FEATURE: Revisiting… Dream Wife - So When You Gonna…

FEATURE:

 

 

Revisiting…

  

Dream Wife - So When You Gonna…

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IN preparation for…

a new album by Dream Wife, I wanted to return to their previous/current one. The third album from Alice Go, Rakel Mjöll, Bella Podpadec arrives on 9th June. Social Lubrication is going to be among the best albums of this year I can feel. In terms of material, singles such as Orbit, and Hot (Don’t Date a Musician) are among the best cuts of Dream Wife’s career so far. The London-based (originally from Brighton) band are among the most important and phenomenal we have. Following from their eponymous debut album of 2018 – which got positive reviews for the most part -, they followed it up with the amazing So When You Gonna… Another ‘pandemic album’, it was released on 3rd July, 2020. Like all artists who release an album, that need to tour it was crucial. Dream Wife were a bit restricted. That is not going to be the case with their approaching third album. They will be able to take that on the road for sure! In spite of the fact that So When You Gonna... came out in 2020, it still resonated and found a big fanbase. Reaching eighteen in the U.K., it was also accompanied by some terrific reviews. I shall come to a couple of those. First, I want to highlight an interview with the band from last year. There was not a lot of promotion around the album at the time. I think there may have bene a couple of press interviews and some online stuff but, for such a terrific trio, I thought that more big publications and websites would have come their way.

Via Zoom, Rakel Mjöll spoke with The Brighton Source about what was coming next for Dream Wife. It is clear that So When You Gonna... struck a chord with so many people. A hugely celebrated album, it must have been a relief to get it on the road:

“After releasing their second album ‘So When You Gonna…’ during the formidable first peak of the pandemic, Dream Wife have now embarked on a long-awaited UK tour. They’ve also found time speak to SOURCE, which is why I’m peering through a box-like window on a laptop that’s seen far better days, meticulously checking for visible remainders of this morning’s breakfast on my jumper. This is the all-too-familiar anxiety of the Zoom call, a ritual that only a post-pandemic society could have become accustomed to. Within a few moments Dream Wife’s Rakel Mjöll greets me with a view of a small, homespun practice space in London.

I’m eager to discuss all that’s on the horizon for Rakel and her bandmates, guitarist Alice Go and bass player Bella Podpadec, in the coming months. So I plunge straight in with questions about the tour, which is headed to Brighton where the punk rock/indie trio originally formed.

Rakel: “Our whole album is about our love for live music. It was weird releasing an album during a time when live music wasn’t an option. It’s really great to finally get to take these songs out on the road and see them come to life. This band is very much a live band, we completely thrive off and are inspired musically by a live show setting and the energy and the magic that happens. It inspires most of our music and how we approach creativity.”

As we talk, there’s an almost childlike sense of elation that cascades out of each response. The current tour seems like a cathartic transformation for the group after the perpetual uncertainty of the pandemic. It has been a heavy weight on many musicians, especially those who seek inspiration in the energy of live performance. The chance to reconnect and share their new songs with a live audience was a long time coming, with the band first returning to festival stages last summer.

Rakel: “It was a huge contrast to our debut album where the first year we played 120 shows, and 155 the year after. We were consistently in a van or at an airport and just playing these shows, often not even realising what city we were in, but that was the beauty of it all. We’re not really a band that can go to a cabin for a month and write a rock album, it’s a lot better for us being inspired by people.”

 Despite the postponed tour, ‘So When You Gonna…’ reached #18 in the UK Album Chart and was named one of Rough Trade’s Top 10 Albums of 2020. The record, which was produced by an all female/non-binary engineering team, was flawlessly mixed and produced by Italian record producer Marta Salogni.

Rakel: “We chose Marta because she was simply the best. We were thrilled to work with her. We had the studio for a month and it was such a beautiful time we spent together, it felt really safe which is important when you’re creating something. It’s nice to be able to feel vulnerable whilst also being loud, and to work with people that make you excited to show up. We hired Grace Banks as the engineer and the tracks were mastered by Heather Kedgeree in New York. All these people were incredibly talented in their own fields and we felt so honoured and blessed to work with them.”

“It’s also just really important to practice what you preach, and we speak a lot about visibility. But it’s one thing talking about it and it’s another doing it. I mean hiring people that you believe in and speaking openly about how only 3-4% of western albums currently being produced have a non-binary or female producer on it. That’s such a small number and I think it’s really important to highlight that this is something that really needs to change. It’s no different to how consumers want to change things, like where you buy, where you shop, it’s the same with how you make albums. It’s about how you can contribute to these changes as well”.

I would urge people to revisit So When You Gonna... ahead of the release of Social Lubrication. Their upcoming third album might be the strongest yet! Dream Wife have got stronger and more confident with each album. Growing in terms of their songwriting, I do have a lot of love for Dream Wife and So When You Gonna... The latter is a tremendous album that I want people to have a listen to. This is what NME wrote in their review:

“Brighton trio Dream Wife, who last year headlined one of NME’s Girls To The Front gigs – showcases for female and non-binary artists – have never taken anyone’s shit, and they’re not about to start now. Their stellar self-titled 2018 debut album was stuffed with feminist punk anthems and Rakel Mjöll (vocals), Alice Go (guitar) and Bella Podpadec (bass) have delivered an outspoken, subversive follow-up.

‘Sports!’ is a perfect album opener. With a discordant guitar riff, Mjöll comes in with “fuck sorry / fuck please will you so kindly start again”. It is a call-to-action for womxn everywhere – stop apologising for what you do, and just do it.

‘Sports!’ is an urgent and adrenaline-fuelled song, layered with many different meanings and dripping with sarcasm. The song is an ode to the time the band spent together while writing this record, expelling some of their post-tour energy after spending nearly two years shouting and playing crashing guitars on stages across the world. It’s a playful track full of sport clichés, as Mjöll sings “put your eye on the ball when it’s in your court”, with the song exploring the sexist trope of male condescension in sport. “Do you even play this sport?” she asks ironically.

The song’s hook sees her repeat “put your money where your mouth is” – and Dream Wife certainly do that. The band have been outspoken about the gender inequalities in the music industry and wider world since their inception, and worked with an all-female recording team for ‘So When You Gonna..’., including producer and mixer Marta Salogni (who’s helmed projects from Björk, Holly Herndon and FKA Twigs).

The team of womxn who supported this album can be heard throughout the record – it just sounds organic and comfortable. “It was amazing to work with this community of womxn who are supporting each other in an industry that is so male-dominated, bassist Bella Podpadec has said in a statement. “It was a way of us practicing what we preach.”

‘So When You Gonna…’ is not all heavy garage-punk, though. Though the album is made up of shorter, punchy tracks, it is filled, too, with more emotional, quieter heartfelt moments too, which switches from riot grrrl band to indie anthems. The emotional crux of the album occurs on ‘Temporary’, a song about miscarriage: “If the heartbeat fails / Know I’m here / With a full embrace / How is it to love and live temporary?” It’s refreshing to see a topic usually so surrounded in shame sung about so openly, the band not shying away from describing the pain miscarriage causes, but also uplifting the womxn who have experienced it. “With every loss, how do you carry through? / Know you’re brave to jump back into / I’ll applaud it”.

On ‘After The Rain’ they address abortion, another taboo and difficult topic. As stories of reproductive justice and abortion rights dominate headlines, Mjöll lay herself bare, revealing “I’m feeling very honest today” on the first line of the song. Following in a similar  vein to that of the band’s 2017 song ‘Somebody’, which explored sexual assault, the music slowly crescendos as Mjöll cries out: “It’s my choice, my life / iI’s my body, my right”.

The band are the queens of vocal asides, a fact no more apparent than on the title track, which sees spoken-word missive overlap with electrifying screamed vocals. “Pull me closer” Mjöll sings before the whispered response: “just a little bit.” Here they’re telling womxn to speak up for what they want, to be unashamed, direct and fully communicate their desires. She repeats the lyric “so when you gonna kiss me?” over and over, until at the end, we get a classic Mjöll vocal aside in the punchline: “Too bad they were a bad kisser.”

So ‘When You Gonna..’ is also a call out to a disenfranchised generation. Dream Wife challenge the next generation of singers, producers, mixers, writers, guitarists, filmmakers and more to just do it. “You do you / Don’t waste your time with fools who don’t value you”. At its core, the album is about stopping waiting and starting doing, with a ‘now or never’ attitude. On ‘RH RN’ – a shortened version of the phrase ‘right here, right now’ – the band repeat “We are the youngest we will ever be / We are the oldest we have ever been / Right here right now”. It’s a call to live in the present, an invitation to stop waiting for perfection and to use your talents as best you can.

With a mixture of classic punk and dance-pop, Dream Wife also hark back to the early New York sound of the Yeah Yeah Yeahs, with a heavy dollop of riot grrrl attitude. The band have extended the ‘girls to the front’ ethos into every part of themselves, from production to music to live performances. With so much honesty packed into the 11 tracks, the album is an invitation and a challenge to go after what you want – without apologising for it”.

I will end with a glowing review from The Line of Best Fit. They highlight the wit, variation, importance and urgency of an album from a trio who were definitely breaking through. Building on the promise of their eponymous 2018 debut album, it is a shame that the pandemic curtailed any plans to embark on a big tour and solidify their reputation as one of Britain’s best live bands. In months since, they have definitely confirmed that. With another album due soon, you will want to catch them if you can:

“Dream Wife is a band built on guts – an art school experiment that turned into something special, because they wanted it to and dared to run with it. Whilst not as loud or as brash as their self-titled debut, So When You Gonna… is a record that shows Dream Wife bolder than ever, asking questions and opening doors that few are willing to look at. It asks you what you want and challenges you to go after it.

The opening track, and lead single, "Sports!" is a playful ode to moments spent together in between writing the record, as well as a satire on the seriousness with which people approach sports, with vocalist Rakel Mjöll toying with clichés of sport-talk, singing “dropping balls / missing goals” and “do you even play this sport?” – sarcasm dripping from every word. It’s heart lying in the classic sexist condescension of men explaining sports to women.

"Hasta La Vista" is more subdued in tone, but equally delightful. “It’s about accepting and embracing change and being thankful to what was and what is today” explain Dream Wife, something they found themselves grappling with when returning home after seemingly endless touring in 2018. It’s a far poppier song than any of their previous output – less riot grrrl, more Blondie – but with a very Dream Wife groove. As they sing “hasta la vista baby / ciao / goodbye now”, it feels like a clearing out of old patterns, and a quiet thank you to those same things.

"Temporary" is the warm, emotional peak of the record – it’s a tender song written for a friend of the band who had a series of miscarriages. Mjöll softly sings “know I’m here with a full embrace”, holding loving space for that grief, whilst also gently assuring that “you're brave to jump back into it” and hold onto hope after heartbreak. The band ask intimate, unanswerable questions of “how is it to love and live” when that being is so temporary, inviting listeners to explore their own experiences of loss – whatever that may be.

It’s the album’s titular track that stands out. Coming in fast screaming “WHEN YOU GONNA KISS ME?” – a true punk song, both in sound and sentiment. The band say it is about “wholehearted consent” and “communicating your desires” rather than remaining timid and quiet about what you’re feeling. They are unabashed in expressing their attraction, singing “words begin to fall out of your mouth / what a lovely mouth” and in asking for more. “Pull me closer (just a little bit closer) / by the waist and move me higher up” – it’s direct, specific, and unapologetic for it.

There are one or two slightly lacklustre moments, such as "Hold On Me", which doesn’t feel like it belongs, but they are far outnumbered and outshined by the groove of songs like "Old Flame" and the smart, questioning lyrics of "Validation". It’s a record that challenges complacency – in our personal lives, and in the wider world – and reaffirms Dream Wife’s ‘girls to the front’ ethos. Whilst not as wild as their previous output, So When You Gonna… is as topical and as empowering as the band have ever been. “Fuck sorry / fuck please” when are you going to go after what you want without apologising for it?”.

