, despite lots of positive comments, to be affected by the bad ones.

PHOTO CREDIT: @burst/Unsplash

Many might say artists should come off platforms like this, but they are selling their music and want to connect with their fans. It is not fair for them to be forced off because some people offer nothing but hatred and idiocy! It is hard to say the true impact of social media trolls across the music industry, but a lot of artists have seen their mental-health impacted by trolls. It is hard enough staying on social media and promoting your music without the negative stuff; adding that into the pot is too much. Others will say people have the right to say what they want and, really, they are just words! I cannot fathom why anyone would post anything hurtful to artists like Billie Eilish or celebrities like Caroline Flack. Although it is good for artists to step away from social media as much as they can afford, it is not a practical solution having all artists remove themselves. They are not the ones spreading negativity and hatred, so why should they suffer? I do think a couple of things need to happen – especially in the wake of Caroline Flack’s death. I do think there should be stricter punishment for those caught trolling; bans need to be imposed too. Whilst it is hard to avoid trolling before it happens, maybe a filter of sort could be applied so that, before a comment is posted on Instagram or Twitter, it goes through moderators. That may sound extreme and unfair on those who are perfectly respectful, but it would mean artists do not have to face the sort of poison that is taking its toll.

PHOTO CREDIT: @tjump/Unsplash

Perhaps an easy solution would be to push adverts and campaigns that outline the effects of trolling; to encourage a kinder community by showing the damage harsh comments can cause. Maybe, when it comes to bigger artists, their label and management could moderate their pages and ensure the comments that reach their artists are free from the sort of bile that so many people have to read. It is clear a tough approach needs to be taken by those who run Twitter and other social media sites. In sheer terms of mental-health impact, trolling and online abusers probably do not realise just how bad it can get, and how their words make someone feel. I think lifetime bans from social media would deter a lot of people and, whilst one could easily make up a name and get a new Twitter account, every effort needs to be made to ensure trolls are not allowed to breed and return to the Internet. I am sure there is a way – it might be costly – to create a programme that can read a tweet or Instagram comment and detects negativity or offensive words; it would mean those words do not reach the Internet and, if someone is caught constantly abusing social media, they could be banned. It is heartbreaking seeing anyone pushed to such extremes by online trolling and a lack of kindness. Society needs to change, and we need to ask why it is okay to attack someone and abuse people we do not know – and ask whether people who do not care about anyone but themselves should be allowed on social media. We need to put first the welfare and mental-health of users above anything else. Big changes need to happen now in order to make social media…

PHOTO CREDIT: @lukeporter/Unsplash

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