If you have not heard the brilliant So When You Gonna…, then go and listen to it now. You can pre-order Social Lubrication. I am predicting it will be among the best-reviewed albums of this year. The phenomenal Dream Wife need to be in your life! Such an awesome and essential force, they provided their brilliance through So When You Gonna… This is a remarkable album that you…

HAVE to revisit.

FEATURE: Deeper Understanding Through Moments of Pleasure: Kate Bush’s Director’s Cut at Twelve

FEATURE:

 

 

Deeper Understanding Through Moments of Pleasure

  

Kate Bush’s Director’s Cut at Twelve

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IT is not often I get to…

write about a Kate Bush anniversary in May. She normally releases albums in the autumn and winter months, so to mark a rare spring release is great. Her ninth studio album, Director’s Cut, was released on 16th May, 2011. Comprised of reworked versions of songs from 1989’s The Sensual World and 1993’s The Red Shoes, three of the songs on the album were re-recorded completely. All the lead vocals on the album and some of the backing vocals have been entirely re-recorded; some of the songs transposed to a lower key to accommodate Bush's matured voice. Additionally, the drum tracks were reconceived and re-recorded. It is a great album that was a first for Bush. She had not reconstructed and reworked her older songs before. Reaching number two in the U.K., I wanted to look ahead to the twelfth anniversary of Director’s Cut – and there may be one or two other features about it in the week or so. There are no interview transcripts that I could find, so I wanted to bring in a couple of features/reviews that praise the incredible and unexpected release from Kate Bush. I think that, after 2005’s double album, Aerial, maybe there would be a new album from her a year ore two later. After twelve years, Aerial was a huge relief for those wondering if Bush was still recording! Maybe there were nerves that this was it after we got into 2011. Not only did Bush provide an album in May. In November, she released her current studio album, 50 Words for Snow!

I want to bring in this DIG! feature from 2021. They note how we get this snapshot about how far Bush had come as an artist. You get moments of pleasure from these new versions. Depths to tracks that might not have been there originally on The Sensual World and The Red Shoes. Also (ands forgive the pun!), one gets a deeper understanding of an artist who reworked songs many might not have heard. I also think that Director’s Cut compelled people to check out The Sensual World and The Red Shoes:

“With hindsight, the move looks like a warm-up for Bush’s next album proper, 50 Words For Snow, which followed Director’s Cut’s in November. Revamping her old material also gave Bush the opportunity to right some creative wrongs from her past. Since originally releasing them, she’d grown dissatisfied with the production of both The Sensual World and The Red Shoes.

“I just kind of felt like there were songs on those two albums that were quite interesting but that they could really benefit from having new life breathed into them,” she told Dimitri Ehrlich for Interview magazine. “There was generally a bit of an edgy sound to it, which was mainly due to the digital equipment that we were using, which was state-of-the-art at the time – and I think everyone felt pressured to be working that way. But I still remain a huge fan of [analogue]. There were elements of the production that I felt were either a little bit dated or a bit cluttered. So, what I wanted to do was empty them out and let the songs breathe more.”

Three of the songs (This Woman’s Work, Moments Of Pleasure, Rubberband Girl) were re-recorded completely for Director’s Cut, while the drums on all of the tracks were replaced by studio ace Steve Gadd (Aretha Franklin, Paul Simon, Frank Sinatra, Steely Dan). Danny Thompson was brought in on bass, and new backing vocals were provided by Mica Paris, Jacob Thorn and Kate’s son, Bertie McIntosh. Most importantly, Bush herself re-recorded her lead vocals for each of the song. Taken together, the overhauls give a new perspective on the material – the studio sheen associated with the late 80s and early 90s is stripped back, and the songs feel warmer and more welcoming. What’s more, they better suit Bush’s more mature, less dramatic vocals, bringing out new meaning in her lyrics.

The only song with “new” lyrics was Flower Of The Mountain (originally recorded as The Sensual World’s title track), which, in place of her original lyrics, now used an extract from James Joyce’s Ulysses – just as Bush has originally conceived the song. While the writer’s estate had blocked her from using his text back in 1989, come the recording of Director’s Cut, she was finally granted permission. Joyce’s words – drawn from the novel’s closing soliloquy by Molly Bloom – helped transform the track from a glossy, radio-friendly single into something more considered and languid. A similar effect was achieved on much of the rest of Director’s Cut, notably with a moving take on Moments Of Pleasure which, once an ecstatic celebration of friends and family who had passed away, had been transformed into a hushed elegy.

Meanwhile, Bush saved the most radical reinvention for one of her most-loved songs, This Woman’s Work. Recast as an ethereal ambient ballad, with Bush’s lower vocal range and thoughtful delivery lending it an air of tangible vulnerability, the re-recording also demonstrated Bush’s artistic confidence – at this point in her career, she was free to follow her muse without considering a song’s hit potential. The results led to some glorious music.

Released on 16 May 2011, Director’s Cut may at first have seemed like a curio, but a closer listen reveals a richly rewarding, often emotionally overwhelming set that emphasises how creative and headstrong Bush remained as a writer, musician and producer at the top of her game”.

Happily, the reviews for Director’s Cut were largely positive. It is different releasing an album where you re-record known songs compared to fresh material. It seemed Kate Bush wanted to set things in order and ‘right some wrongs’ before she ploughed ahead with 50 Words for Snow. As we wonder whether this will be the year we get new music from the legend, cast your mind back to 2011 when you discovered that Director’s Cut was coming out. Such an exciting time! This is what The Guardian wrote in their review of Bush’s ninth studio album:

“In the solitary phone interview she gave to promote her first album in six years, Kate Bush offered these TV appearances to explain why she was only giving a solitary phone interview to promote her first album in six years. Under the circumstances, she suggested, wouldn't you push off to the land of do-as-you-please as soon as possible? Nothing, it seems, inspires inscrutable behaviour quite like the bloke off That's Life! quizzing you about your pimples.

In 2011, with the whole nonpareil musical genius/dippy woman who says "wow" issue firmly sorted out in most people's minds, her behaviour seems to grow more inscrutable still. Her new album, which admittedly took only half as long to make as its predecessor, isn't actually a new album, despite Bush's insistence to the contrary: it consists entirely of new versions of songs from 1989's The Sensual World and 1993's The Red Shoes. In fairness, you can see why she's chosen to point them up. They tend to be overlooked in her oeuvre, more because they separate her twin masterpieces Hounds of Love and Aerial than because of their content, although The Red Shoes is perhaps more muddled than you might expect, given her legendary perfectionism. Nevertheless, the decision seems to have bamboozled even her diehard fans, whose trepidation was not much mollified by the single Deeper Understanding. Again, you can see why she wants to point it up: its lyric about abandoning social interaction in order to hunch over a computer seems very prescient in the age of Facebook and Twitter. But the new version's decision to overwhelm the haunting vocals of Trio Bulgarka with Kate Bush doing one of her patented Funny Voices through an Auto-Tune unit seems questionable at best.

In fact, it's the only moment when you can honestly say the rerecording pales next to the original. At worst, they sound as good as their predecessors, which leaves you wondering what the point is, even as you succumb to their manifold charms. It was obviously a bind that the Joyce estate refused permission to use Molly Bloom's concluding soliloquy from Ulysses as the lyrics to The Sensual World, but whether it's a vastly better song for finally having them in place of Bush's facsimile is rather a moot point. Song of Solomon, on which Bush finally abandoned her apparently bottomless store of metaphors for female sexuality in favour of a direct demand for a shag – "Don't want your bullshit," she cries, "I'll come in a hurricane for you" – is a fantastic song whether the rhythm track features pattering tom-toms or a lightly brushed snare. Occasionally, the changes genuinely add something, usually by taking things away. The force of The Red Shoes' depiction of Bush's troubled relationship with the creative impulse was always a little blunted by its presentation as a kind of perky Irish jig: with the Celtic pipes shifted to the background, it sounds sinister and more urgent. Moments of Pleasure's rumination on death is more introverted and affecting stripped of its dramatic orchestration, while This Woman's Work – the rerecording of which caused the most unease among fans – is amazing: emptier, darker and quieter than before, it's even more heart-rending. Given that the original was heart-rending enough to soundtrack a charity campaign against child abuse, that's no mean feat.

Is it worth spending six years making an emotionally wrenching song slightly more emotionally wrenching? Hmm. If Director's Cut really was a new album, if you were hearing these songs for the first time, then it probably would be considered among Kate Bush's masterpieces: certainly, the sheer quality of the songwriting makes every recent female artist who has been compared to her look pretty wan by comparison. But you're not, which means the Director's Cut ultimately amounts to faffing about, albeit faffing about of the most exquisite kind. Still, as anyone who's watched her putting up with Richard Stilgoe will tell you, Kate Bush has earned the right to do whatever she wants”.

Bush said that the songs on Director’s Cut have a new layer woven into them. I am fascinated by artists reapproaching their songs. Not one for looking back, it clearly meant a lot to her that these songs were given new light and treatment. Even if many critics and fans place Director’s Cut low in the rankings of the best Kate Bush albums, there is something unique and special about it. Ahead of its twelfth anniversary on 16th May, I wanted to spend a bit of time with Director’s Cut. Very fan will have their favourite from the album. I like Flower of the Mountain (the title track from The Sensual World was renamed by Bush when she finally got the right to use James Joyce’s Molly Bloom soliloquy from Ulysses in the song) and what she did with Top of the City. Bringing once-forgotten songs to life and adding something new to old classics, it is an album that everyone needs to hear! I have asked this before, but I wonder whether Bush would ever be tempted to revisit any other songs from her past. I guess she was maybe a bit unhappy with the originals that are transformed on Director’s Cut, but it would be fascinating to hear her tackle Running Up That Hill (A Deal with God) – from 1985’s Hounds of Love – with a lower vocal today. Whatever comes next, there will be a lot of fascination and interest. As with every studio album before then, Director’s Cut was a top ten success. It goes to show that there has always been so much love out there…

FOR the music icon.

FEATURE: Spotlight: Victoria Canal

FEATURE:

 

Spotlight

PHOTO CREDIT: Caity Krone

 

Victoria Canal

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I have a lot of information…

I want to get out, as Victoria Canal is an artist that everyone should know about. I will come to her 2022 E.P., Elegy, soon. Even though she has been recording and releasing music for a while now, the fantastic E.P. has brought her to the attention of a wider audience. I want to drop in some interviews with Canal. First, Red Light Management provide some biography for this tremendous artist:

“When Victoria Canal returned to her family home in Amsterdam for the pandemic, the 24–year–old singer, songwriter, producer and activist had just finished a tour after a period of busy music–making in the studio – something she’s been doing since she was a teenager. Born in Munich to Spanish and American parents, Victoria lived a nomadic existence, traveling across the world with her parents and siblings, living everywhere from Shanghai, Tokyo and Amsterdam to Dubai and Atlanta. In between the traveling, she studied music in Barcelona and New York – including a stint under legendary voice coach Jan Smith, who’d worked with the likes of Drake and Usher.

Lockdown was the first time Victoria had spent an extended time in one place and she retreated to the basement, setting up a make-shift studio to record. “It was a very stripped-back set up,” Victoria recalls from her home in London, where she now lives. “I ended up writing all these songs and singing quite quietly into my mic, not wanting the rest of my family to hear,” she smiles, saying things got a little crowded: as well as her parents, her two siblings also returned home when the world shut down. “My voice actually changed over the course of the year through this,” she laughs. “I used to sing really loud but over lockdown, I became more hushed. I changed the way I approached recording music.”

There was another reason Victoria’s powerful voice was more muted too. When she entered the basement to write the songs that now make up her upcoming EP, Elegy, she was certain these deeply personal and emotive tracks would never be heard by anyone at all. With news that a close relative was sick with incurable cancer, Victoria wrote the songs as a means to explore her own feelings of sorrow, helplessness and the anticipatory grief that comes with knowing a loved one won’t recover from a terminal illness.

“It was a very inward process and nobody else was involved in the writing,” Victoria says, “I was so weighed down by the insane weight of uncertainty and grief, not to mention the sadness at what they were going through, the suffering, the pain. Initially when I wrote the songs, they were so raw, honest and so painfully real, I was just certain I wouldn’t show them to anyone at all.”

When she finished writing the songs, Victoria says she realised she had a complete “body of work”, but still wasn’t sure about sharing them at a time when she was still processing the news. In lockdown, she’d started an online series called ‘Mellow Tunes’ – songs composed in just five minutes – both as a means to keep creating at a time when live music was at a standstill, and as a way to cope with what was happening to her relative. One of the clips found its way to Coldplay’s Chris Martin. A year later when lockdown lifted, he invited Victoria to a Coldplay recording retreat where she was encouraged to work on her own material. Chris also introduced Victoria to Parlophone and soon after, she signed a deal with the renowned label.

“I was like Chris Martin’s biggest fan way before this,” Victoria laughs. “I’ve grown up with Coldplay and every time I’ve sat down at my piano over the last ten years, I’ve always asked myself: ‘What would Chris Martin do?!’” Martin became Victoria’s mentor and encouraged her to be more open and honest in her songwriting or “encouraging me to be me,” as she puts it. Another mentor came in the shape of Jon Hopkins, who Canal befriended in an attempt to surround herself with creatively like minded artists and mentors. “Even though our styles are completely different, he also encouraged me to be authentic, to be myself and that’s what I’ve tried to do with this EP.”

After thinking about how to give more of herself over into her music, Victoria decided to share the personal songs she’d written in her basement. “Over lockdown I’d read books by people like Elena Ferrante and Isabelle Allende, both of whom had written a lot of literature about family, loss and what happens when people pass away. Those books helped me to get through that difficult period and I started to understand more about how art can help a person struggling with grief.” Victoria decided to share her songs in the hope they might speak to people who were going through similar situations.

Listed in order, the songs on Elegy tells the fictitious story following a good man finding out he is dying, inspired by the events from her own life. The first song, ‘own me’, is a vulnerable piano–driven track that explores feelings of anger when someone we love is being taken away for no apparent reason. “The principle of this song is a reckoning of sorts,” Victoria explains. “Someone’s been an amazing person their whole life and then for no logical reason whatsoever, their life is taken away. It’s about bad things happening to good people and the song also asks the question: how much are we really in control, verses how much we really are pawns? There’s some quiet anger here,” she says, which is perhaps most apparent at the song’s soaring string–driven crescendo.

The EP’s second track, the stripped–back acoustic–guitar led ‘pity season’ takes the listener inside a conversation between a sick person and their son over dinner, where he breaks the news about his illness to the family. Part of the song also sees the son exploring how he measures up next to his father. “It’s that fear of a loss of identity when the son wonders ‘How can I be like you, measure up to you, if you’re not around for me to observe and follow your lead?’”

When not making music, Victoria is a passionate activist for the disabled (Victoria was born with one arm) as well as women and the LGBTQ+ communities as a queer musician. Now, she’s finding a way to include this side of her life with her art too. “The last two music videos I made, the child actor playing me has a little arm like me and I’m hoping to be able to include people with limb differences like mine, as well as others with disabilities too, so we keep increasing the presence of those with disabilities in society.”

Victoria says growing up without seeing such visibility was tough. “There was nobody who looked like me on screen. It was the same not just with that but with women, and queer women too. In my latest video, I have women, trans and non–binary actors in the parts as well as more people of colour. I didn’t see anyone like me in the public eye as a teenager, and I think being that person for someone else might be really cool. In terms of my queerness, it’s all just about being open about who I am, throwing away any labels that might be restrictive in the hope that might empower or inspire others to do the same”.

Last year, Why Now spoke with the wonderful Victoria Canal. I would advise anyone who has not heard her music to follow her on social media and bond with this awesome talent. Elegy is an E.P. that everyone needs to hear. Also, look back at her catalogue and explore her entire cannon. This is someone who I am predicting a very long and bright future for. I am excited to see what comes next. I was interesting, when sourcing this interview, to discover how things started for Canal:

“Victoria, where did your musical journey begin? And what was your earliest memory of getting into it?

So my mum’s from the States and my dad’s from Spain, so I grew up moving around a lot. My grandma on my mum’s side was a piano teacher and choir director, so I would go to church with her and sit in on the choir. So some of my first memories singing are being the lead vocalist or soloist in this old folk choir when I was like six, and they were in their 80s. Also, my Cuban grandma loved singing and dancing and traditional Cuban songs. So it was really my grandma’s that showed me music.

What sort of influence do you think living in lots of different parts of the world has had on your sound and tastes?

I think it’s had more of an effect on me as a person than my music, per se. I think my music has stayed pretty true to whatever I was listening to at the time, which was whatever my older brother was listening to: Radiohead, Rufus Wainwright, Muse, U2, Aerosmith.

But what moving around a lot made me was a diehard extrovert. I love people of all kinds, from all backgrounds. I’m so drawn to people-watching and different cultures and languages. And I like being immersed in circles of people that aren’t like me. I think, as someone who grew up with a physical difference, I was always the odd one out in some way. But then, in a way, there were lots of kids that were odd ones out because I went to really international schools. I think, probably the most harmful environment to be in, without even knowing it, is a homogenous environment of all people who look and think exactly like you.

PHOTO CREDIT: Karina Barberis

What did it feel like being in the studio before you had your capability to produce?

I felt so small. It happens a lot to young artists. Technically, that’s a producer’s role, so the artist isn’t taking on that responsibility. However, one of my main learning points from being in that space and recording projects is that each time I’m getting closer to my voice. Elegy is the first time I’ve done the majority of the recording work, and all of the writing.

But I think – and this is common with women artists – they just defer to the dude in the room who’s the engineer or the producer, without really realising they can do it themselves. I think a lot of women, and a lot of young artists in general, found the empowerment in COVID to take it on themselves. And I was one of those.

Now, when I’m in the room, I’ve made it more known from the get-go that I’m a producer as well. And so we can trade-off more, or there’s not this instant assumption I’m gonna sit on the couch, in the back, on my phone, and the dude’s going to be at the console doing the recording. I’m very much at the desk, adding the stuff, playing on everything. I’m much more involved. And that feels so much more conducive to getting the sound that I want.

PHOTO CREDIT: Karina Barberis

As you mentioned, he brought up the discussion of your arm in a sensitive way. Could you just say a bit more about how you feel people perceive the relation between your music and your disability?

Yeah, I’m not ashamed by any means. However, I have no say in how much it overpowers the music, in what people want to talk about. When I listen to other artist’s interviews, they’re asking about the recording process and the songwriting. And, for me, it’s always like, ‘What’s it like being a disabled person?’ It’s always centred around that. It’s interesting to have people decide what you are, rather than having a say.

I don’t closely identify with my disability, it’s a part of my body, but what does that have to do with my music? It’s almost like a mindfuck. It’s like being gay and being an artist. What matters other than maybe the pronouns you use in a song towards someone? What does your sexual orientation have to do with your artistic craft? It might influence it in some way but what’s important is the artistry.

And I just feel like it’s random to connect the two things; to connect the fact that I have one hand with the fact that I make music. But I also think about the fact that when artists break through to the general public, they’re always defined by one thing by the press. Whether it’s getting criticised for being gay; or Lizzo for being a proud, body positive woman; Harry Styles for dressing more androgynous.

And then eventually people get used to that and the artist can just be the artist and people will think what they think. All I can really do is just continue doing what I’m doing, which is making music, and whatever the headlines are, I’m not gonna sit around and mope about it. I’ve talked to TikTok stars who are frustrated that every time they’re interviewed, it reads, ‘TikTok Star…’ I think it happens to everybody, so I’m not gonna pity myself because I don’t think I’m the only one”.

Before wrapping things up, there is one more interview I want to highlight. When the Horn Blows spoke with Victoria Canal in promotion of Elegy. I wonder whether she has an album planned for this year, as there is a lot of love and momentum behind her. Someone that everybody should have in their sights. It is interesting discovering how Elegy was recorded and what inspired it in terms of themes and subject matter:

“Hey there Victoria- how are you? So your EP is out now - how does it feel to have it out there in the world?

I feel relieved and patient and nervous and exposed all at once! I never really focus on what’s trendy, so to put out music that really doesn’t follow the code of whatever’s popular right now feels both liberating and nerve racking.

It is called ‘Elegy’ - what is the meaning behind that?

The word “elegy” means a poem of serious reflection for someone who’s passed. All four songs chronologically connect in the process of anticipatory grief - from finding out someone you love is ill, to having to fill their shoes after they’re gone. It’s a deeply personal story that brought me great relief to create while going through this very experience with a close loved ones.

Where was it recorded? Any behind the scenes stories from the creative process you are happy to share with us?

I recorded it in my parents’ basement when I moved home during the pandemic. I was watching way, way too much TV, every single day, I don’t think I’ve ever watched that much TV in my life - namely This Is Us and Parenthood, and they both carried me through the year as I navigated this huge anticipatory loss of someone close to me. It was in between episodes that I would have some huge revelation about how I could put the experience into song.

<

What are the key themes and influences on the EP?

Key themes on Elegy are family, loss, love, and generally the passage of time and what it teaches us about life. Influences include the tv shows mentioned prior as well as authors like Isabel Allende, Elena Ferrante, and Min Jin Lee, all of whom write about family and the passage of time in a historical fiction context.

If the EP could be the soundtrack to any film - which one would it be and why?

I feel like the movie that comes to mind is Soul - I’m obsessed with animated films and feel like that one touches on so many deep topics that I’m so fascinated by and wanted to touch on with Elegy. Faith, purpose, making amends with those we love, appreciating what we have while we have it… it’s a damn deep kids movie! Haha.

Do you have a favorite lyric on the EP - if so, which one and why?

My favorite lyric on Elegy is “If I were you I would visit your mother. If I were you I would ask about her life. Maybe you’ll find that being noticed for so long will make her cry.”

Now the EP is out there - what next?

I’m currently gearing up for my first ever headline tour - so excited. In the meantime I’m just making music every day, we’ll see what project I put together next but I’m seeing it take shape already, and it’s looking pretty good 😊”.

One of these artists that you just need to hear and follow, make sure Victoria Canal is in your life. I am not sure what the rest of the year has planned; but do check out her social media channels and keep an eye on all the happenings and news. If you are new to the brilliance of Victoria Canal, then do ensure that you…

SEEK her out.

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Follow Victoria Canal

FEATURE: Spotlight: Mandy, Indiana

FEATURE:

 

 

Spotlight

PHOTO CREDIT: Harry Steel

 

Mandy, Indiana

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A band…

 PHOTO CREDIT: Harry Steel

that are definitely on the rise and catching a lot of love from the press, Mandy, Indiana should be on your radar. They have undergone a name and line-up change, so I am going to include only one interview where the then-trio were just coming through. Formerly known as Gary, Indiana, they wisely changed their name! A lot of bands do acquire new members, and that is the case with the Manchester group. The trio originally consisted of Valentine Caulfield, Scott Fair and Liam Stewart. I am going to stick with the here and now. Before coming to a recent NME interview, here is some information and biography and background to an incredible band that are going to festival mainstays pretty soon:

“Mandy, Indiana “excel at making an impression” (FADER). Today, the Manchester-bred quartet announce their debut album, i’ve seen a way, out May 19th on Fire Talk Records. Recorded in caves, crypts and shopping malls, i’ve seen a way is everything at once: an exquisitely rendered debut, expertly twisting genre to channel the chaos of everyday life. Mandy, Indiana draw on a broad sonic palette of experimental noise and industrial electronics, with frontwoman Valentine Caulfield’s lyrics of fury and fairytales completing the band’s soundworld.

Lead single “Pinking Shears” is all rude swagger and rhythms that strut on metal legs, with Caulfield expressing (in her native French) frustration at the state of the world. She runs through the myriad of  inequalities, everyday aggressions, and grievances that plague our existence in late stage capitalism.

Mandy, Indiana thrive in the unexpected, and their live sets have become a vehicle to explore the boundaries of tension and release. The accompanying “Pinking Shears” video, recorded in Manchester, captures their thrilling live performance. The band will make their long-awaited US live debut at SXSW.

Mandy, Indiana’s music is made from their place within the world, having formed out of the fertile Manchester scene and arriving fully-realized. The group initially came to fruition after Caulfield and guitarist/producer Scott Fair met sharing a bill with their former projects. Joined by Simon Catling (synth) and Alex Macdougall (drums), Mandy, Indiana have generated a sound that is once chaotic and precisely tuned. The “Berghain-ready” (them) early single “Injury Detail” was released to a wealth of critical praise from the likes of FADER (deeming the track a “Song You Need”), Stereogum (previously naming Mandy one of 2021’s “Best New Bands”) and Pitchfork, who hailed: “Mandy, Indiana have mastered the sound of mechanized violence.”

Their first recordings emerged around 2019, with a smattering of early singles released not long after, culminating in 2021’s acclaimed “…” EP, released via Fire Talk, which saw the band draw early cosigns including a Daniel Avery remix and support slots from Squid and Gilla Band. The latter’s Daniel Fox mixed several of the tracks on i’ve seen a way, alongside Robin Stewart of Giant Swan. Produced by the band’s own Fair, the album was mastered by indie stalwart Heba Kadry.

Unlikely off-site recording locations with novel acoustics were crucial to achieving i’ve seen a way’s unique sound, from recording screaming vocals in a Bristol mall to live drums in a West Country cave — the latter’s session cut short by literal spelunkers. Other sessions happened in Gothic crypts, where Mandy, Indiana’s physical bass frequencies and experiments with volume competed with underground roadworks in upsetting a yoga class above. i’ve seen a way is a manifesto for these moments of openness and disruption.

i’ve seen a way manipulates chance recording operations into percussive geometries, one where gnarled guitars sit in thickets of distortion and vocals spin knots of lyrical repetitions. Fair explains, “We wanted to alter textures, create clashes, and craft those moments when what you’re expecting to happen never comes”.

 PHOTO CREDIT: Holly Whitaker

In Valentine Caulfield, Mandy, Indiana have an incredible and unforgettable lead. I cannot wait for i’ve seen a way. The fact that it was recorded in caves and shopping malls. It gives this sort of natural, unusual, and everyday sound. The band are definitely primed for big things. I am quite new to them, but I do feel like they are going to rank alongside our very best soon enough. Go and pre-order their album. With their new name and solid line-up, Mandy, Indiana are poised for world domination. They already have a footing and fanbase in the U.S. I can see them traveling all around the world and headlining festivals. I will finish up with the NME interview and take portions from it. There are archive interviews with the band but, sometimes referred to as ‘Gary, Indiana’ and listed as a trio, I am sure that they would prefer the Mandy, Indiana quartet to be what we know them as. NME showed them a lot of love and support:

“As students, they each got a taste for eardrum-blowing noise in Withington and Fallowfield basements, and started to play in bands around the city; Fair was interested in combining experimental chaos with visceral, dark vocals in Caulfield’s native French. The band soon signed to New York label Fire Talk [PACKS, Dehd] and were playing big shows and festivals all over the UK, including opening slots for IDLES, Gilla Band and Squid – and a recent slot at Austin’s SXSW. They don’t feel particularly tied to their hometown; Caulfield, who’s originally from Paris, recently moved to Berlin, citing Manchester’s rising costs and disappearing identity.

While recording ‘I’ve Seen A Way’, the band took that idea to a logical if surprising endpoint, by leaving the studio and recording parts of the album in different, bizarre locales — a shopping centre, a “Gothic crypt,” and most challenging, a West Country cave. The band had to haul as much gear as they could carry from the van to the cave’s mouth, then return for another load of it; they had to navigate past cheese-ageing rooms that smelt “like death” and through pools of water. In an eight hour day, they only managed to spend two hours actually recording.

 “We couldn’t monitor anything, because the reflections were so loud, even with headphones on and your hands over it with the volume turned up you couldn’t hear,” recalls Fair. “So it was only the day after we got out of the caves that we could actually listen back to what we’d tracked. And luckily it sounded amazing. That basically would have fucked the album if it hadn’t worked, because we spent a big chunk of the budget on that.”

The approach resulted in a roughly-hewn sonic patchwork affect — chaotic, intense and proudly ugly. Each element of the album is geared towards a sort of disorientation. “I embrace chaos, and I think sometimes the vocals and the music butt heads with each other,” says Fair. “Certainly in a live setting, people are like can you turn your amps down ‘cause we can’t hear the vocals loud enough? It’s like, no. It’s supposed to be that battle between those elements. It’s supposed to be about that immediacy, and chance as well sometimes — taking it back to raw, elemental feelings.”

That urgency is crucial to the themes in Caulfield’s lyrics, as well. The tracks on this album, delivered in French, look at political exhaustion and rage, resistance to fascism, and revolution. “I no longer want to wake up when we let humans die in the Mediterranean sea,” Caulfield sings (translated to English) on ‘Pinking Shears’; “Always remember that we are more numerous than them,” she repeats on ‘2 Stripe’.

“We’ve had such a massive drop towards fascism here, but also in France where I’m from,” she says. “We’re destroying the planet at a speed that I think is just unbelievable. It’s hard for me at this point to not be in the state of mind where I’m like, ‘What the fuck is going on here? How are we letting this happen?’ But then again, if you know me as a person, that’s kind of the only thing I talk about”.

If you are new to Mandy, Indiana, then do make sure that you add them to your playlist. With their debut album out next month, there is a lot of excitement around the group. They have this wonderful lead, and a chemistry within the band that is sensational! If there is a level of pessimism in the music of Mandy, Indiana, then fear not. Even though they do document a level of grim reality that is hard to shake off, they provide this music that is nourishing, moving, thought-provoking, rich, and transportive. Inside their incredible songs, you can find…

PLENTY of hope.

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Follow Mandy, Indiana

FEATURE: Do They Still Do the Secret Handshake? Kate Bush’s Induction into the Rock & Roll Hall of Fame

FEATURE:

 

 

Do They Still Do the Secret Handshake?

 

Kate Bush’s Induction into the Rock & Roll Hall of Fame

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IT was fourth time lucky…

 IN THIS PHOTO: Kate Bush in a promotional photo for her 1979 BBC Christmas special/PHOTO CREDIT: TV Times via Getty Images

for Kate Bush, as she was finally inducted into the Rock & Roll Hall of Fame yesterday! The 38th Annual Rock & Roll Hall of Fame Induction Ceremony will take place on Friday, 3rd November, 2023 at Barclays Center in Brooklyn, New York. Bush was previously nominated for induction in 2018, 2021, and 2022. This year she has finally made it in! I will come to why she was excluded/overlooked previously, in addition to what this means going forward. Here is news of who else will be joining Kate Bush in the Rock & Roll Hall of Fame this year:

“Kate Bush, Missy Elliott, Sheryl Crow, and Rage Against the Machine are all getting inducted into the Rock & Roll Hall of Fame as part of the class of 2023. The other performer inductees are Willie Nelson, George Michael, and the Spinners.

Hip-hop legend DJ Kool Herc and guitarist Link Wray will receive the Musical Influence Award, and Chaka Khan, Al Kooper, and Elton John’s songwriter Bernie Taupin are receiving the Musical Excellence Award. In addition, Don Cornelius, the late creator of Soul Train, will get the Ahmet Ertegun Award. The 2023 Rock & Roll Hall of Fame induction ceremony happens on Friday, November 3, at the Barclays Center in Brooklyn.

“This year’s incredible group of inductees reflects the diverse artists and sounds that define rock’n’roll,” John Sykes, chairman of the Rock & Roll Hall of Fame Foundation, said in a press statement. “We are honored that this November’s induction ceremony in New York will coincide with two milestones in music culture; the 90th birthday of Willie Nelson and the 50th Anniversary of the birth of hip-hop.”

Sheryl Crow, George Michael, Missy Elliott, and Willie Nelson are making the Rock Hall after their first nominations. Kate Bush is being inducted on her fourth nomination, Rage Against the Machine get the nod on their fifth try, and the Spinners were also inducted after four nominations.

DJ Kool Herc, who co-hosted the 1973 party identified as the place of hip-hop’s public liftoff, is recognized as the genre celebrates its 50th anniversary. The North Carolina–born guitarist Link Wray, whose Indigenous upbringing influenced his material, is recognized as an early architect of edgy, exploratory rock music”.

I have dropped in the latest episode from The Kate Bush Fan Podcast. Kate Bush guru/oracle Seán Twomey discusses her induction, in addition to a few other things that have happened recently - including the Fish People rebrand and the partnership with The state51 Conspiracy, plus the new paperback edition of How to Be Invisible, and Bush’s recent award nominations. I said last year (through various features) how Bush’s 2022 cannot be beaten in terms of its busyness and acclaim. Running Up That Hill (A Deal with God) went to number one here and many countries after it featured in Netflix’s Stranger Things. Bush oversaw the placement of the song and was very keen to make sure that it was being used effectively. In a scene featuring one of the main characters, Max, it was a powerful moment that touched a lot of people. She gave her first audio interview since 2016. That year she spoke with BBC Radio 6 Music’s Matt Everitt about the live album for Before the Dawn (her 2014 residency in Hammersmith). I know she said a few words following the death of her friend Lindsay Kemp. He died in 2018. Speaking with Emma Barnett for Woman’s Hour last year was something nobody was expecting! Although Bush kept us busy with updates of thanks via her official website – you couldn’t shut her up last year! -, she wanted to come on the show and give her thanks to fans. It was a great choice in terms of the programme. Going out on BBC Radio 4, this was indeed a coup!

2023 has almost surpassed last year in terms of its importance and grandness regarding all things Kate Bush! She did reissue the How to Be Invisible book with a new foreword and cover. I know the audiobook for Graeme Thomson’s biography, Under the Ivy: The Life & Music of Kate Bush, is coming along soon. That incredible Stranger Things scene has been BAFTA-nominated, but it is up against Paddington and The Queen, so Bush might miss out! The Platinum Jubilee: Party at the Palace scene where Paddington meets The Queen will be hot favourite, though you can never rule against Bush sneaking it. Stranger Things is a U.S. show, so they may go with something more homegrown – and, as The Queen died last year, sentimentality and a certain bias might affect the vote! Also, Bush is nominated for an Ivor Novella award, for Most Performed Song. Bush is no stranger to the Ivors. Having won one in 1979 (Best Lyric for The Man with the Child In His Eyes); she won for Best Song in 1987 for Don’t Give Up  (a duet with Peter Gabriel); in 2002, Bush won an Ivor for Outstanding Contribution to British Music; In September 2020, she became a Fellow of the Ivors Academy. We are only in May, so who knows what else might come along! Of course, there will be new magazine spreads and features following all of this good news. I know that Leah Kardos is writing a book on Hounds of Love for the 33 1/3 series. I interviewed her about it recently. I get a feeling we may see another Kate Bush book. I am also sure that there will be an attempt to launch a new documentary about her, whether that is for T.V. or radio. There have not really been that many detailed and thorough documentaries about her work for a long while. The BBC produced a documentary in 2014 but, at an hour long, it barely scratched the surface!

I think the fact that Kate Bush is in the Rock & Roll Hall of Fame at the fourth time of asking is a big deal! The institute has been criticised for its lack of inclusion regarding female artists. Missy Elliot is the first female rapper to be inducted. A trailblazer and inspirational artist that broke through in a male-dominated genre, it is an honour she is in – though it does raise questions as to whether the Rock & Roll Hall of Fame needs to look at its record regarding ignoring women. Courtney Love Cobain wrote about this very thing for The Guardian. This was backed up and augmented by author and writer Jessica Hooper. The statics are pretty bleak! Regardless, I feel that the fact Bush is inducted is not only because of the awareness that has been raised regarding inequality, but her new popularity and endless relevance. That is the thing about this news. People ask whether Kate Bush is relevant, because she has not released an album since 2011 (50 Words for Snow). Many say her peak was in 1985, but one can look at the past couple of years and say that this is her peak and most successful period. The gender debate is for another day, but let’s hope that progress is made and legends like Kate Bush, Sheryl Crow, and Missy Elliott act as examples. Their phenomenal music and careers should highlight so many other women who are worthy of induction into the Rock & Roll Hall of Fame. Bush posted her reaction to the induction news:

“I have to admit I'm completely shocked at the news of being inducted into the Hall of Fame!  It's something I just never thought would happen.

Thank you so much to everyone who voted for me. It means a great deal that you would think of me. It’s such a huge honour.

Now as part of the initiation ceremony I get to find out about the secret handshake... there is one, right?

Kate”.

Bush has been to America before. She was there promoting Hounds of Love in 1985. There were a couple of awkward interviews that suggested the interviewers were not really aware of her! Perhaps a little ignorant or ill-prepared, you can see why she didn’t promote there much! Even if she has said that breaking America was never a goal or that important to her, you also have to ask why it took the country so long to ‘get’ her. Over thirty-five years since Hounds of Love came out, and Kate Bush can truly say that she has seduced and conquered America! I love the idea that Bush asked if there is a secret handshake. Sort of invoking images of Monty Python, there is always something so charming and English. Bush said how she never expected it. When she has been nominated and lost out three times, you sort of get resigned to your lot. Maybe the extra success of Running Up That Hill (A Deal with God) has made the difference. It would be a shame to thing that without that song and T.V. show that she might not have even been considered! Regardless of scandalous omission in the past, this is very positive news! Any honour that comes her way is a great thing. I think this year is going to be another jammed and crazy one for all things Kate Bush. That post from Kate Bush sort of suggests that, against all odds, maybe she will attend. She has not appeared in ‘public’ – at a media event or anything music-related – since 2014, where she was presented with an award by the Evening Standard for her Before the Dawn live shows. Bush is someone who will turn up. It would be great that she’d come out for the Ivors and BAFTAs. It would be the first time many have seen her in the flesh for many years. Those are all based in the U.K. Would Kate Bush go to New York to perform or speak for the Rock & Roll Hall of Fame in November?

 IN THIS PHOTO: Kate Bush during 1979’s The Tour of Life/PHOTO CREDIT: Peter Still (via NME)

Although it does seem unlikely, you can never rule it out! She has a fear of flying. That was a big reason why she never did another tour after 1979’s The Tour of Life. The draining and scary experience is not one she repeated a whole deal. I am not sure how many foreign holidays she took. I think she visited Barbados after The Dreaming (1982) but hated it because it was a little too quiet – I may have got the location wrong, but away from busy cities and the noise and chaos of making an album, a relaxing and tranquil setting was slightly freaky and unnerving. Maybe she has been on foreign holidays through the years but, aside from some U.S. promotion in the mid-'80s, you figure she has not flown much. It would be a one-off, but would she commit to a trip to Brooklyn? It does seem very unlikely but, as you can never predict anything when it comes to Kate Bush, she may surprise us all! Not only does her induction cause huge relief that she will not have to be nominated a fifth time; we also add another huge honour to her growing list. This past couple of years has been a renaissance. Bush is finally firmly back in the public spotlight! It has shown that her music is still so important, original and relevant. Running Up That Hill (A Deal with God) might have led the charge, but it is Bush’s enormous legacy and brilliance that keeps her firmly in focus. What comes next? That fascinating possibility of an album must grow ever hotter. Knowing that American audiences are now firmly invested in her music, couple with growing vinyl sales and a gigantic desire from fans, you feel that must compel her to get into the studio and release her eleventh album. Her albums normally come out between September and November (bar The Kick Inside, and Director’s Cut) so, in terms of announcements, maybe something will come in June or July at the latest? We can but dream! It is amazing that the Rock & Roll Hall of Fame have inducted Kate Bush, and it means the juggernaut keeps going strong! In a year that has bestowed honours and applause on Kate Bush, we were all delighted that another big accolade was given to…

OUR queen.

FEATURE: The Bigger Picture: Artists Established and New That Are Born for Cinematic Roles

FEATURE:

 

 

The Bigger Picture

PHOTO CREDIT: Pavel Danilyuk/Pexels

 

Artists Established and New That Are Born for Cinematic Roles

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ONE of my favourite wonderings…

 IN THIS PHOTO: Taylor Swift/PHOTO CREDIT: Beth Garrabrant

is which artists who have been in the industry for years and decades would be perfect for the big screen. There are those like Madonna, Dolly Parton, and Tom Waits who have been in a fair few flicks between them. I always wonder what would have been if Kate Bush stepped into film. Maybe one of those great what-ifs, it is not about idle curiosity. There is such a strong link between film and music. Most artists appear in music videos, and the live performances they put on have similar disciplines and elements to film. It is surprising that the likes of Harry Styles and Rihanna have appeared in several films. I think the greatest modern artist who is also an incredible actor is Lady Gaga. Wonderfully credited as Lady Gaga rather than her real name of Stefani Joanne Angelina Germanotta, a.k.a. Ally Maine, she has delivered some wonderful film performances. She is appearing in the forthcoming Joker: Folie à Deux. Everyone from Björk to Taylor Swift has appeared in films. The latter is actually someone who I can see emulating Lady Gaga and appearing in a lot more films. Someone who is also keen to direct, this major musician has already featured in Amsterdam, and other films. She naturally transitioned between the two disciplines, and I feel like Swift will take on a number of different roles across multiple genres. She is one of several artists who I feel should have a much wider filmography. Someone you really want to see in more films. The same goes for Beyoncé. She has appeared in several films, but there are so many roles and worlds that you can imagine her in. It is almost a bit too much to reel off the possibilities for Beyoncé!

There are other artists that have either appeared in the odd film and should be on the big screen more, or those who have never been in a film (in a big role) at all. I feel Kendrick Lamar is someone who would come to cinema and captivate. Looking online, and I cannot see any films where he has played a prominent role. He would bring such panache, power and potency to the screen! Halsey has appeared in a couple of films – and she has more roles coming up -, but she is someone else that I can see having a long and gilded film career. In fact, the first image of Halsey in the third instalment of the A24 Mia Goth-led X franchise, MaXXXine has been shared. I have mentioned American artists so far, but there are British acts that you can see taking to the big screen. Dua Lipa features briefly in the upcoming Barbie film, but she and Charli XCX – as two of our biggest Pop artists – would make such incredible actors. Same goes for the incredible Sam Smith. I think that Loyle Carner would also be an excellent actor. This is all guessing and speculating, but you can imagine all of those artists stepping into cinematic roles. Rather than it being something curious, I feel that artists who do act in films bring something to their music. Maybe the gravity of the roles or the disciplines learned translates into new musical horizons and layers. Also, the reverse is true. Whether they are a major artist or not, they can channel many of the emotions and skills they bring to songs and the stage into film roles.

 IN THIS PHOTO: Kendrick Lamar

Will Smith and Jennifer Lopez are huge artists who are almost as synonymous for their film roles as they are with their music. Lopez’s role in Hustlers is one of the finest of the past five years. Smith is an accomplished actor who has rightly been nominated for awards. It can be daunting for artists to go into to film, but you get some real naturals who prove that music is really close knit to music. The reverse is sometimes the case when you get actors becoming artists. I know Florence Pugh released her debut album later this year. Maybe the awesome Phoebe Bridgers will appear in a string of films. She strikes me as someone who would dominate and own so many great roles. Other artists who have either never appeared in films or only one or two include Billie Eilish, Lizzo, Little Simz, and Lana Del Rey. In the same way as people often talk about Lady Gaga’s finest film work as being as brilliant as any performances out there, you wonder if there are other opportunities for a star to be born. A rising or established artist who has shown glimmers of promise on the big screen and deserves more roles – or those who have never been invited at all. We all have that fantasy list of artists we’d love to see in film roles. Either playing straight roles or portraying another artist – I often envisage Taylor Swift playing Stevie Nicks -, it is incredible and exciting to imagine. Sitting back, letting the mind wander, and imagining…

WHAT could be.

FEATURE: During The Tour of Life… Kate Bush in Amsterdam

FEATURE:

 

 

During The Tour of Life…

IN THIS PHOTO: Kate Bush in Amsterdam in 1979 during The Tour of Life/PHOTO CREDIT: Barry Shultz

 

Kate Bush in Amsterdam

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I have often written about…

 PHOTO CREDIT: Barry Shultz

various aspects of Kate Bush’s career when it comes to travel and certain nations. I have written about her time in Japan in 1978. There was also the time she promoted Hounds of Love in the U.S. in 1985. Even if Bush did not travel for promotion a whole deal after 1979, that particular year was quite a busy and itinerant one for Bush. One of the most interesting stops on The Tour of Life was when she was in Amsterdam. On 29th April, 1979, Bush played Carré Theatre. The previous night, she was performing at the Congress Center Hamburg in the then-West Germany. The Tour of Life started on 2nd April, 1979 with a warm-up gig in Poole. Until that 29th April date, Bush and her crew had barely had a break. On 13th April, she played Edinburgh, before travelling to London to play on 16th. That was her first break. Another one occurred after 29th April. It would not be until 2nd May when she was back in West Germany. I often wonder about the schedule and planning, as Bush nipped back to West Germany after performing there. I wonder whether a string of dates could have been planned to avoid the back and forth, but I guess that is the way touring planning and logistics go! The Tour of Life ended on 14th May. That was preceded with a pretty relentless string of gigs – including her playing Frankfurt on 10th May, before her date in London on 12th May.

 PHOTO CREDIT: Barry Shultz

I think that her time in Amsterdam was very interesting. I think that a slight rest after the Amsterdam gig on 29th April, 1979 was a good idea. On 24th, 26th, 28th and 29th April, In the Warm Room, Kite, Oh England My Lionheart, and Wuthering Heights were dropped from the set because Bush was suffering from a throat infection. After such intense performances and travel, she couldn’t have got much rest. Together with interviews and these huge performances, I wanted to focus on Amsterdam. Even though she was tired and her voice was suffering a bit, there are these incredible photos of her that caught my eye. Barry Schultz is someone who snapped Bush when she was in Amsterdam in 1979. As you can see from his portfolio, he did photo Bush when she visited Amsterdam in 1979. There are great shots of her arriving at the airport in Schiphol. Bush looks relaxed and irresistibly cool in these airport shots! In other snaps, she is pictured walking around Amsterdam. One of the greatest items in the Bush wardrobe for my money, she wear a colourful cardigan, knee-length red boots and jeans. There are other promotional images of her in Amsterdam. I especially love the live shots that Schultz captured when Bush played her only gig in the Netherlands. Despite some vocal soreness and undoubted tiredness, she looks as captivated, committed, and professional as ever. I do wonder whether we will ever see more photos or a book from The Tour of Life. Bush’s outfits alone are worth of more investigation and spotlighting!

 PHOTO CREDIT: Barry Shultz

I wanted to return to The Tour of Life one more time for a couple of reasons. I was eager to highlight her time in Amsterdam and the fact that she looked so cool, chic, yet grounded and herself. The final date of 14th May, 1979 must have been both a relief and sad. Before a home audience in London, it was the finale of a triumphant live spectacle – the likes of which the music world has never witnessed! Barry Schultz helped to document Bush’s time in Amsterdam, but there are other photos which I wanted to get to the bottom of. Whereas some sources say they were taken in 1978 – as I understand Bush might have visited Amsterdam that year after the release of Wuthering Heights -, there are others that say it is 1979. Is this the same time as she was performing at Carré on 29th April? The reason I bring up the name Claude Vanheye is because of how different the shots were compared to that Schultz took. A series of photos of Kate Bush wearing Fong Leng outfits are iconic. I think Bush had become more savvy and selective when it came to photo sessions and who she worked with. An infamous 'bondage' photo first appeared in Record Mirror in April 1978. As written in Fred & Judy Vermorel's Kate Bush biography, Princess of Surburbia, Bush’s first manager Peter Lyster Todd tried to get the photo removed before publication. He offered £2000 to Record Mirror (declined) not to show a bondage-style picture ‘a smart Dutch photographer’ had ‘tricked’ her into posing for. Doing some digging, and it seems like that shot was actually taken by Vanheye during the same sessions. Wearing the same top as she did when shot riding a prop/fake dolphin (Bush dreamt of swimming with dolphins, so I think that she suggested the idea), maybe that is a 1978 session.

 PHOTO CREDIT: Claude Vanheye

During the same session of the ‘bondage’ shot, the dolphins snaps and her wearing Fong Leng, there was another photo that grabs the eye. In spite of a slightly risqué shot making the press, I do think that was a bit of a wake-up when it came to who she worked with. Even though the photo in question is pretty innocuous and harmless, the press did jump on it. Working with photographers who sexualised her less, I am still intrigued by her work in Amsterdam and the images from that time. In an old feature, I highlighted a shot of Bush walking in a parking garage with a prop crocodile. Some called out the shot because they feel it is animal cruelty but, obviously, they did not get a crocodile from a local zoo, but a lead on it, and risk Bush being mauled or killed shooting in a parking garage whilst she was dressed in a Fong Leng dress! Like the dolphin, it must have been acquired from a prop store or shop. It does show her sense of humour and a juxtaposition. There is that elegance and class together with something snappier, cooler and a bit dangerous. Maybe keen to show a different side to her, it is a pity that a harmless enough shot of her overshadowed those sessions. I have dated those photos to 1979, but it may have been the case it was 1978. It would be good if someone could clarify that!

 PHOTO CREDIT: Claude Vanheye

There are reputable sites that say 1979. It is a bit of a tough one. Whilst the ‘bondage’ image does seem to have surfaced in 1978, you think that the Vanheye shots would have been taken when she was touring in Amsterdam. Some clarification would be nice. The photo session was scheduled for thirty minutes, but Bush sent away her entourage and stayed for six hours. Vanheye’s photographs of Bush were used on the Japanese 7" single for Symphony in Blue, and in the unofficial boxset, Never Forever. I will wrap it up. Many do not know that Bush was in Amsterdam and there are quite a few photographs of her there. It renews my calls for some sort of book or exhibition where we can see shots of her from The Tour of Life and the images taken on and off stage. It was a fascinating time. On 29th April, 1979, Kate Bush played in Amsterdam. I love the shots Barry Schultz took, as we get to see her at the airport and coming to the country. We also see her on the streets and blending in. There is also those stage shots of her in her element and in a very different setting. Seeing those different sides to Kate Bush is fascinating. She looks so comfortable and cool in his presence. Only twenty when the shots were taken, this was as young woman who had two studio albums under her belt and was on the road on her first (and only) tour. It must have been quite an intense and scary time, but there was also a lot of fun and chances to see different parts of the world. I can imagine Bush bonding with Amsterdam and feeling relaxed. I imagine that she…

 PHOTO CREDIT: Barry Shultz

LOVED the vibe there.

FEATURE: Women Up: Why Is There Not a Fifty-Fifty Gender Split Across All Radio Stations' Playlists?

FEATURE:

 

 

Women Up

 PHOTO CREDIT: cottonbro studio/Pexels

 

Why Is There Not a Fifty-Fifty Gender Split Across All Radio Stations’ Playlists?

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IT is a big question…

 PHOTO CREDIT: Anthony : )/Pexels

and I know that some radio stations do commit to a gender-equal playlist. When it comes to women and non-binary artists across most U.K. radio stations, the numbers are not equal. I have covered this before but, as that was a while ago, I was hoping things would have vastly improved. Although the figures are not quite as severe as they were a few years ago, there is still this massive problem. I look down playlists and schedules and wonder why so many songs are by male/male-led acts. If festivals hide behind excuses when it comes to a lack of female headline acts, maybe we need to look to radio and ask if they are doing enough. Historically, there are more than enough female artists you can play. Whether you are a smaller station or a BBC station, you are pretty much spoiled for choice. The same goes for new artists and finding terrific women to highlight. I know various stations have their own demographic (age-wise) and they curate a particular sound. Even so, they have more than enough options when it comes to female artists and female-led bands/acts! This includes non-binary artists. But when you look at the number of women who appear on radio playlist compared to men, you wonder why it is not an eve split at the very least. Music for the past few years has been heavily dominated by women – and you can go back a few years more when it comes to amazing rising acts and brilliant albums!

 PHOTO CREDIT: Aline Viana Prado/Unsplash

Before moving on, this article collected findings from a 2022 U.K. gender/racial disparity data report on U.K. radio. Although there are one or two stations that are close when it comes to equality across the playlists, most weer still struggling. If things have gotten slightly better since the report was published, things are far from improved and equal:

“How have BBC, Bauer and Global changed in the last 12 months across Radio? White Male artists still dominate on-air across the Top 20 Airplay Charts. BBC6 lead the charge in Equality on the airwaves.

+ In the Top 50 UK songs of 2022 across Uk radio:

  • 94% of songs featured in the Top 50 were by Artists/Bands signed to a MAJOR LABEL.

  • 2% of songs featured in the Top 50 were by Artists/Bands signed to AN INDEPENDENT LABEL.

  • 4% of songs featured in the Top 50 were by Artists/Bands signed to AN INDEPENDENT LABEL WITH MAJOR LABEL DISTRIBUTION.

  • 8% of songs featured in the Top 50 were by POC Solo Artists/Bands.

  • 8% of songs featured in the Top 50 were by ETHNICITY COLLAB Artists/Bands.

  • 10% of songs featured in the Top 50 were by ED SHEERAN (WITH 5 SONGS OF ED'S FEATURING)

  • A 1985 song 'Running Up That Hill' by British artist Kate Bush featured in the Netflix show 'Stranger Things', which lead to her song becoming a surprise hit this year. It also landed Kate in the Top 50 most played tracks on British radio so far this year (at #40) .

  • Harry Styles is the Number 1 artist on UK radio so far in 2022. (of both UK & International artists in the Top 100 he is #1 with his hit song 'as it was')

PHOTO CREDIT: senivpetro via Freepik

In the Top 100 UK + International songs of 2022 across UK radio:

  • 50% of songs in the Top 100 are from domestic UK artists/bands. Therefore British radio supports 50% of domestic artists in its Top 100 songs so far in 2022. In comparison to Irish radio which was only 18% Irish artists.

  • 34% of songs in the Top 100 are from international bands from Europe, AU and USA  among others.

  • 16% of songs in the Top 100 are from domestic UK/International collaborations between the artists.

  • International music artists are equally present in the Top 100 singles, regardless of gender.

  • UK solo male music artists are present in the Top 100 x3 more than solo female music artists.

  • Including solo and gender collaborations - UK male music artists are present in 80% of all top 100 singles, female music artists are present in 60% of all top 100 singles.

  • When UK artists collaborate with International artists in the Top 100, male music artists are present 94% of the time, and female music artists are present 56% of the time.

  • UK, white-only music artists/groups are represented x10 more than POC-only artists/groups

  • Overall, among UK & International entries, solo male artists present twice as much as solo female artists in the Top 100.

WWW.WHYNOTHER.EU
#WhyNotHer

IN THIS PHOTO: Winnie Ama

"It's a real shame that there's a muted desire to genuinely create change and represent a balanced view of music and essentially the storytelling and culture of our people by our musical creatives. Before these gender disparity radio reports, we never would have imagined that radio would proactively amplify, promote and essentially employ one section of society to the detriment of another. It is our hope that these data reports can continue to set the precedent for a lot of change to come. Change can happen at a quick rate when an unconscious bias is stripped back. We hope this report helps to make structural change". - Linda Coogan Byrne, Lead Data Analyst / Activist  & Founder at Why Not Her? 

"It's Groundhog Day for the music industry, or certainly for UK radio. Whilst there are a few stations out there doing the right thing for gender equality (hullo Radio 6, Classic FM) most are definitely not and some have gotten significantly worse over the past year (Radio 1's figures are just grim) so it's clear that it's a deliberate policy to exclude women from the airwaves. Quite frankly, I'm pretty exasperated about it." - Vick Bain, The F-List / DEI Speaker at Why Not Her?

"As a curator, it's one thing to fall into an unconscious habit. However, once you're aware of it and yet you continue as you have done, I think it means that you either don't care about the impact that your role has in shaping national culture or you think that white men should be the authors of British culture with only space for footnotes by women, POC or the LGBTQIA community. It feels very 20th century and we're in the 21st." - Winnie Ama, Data Analyst  & Activist Why Not Her?”.

 PHOTO CREDIT: master130546k via Freepik

Not to question the report, but how often is BBC Radio 6 Music ensuring that the proportion of male and female artists is equal across their playlists? Looking at a random day, and you can see that the morning shows definitely do not have a fifty-fifty gender split. There may be broadcasters on the station where there is equality, but it is definitely not the case even BBC Radio 6 Music ensures most of the programmes have that fifty-fifty balance. If they are closest when it comes to gender equality across their playlists, there are shows and days when there are many more male artists played. People could say that this is the way it has always been and that the stations are playing the most popular and commercial artists. In terms of quality and appeal, there is nothing excluding female artists. Big stations do not have tight remits and rules regarding who they play. It does seem strange that most stations across the U.K. struggle to balance the playlists. Gender inequality is present through radio and live music. Think about this article from Glamour that spoke to leading female D.J.s who are striving for parity. They opened the article but writing this: “According to research done by DJaneMag only 7% of female DJs were in the line-ups of 20 top festivals worldwide in 2018. This is a general trend that is not dependent on country or music style, and the data for 2019 was almost identical. As for clubs, the percentage for female DJs follows a similar pattern, with 11%, where the top superclubs are hosted by an average of 6% female DJs. However, there is no statistics to show that women are less talented or capable of doing the job, so what is going wrong?”.

IN THIS PHOTO: Tiffany Calver/PHOTO CREDIT: Rosaline Shahnavaz

In 2020, Music Week detailed a report that found there was huge disparity across radio playlists. Again, whilst BBC Radio 6 Music were close to a fifty-fifty split – and they at least made strides and commitments –, then that desire to change and react was not shared by a lot of stations. It made for gloomy and angering reading:

“A new report by Ctrl Management founder Nadia Khan has found that women are vastly underrepresented in UK radio, with 81% of songs in the Top 100 airplay chart for the last year featuring men.

Khan worked on the Gender Disparity Data Report alongside music industry consultant and publicist Linda Coogan Byrne, with the pair analysing data from 31 UK radio stations and the Top 20 most played songs between June 2019-June 2020.

Their figures show that female songwriters comprise 18% of the Top 100 airplay chart, while female producers make up 3%. The report is based on British artists those whose songs are registered on Radiomonitor.

Khan published the Seat At The Table report last month and is leading the charge for equal representation in the music industry. Speaking to Music Week for our recent Indie Takeover issue, Khan called for diversity across the business.

IMAGE CREDIT: BBC

“As highlighted in the Women in CTRL report the disparity still runs high for women and especially black women,” she said. “To work towards a truly diverse and inclusive music industry change needs to happen within the organisations and Women in CTRL will be conducting a follow up report in 2021 to track progress.”

Figures for the most played songs on BBC Radio 1 for the period defined by the Gender Disparity Data Report showed 85% were by male artists, with 10% femaled and 5% collaborations. At 1Xtra, males accounted for 76.2%, females 14.3% and collaborations 10%. Radio 2 had 40% collaborations, 55% men and 5% women. At 6 Music, 60% of the most played songs were by male artists, 10% by female acts and 30% collabroations.

BBC Radio 6 Music has reiterated its commitment to gender equality in the wake of the report.

“6 Music remains committed to shining a light on female artists,” a statement said. “The current 6 Music playlist has 14 out of 33 songs featuring female performers. From the May 27, 2019 to the May 31, 2020, the average percentage of female artists on the 6 Music playlist was 44.3%. There have been a number of weeks in 2020 in which 55% of music on the playlist has been by female artists. The 6 Music Festival in March 2020 also featured 45% female performers and 16% male/female bands”.

PHOTO CREDIT: fabrikasimf via Freepik

In September 2022, Mixmag also laid out the startling facts regarding gender inequality across major stations. I think there have been small steps and pledged for 2023, but the situation is far from one where we can say things are better. As I said, even if a great and conscientious station like BBC Radio 6 Music commits to gender equality, it is not a day-to-day consistency. You can still look at a run of programmes and there can be as much as a 2-1 dominance of male artists:

“A new report from inclusion campaigners Why Not Her? has found a huge disparity in racial and gender balances across the 26 top British radio stations.

The study, which looks at the way in which equality is spread amongst radio plays over time, found that top stations including BBC Radio 1, Bauer, and Global, are all dominated by white male artists.

Over the course of the past 12 months, Why Not Her? reported that just 8% of songs featured in the Top 50 were by POC artists. In the Top 100, white artists are represented 10 times more POC artists.

Elsewhere, the study found that UK-based male solo artists are present in the Top 100 three times more than female solo artists in the UK & international charts.

“It's a real shame that there's a muted desire to genuinely create change and represent a balanced view of music and essentially the storytelling and culture of our people by our musical creatives,” says lead data analyst and founder of Why Not Her?, Linda Coogan Byrne”.

I know there are steps being taken and some improvements – even if I have singled out BBC Radio 6 Music, they do seem to be closest to creating and maintaining a gender-balanced playlist that also recognises different cultures, races, and sexuality -, but yearly reports still make it clear that there is a way to go. I do not understand why there is such stubbornness! Stations are not committed to only playing major label artists with a certain amount of stream and high chart positions. Take a proper look at all the incredible music coming through in all genres, and you will find a huge amount is made by women. Let’s hope that radio stations across the U.K…

REACT to the imbalance we see year in year out.

FEATURE: Turn It Up: Blur’s Brilliant Modern Life Is Rubbish at Thirty

FEATURE:

 

 

Turn It Up

  

Blur’s Brilliant Modern Life Is Rubbish at Thirty

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IT is shocking to think…

 IN THIS PHOTO: Blur in 1993

we could mark a Blur album that is thirty years old. It makes me realise that these legends have been on the scene for a very long time. In terms of quantum leaps for bands, the '90s saw a few from the debut to sophomore albums. Consider Nirvana’s Nevermind (1991) follow 1989’s Bleach. There was Radiohead’s massive improvement on 1995’s The Bends – which followed 1993’s Pablo Honey. If 1991’s Leisure did offer us There’s No Other Way and She’s So High, many critics felt that nothing else of much worth came from it. I think it is an underrated album, but the band really stepped things up on 1993’s Modern Life Is Rubbish. The album turns thirty on 10th May (a day after I turn forty), so I wanted to look ahead to an important anniversary. Many associate Blur running in tandem with Oasis, but the truth is this started before and have lasted longer. Blur released two albums before Oasis gave us their 1994 debut, Definitely Maybe. An early Britpop album, Modern Life Is Rubbish was a massive step up in confidence, vision, and quality for the legendary band. There was an overhaul for their second album. Blur could have been one of these bands that faded after their debut. There was a danger that they might have been overlooked and not had a second album taken seriously had their continued down the same creative path.

Leisure did okay, but Blur soon fell out of favour. They had a nightmare tour of the U.S., and bands like Suede were emerging and creating much richer and striking work. Suede’s eponymous debut was released in 1993, a monthly or so before Blur’s Modern Life Is Rubbish. Their label, Food Records, feared that their new signing was a flop. About to drop them, there was this proactive shift and reinvention. Led by Damon Albarn, influences changed. If their debut was more Baggy and inspired by bands from the Madchester scene, Blur looked back to groups like The Kinks and Small Faces for Modern Life Is Rubbish. With witty, slice of life, observational and original lyrics and a sound palette that was broader and somehow cooler and more cutting that the slightly samey and out of fashion tones on Leisure, the gamble paid off. Albarn’s lyrics rooted themselves in suburban England. Huis observations and lines are among the defining factors on Blur’s second album. There is more confidence and ambition from the entire group (Alex James, Graham Coxon and Dave Rowntree). If Modern Life Is Rubbish gained positive reviews and a few mixed ones back in 1993, its legacy and influence since then has made critics reappraisal and see it in an even more positive light.

If Blur fully hit their stride on the next album, 1994’s Parklife, there are glimmers of genius through Modern Life Is Rubbish. Chemical World and For Tomorrow are sublime and brilliant singles. Deeper cuts such as Blue Jeans and Oily Water perfectly sit alongside the better-known numbers. This was an album that showed people could not write off Blur. They started with a little bit of a stutter and, if some still feel Modern Life Is Rubbish is a little too indebted to The Kinks and lacks identity, there is no denying the fact it is one of the defining albums of the Britpop age, and it no doubt inspired bands coming through such as Supergrass. Modern Life Is Rubbish was a moderate chart success in the U.K., where it only peaked at fifteen. I wonder whether there is going to be any anniversary release or celebration ahead of its thirtieth on 10th May. I am not sure how Damon Albarn feels about the album, as he has been dismissive in the past. I will finish with a couple of reviews. In 2018, for the album’s twenty-fifth anniversary, The Student Playlist looked back at a cult album from a band who were definitely in the ascendancy:

“SUBSTANCE

As ever, true genius wins out in the end, and Modern Life Is Rubbish became a slow-burning success. The end result was melodic and lavishly produced, featuring brass, woodwind elements and backing vocalists, and a much more diverse collection of songs. Thematically, Albarn investigated the dreams, traditions and prejudices of the English working and middle classes in the immediate aftermath of Thatcher’s government – a mile away from the nihilism and self-obsessed ennui of post-Nirvana grunge. The American art-rock leanings of guitarist Graham Coxon, always Blur’s secret weapon, slotted in surprisingly well alongside the English aesthetic, and ensured that his ability to provide sonic context for Albarn’s words wasn’t underused (as it was by the time of the mockney-isms of The Great Escape just less than three years later).

The jaw-droppingly beautiful opening track ‘For Tomorrow’, is the most obvious expression of the new approach, where ‘retro’ could be applied to point the way to the future. Having recorded the bulk of the album by the end of 1992, Albarn had been told by Food label head David Balfe that it lacked a single, and was told to go back to the drawing board and write a hit. ‘For Tomorrow’ came to him in a flash of inspiration as he sat in front of the piano at his parents’ house early on Christmas Day morning, as he nursed a hangover.

Brazenly lifting from T.Rex with its opening line (“he’s a twentieth century boy”) and utilising London landmarks for its psychic space (“But we’re lost on the Westway / So we hold each other tightly / And we can wait until tomorrow”), it was an obvious choice for a first single, and represented the point at which the tide slowly started to turn for Blur. ‘For Tomorrow’ was an absolutely perfect distillation of the band’s intentions for their album, a coherent, smart rebuttal to the predominance of post-Nirvana complaint-rock in the British music scene in 1992, and one which explicitly referenced and celebrated the country’s musical legacy. You can hear echoes of ‘Waterloo Sunset’ as Albarn’s lyrics conjure up images of the unsettling tranquillity of suburbia, right down to the “la-la-la-la-la” chorus.

This moment of classic English indie greatness paves the way for a diverse bonanza through Modern Life Is Rubbish, ranging from mod-punk stompers to lushly orchestrated rock balladry. ‘Advert’ zeroes in on the encroaching culture of mindless consumerism that was being imported from America. The career-obsessed character at the centre of ‘Colin Zeal’ makes for a Weller-esque punk-pop stompers in the vein of The Jam’s sneering ‘Mr. Clean’, while ‘Pressure On Julian’ has the same topic but sets it to something more expansive. While they go down easy without leaving much of an impression, the breezy back-to-back pop gems of ‘Coping’ and ‘Turn It Up’ do much to lighten the mood near the end of the album.

Albarn’s now-infamous ‘character songs’ make their first appearance on Modern Life Is Rubbish, but there’s an ambiguity that lies at their heart that allows observations of mundane and pettifogging routine – about washing “with new soap behind the collar”, about Colin Zeal keeping “his eye on the news” etc. etc. – to avoid being both celebratory at one end or derisory and spiteful at the other. They’re infinitely more complex than the irritating ‘Charmless Man’ from 1995, let’s put it that way.

Much more so than Leisure, which was largely monotonous in its pacing, Blur showed a much wider range of dynamism on Modern Life Is Rubbish. The pace slows on the oboe-aided ‘Star Shaped’, an ode to the power of positive thinking and a masterstroke of English exotica. Neo-psychedelic highlight ‘Oily Water’ gives only the faintest indications of Blur’s erstwhile fondness for shoegaze”.

I will finish off with a review from AllMusic. Modern Life Is Rubbish turns thirty on 10th May, and I think it deserves highlighting. Even if many fans and critics would place Parklife, The Great Escape (1995) and Blur (1997) as superior albums, I think the importance of Modern Life Is Rubbish marks it as an underrated classic. Highly regarded by critics, it is a shame Blur did not feature the excellent Popscene on the U.K. release of Modern Life Is Rubbish. The single did not fare so well, so they did not include it – though it did appear on the U.S. release. Blur would eventually be embraced in the U.S., but Modern Life Is Rubbish did not have a big impact when it was released. Retrospective reviews have been largely positive. This is what AllMusic had to say:

“As a response to the dominance of grunge in the U.K. and their own decreasing profile in their homeland -- and also as a response to Suede's sudden popularity -- Blur reinvented themselves with their second album, Modern Life Is Rubbish, abandoning the shoegazing and baggy influences that dominated Leisure for traditional pop. On the surface, Modern Life may appear to be an homage to the Kinks, David Bowie, the Beatles, and Syd Barrett, yet it isn't a restatement, it's a revitalization. Blur use British guitar pop from the Beatles to My Bloody Valentine as a foundation, spinning off tales of contemporary despair.

If Damon Albarn weren't such a clever songwriter, both lyrically and melodically, Modern Life could have sunk under its own pretensions, and the latter half does drag slightly. However, the record teems with life, since Blur refuse to treat their classicist songs as museum pieces. Graham Coxon's guitar tears each song open, either with unpredictable melodic lines or layers of translucent, hypnotic effects, and his work creates great tension with Alex James' kinetic bass. And that provides Albarn a vibrant background for his social satires and cutting commentary. But the reason Modern Life Is Rubbish is such a dynamic record and ushered in a new era of British pop is that nearly every song is carefully constructed and boasts a killer melody, from the stately "For Tomorrow" and the punky "Advert" to the vaudeville stomp of "Sunday Sunday" and the neo-psychedelic "Chemical World." Even with its flaws, it's a record of considerable vision and excitement. [Most American versions of Modern Life Is Rubbish substitute the demo version of "Chemical World" for the studio version on the British edition. They also add the superb single "Pop Scene" before the final song, "Resigned."]”.

I am going to wrap up. On 10th May, we will look back on thirty years of Modern Life Is Rubbish. In a year that saw incredible albums from Suede, Björk, and Nirvana, Blur released an incredibly important and impactful work. In years since it came into the world, you can feel and tell how many artists have been inspired by it. If some were not impressed by Modern Life Is Rubbish back in 1993, there are so many now who think that Blur’s second studio album is…

FAR from Rubbish.

FEATURE: 20/20 Visionary: Michel Gondry at Sixty: His Greatest Music Videos

FEATURE:

 

 

20/20 Visionary

PHOTO CREDIT: Autumn de Wilde

 

Michel Gondry at Sixty: His Greatest Music Videos

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ON 8th May…

 IN THIS PHOTO: Björk/PHOTO CREDIT: Dave Tonge/Getty Images

one of the most innovative directors ever turns sixty. You may not necessarily know Michel Gondry by name alone, but you will definitely have seen his music videos and films. Directing films like Eternal Sunshine of the Spotlight Mind, and directing videos for the likes pf Kylie Minogue, The White Stripes, Daft Punk, and Björk, he has an imagination and style that is mind-blowing! I wanted to celebrate his approaching sixtieth birthday by featuring the twenty best music videos he directed. It is hard whittling it down, but hopefully the list is not too contentious! Apologies if any of the videos are not great quality image/pixels-wise, as I am grabbing them from YouTube - and you have to rely sometimes on fans posting the videos or some low-quality transfer. In any case, I will come to that. I want to finish this part with some biography from IMDB:

“He grew up in Versailles with a family who was very influenced by pop music. When he was young, Gondry wanted to be a painter or an inventor. In the 80s he entered in an art school in Paris where he could develop his graphic skills and where he also met friends with whom he created a pop-rock band called Oui-Oui. The band released 2 albums ('Chacun tout le monde' and 'Formidable') and several singles until their separation in 1992. Gondry was the drummer of the band and also directed their video clips in which it was possible to see his strange world, influenced by the 60s and by his childhood. One of his videos was shown on MTV and when Björk saw it, she asked him to make her first solo video for 'Human Behaviour'. The partnership is famous: Gondry directed five other Björk's videos, benefiting by the huge budgets. This led to commissions for other artists around the world, including Massive Attack. He also made a lot of commercials for Gap, Smirnoff, Air France, Nike, Coca Cola, Adidas, Polaroid and Levi - the latter making him the most highly-awarded director for a one-off commercial.

Hollywood became interested in Gondry's success and he directed his first feature movie Human Nature (2001), adapting a Charlie Kaufman's scenario, which was shown in the 2001 Cannes Festival. Although it wasn't a big success, this film allowed him to direct Eternal Sunshine of the Spotless Mind (2004), for which he again collaborated with Charlie Kaufman. The movie became a popular independent film and he and his co-writers won an Oscar for it”.

A truly brilliant director who I hope we see a lot more from, you can see the sheer number and variety of videos he has been responsible for. I know he is less prolific now than near the start of his career, but he is still producing amazing work. A genius with a mind like no other, I hope others celebrate the sixtieth birthday of a pioneer. This is a man who has been responsible for some of the most memorable, striking, unusual, beautiful, mind-bending and…

STUNNING music videos ever.

_________

Oui Oui -Un Joyeux Noël (1988)

Donald Fagen - Snowbound (1993)

Björk  - Human Behaviour (1993)

Lucas  - Lucas with the Lid Off  (1994)

Sinéad O'Connor  - Fire on Babylon (1994)

Cibo Matto - Sugar Water (1996)

Neneh Cherry - Feel It (1997)

Daft Punk - Around the World (1997)

Sheryl Crow - A Change Would Do You Good (1997)

Foo Fighters - Everlong (1997)

Björk  - Bachelorette (1997)

The Chemical Brothers - Let Forever Be (1999)

Radiohead - Knives Out (2001)

The Chemical Brothers - Star Guitar (2002)

The White Stripes - Fell in Love with a Girl (2002)

Kylie Minogue - Come into My World (2002)

The White Stripes - The Hardest Button to Button (2003)

The Vines - Ride (2004)

Beck  - Cellphone's Dead (2006)

Paul McCartney - Dance Tonight (2007)

FEATURE: Are 'Friends' Esoteric? Be Here Now: Can We Connect the Rise of Coffee Culture and a Decline in Physical Music Sales?

FEATURE:

 

 

Are ‘Friends’ Esoteric?

PHOTO CREDIT: Benjamin Suter/Pexels

 

Be Here Now: Can We Connect the Rise of Coffee Culture and a Decline in Physical Music Sales?

_________

I was going to leave…

 IN THIS PHOTO: Noel Gallagher/PHOTO CREDIT: Matt Crockett/Press

a somewhat ridiculous comment from Noel Gallagher and leave it at social media mockery and general exhaustion. His comments do raise to mind some interesting questions. First, as reported here by NME, Noel Gallagher feels that the boom in coffee shops and the seemingly bad example U.S. sitcom Friends set has led to a decline in people buying physical music:

“Noel Gallagher has said he thinks the sitcom Friends and coffee culture are to blame for declining music sales.

The former Oasis guitarist and songwriter discussed how changes in people’s spending habits has affected how they support artists, particularly when streaming services have given them access to all the music they could possibly want for free. Indeed, he said that he struggled to understand how people will spend their money in coffee shops – the growth of which he put down to the characters in Friends frequently socialising in one – but not music.

According to the Daily Star, Gallagher said: “Sitting around in sweaters drinking overpriced coffee and talking about nonsense.

“Since the rise of the coffee shop, culture has disappeared. People are horrified that they have to pay for music! But $20 for two coffees, oh, absolutely. I haven’t got the brain capacity to process this.”

IN THIS PHOTO: The main cast of Friends (Courteney Cox as Monica Geller, Matthew Perry as Chandler Bing, Jennifer Aniston as Rachel Green, David Schwimmer as Ross Geller, Lisa Kudrow as Phoebe Buffay, and Matt LeBlanc as Joey Tribbiani)/PHOTO CREDIT: NBC

It’s not the first time that Gallagher has pointed the finger at coffee culture either. He told  NPR: ““I blame Friends [for] the rise of the coffee shop. Since the rise of the coffee shop, culture has disappeared, don’t you think? People are horrified that they have to pay for music. Music! But $20 for two coffees, ‘Oh, absolutely’.

“I feel like the resistance to pay for music came after people got used to that. Maybe it’s that they got used to spending a lot on commodities that feel like culture – like coffee – and then changed their financial priorities. Or maybe it’s that, all of a sudden, music was free.”

Gallagher is currently gearing up to release a new album, ‘Council Skies’, with the High Flying Birds. Set to drop on June 2, it features the singles ‘Council Skies’,  ‘Dead To The World’, ‘Easy Now’ and ‘Pretty Boy’.

Yesterday, Gallagher confirmed that there will be a reissue of Oasis’ ‘Definitely Maybe’ album coming in 2024, though once again shut down the idea of there being a reunion tour taking place any time soon”.

Maybe this is a musician who was once on top of the world not selling as many albums as he should. Having written two genius Oasis in the form of 1994’s Definitely Maybe and 1995’s (What's the Story) Morning Glory?, he is used to seeing people buy huge amounts of physical music. His modern music as part of Noel Gallagher’s High Flying Birds is popular, but the units being shifted is not the same as it is. Reports are showing that vinyl sales are climbing:

“In 2007 there were less than 200,000 vinyl units sold in the UK and now we're over 5.5 million, so you can definitely see that massive turnaround since Record Store Day began,” said Megan Page, RSD coordinator at the Entertainment Retailers Association (ERA).

Page said the event has played a key role in vinyl’s fortunes, an opportunity seized by labels.

“Record shops coming together and asking for these exclusives, celebrating the art of vinyl, was the catalyst for people to take more notice of [vinyl] and take it a bit more seriously,” said Page.

Vinyl album sales reached 5.5 million units during 2022, the 15th consecutive year of growth for the format, according to Official Charts Company data.

For the first snapshot of 2023, Music Week can reveal that vinyl LP sales increased by 14.7% year-on-year in Q1 to 1,322,977 units. That compares to year-on-year growth of 6.7% in Q1 2022.

Issues with production capacity for vinyl have actually restricted growth for the format, although that situation has improved.

“That's what we're hearing, that the pressure’s easing off a bit, so that's really helped with demand and getting things landing on time,” said Page”.

 PHOTO CREDIT: cottonbro studio/Pexels

Alongside rising vinyl sales, cassettes are making a comeback. An almost obsolete physical format, a new rise in sales has provided much cheer. NME provides some fascinating and encouraging news regarding cassettes. It seems that a desire to own physical music post-pandemic has led to a rise:

“As Radio X reports, the British Phonographic Industry (BPI) found that the popularity of the format had increased for 10 consecutive years. The sales of cassettes, however, remain much lower than those of vinyl records.

The total number of cassette tape sales has risen from 3,823 in 2012 to more than 195,000 in 2022.

It is said that the spike has been driven by recent releases from major acts such as Arctic Monkeys, Harry Styles and Florence + the Machine.

Per the BPI, all 20 of last year’s biggest-selling cassettes were released in 2022.

Mark Burgess, Founder of Flashback Records in north London, told Sky News that cassette sales had “shot up” at his shop post-pandemic.

He said the old-school format appealed to younger music fans in particular due to its “collectability”.

“Because cassettes are a smaller format, it’s easier to set up a collection,” he explained. “Also, people like to have an album of music that’s sequenced in the way an artist originally intended it to”.

Even though vinyl sales are overtaking C.D.s, that is not to say that the format is dying! There is no doubting the fact that physical music is in good health. Maybe Noel Gallagher was reacting to C.D.s struggling. Maybe we are not seeing the same sales as we had in the '90s with people queuing around the blocks regularly, but one cannot reasonably say that physical music is declining. Also, what sort of impact does coffee culture have?! It does seem weird that Gallagher mentioned Friends (could he BE any more old-fashioned?!). That series ended over twenty years ago, but I think it did encourage more people to go to coffee houses. Even in the '90s when that boom was happening, people were still buying physical music. Even if they forked out a few dollars for a coffee, they would still spend a few times that (or more) for an album! The same is true in the U.K. I was keen on visiting cafés, but I also made sure that I had enough money for singles and albums. The fact that coffee shops are springing up has nothing to do with Friends, Fraiser or any other American influence that you can name! Those series’ ended a long time ago. There are far more complicated reasons why coffee shops have become more prevalent and people are buying less physical music compared to decades past. Less disposable income is one reason. Costs in general have got steeper and more severe for the average Joe (or Joe-drinker!). Even if Noel Gallagher is having an old man tantrum or ranting like he normally does, there are a couple of takeaways…

 IMAGE CREDIT: macrovector via Freepik

It is evident that coffee culture has had some influence when it comes to our spending and socialising. One can say that cigarettes and alcohol (see what I did there?!) costs more money and leave less for music, but we are becoming more of a coffee-drinking nation. It can be an expensive habit, but very few people are staying and drinking rather than going out. If Friends’ Central Perk featured its main characters drinking and socialising seemingly all day, you see less of that now. Music was never a part of Central Perk, but you do hear it in coffee shops now. I have said how more upcoming artists should be on the playlists of chain and independent coffee shops. Not only would it compel people to buy their albums. It would also mean that more people would stay in and linger. I also feel physical music is too expensive. Certainty vinyl is very high in price; people cannot really play cassettes. Rather than coffee culture leading to physical music being less demanded, maybe we need to look at the ease and low cost of streaming versus the affordability of physical music. Most people only buy one coffee a day at the most, and that can add up – but it is not a huge expense. If you buy one album on vinyl, you could be talking £25-£30. That could be as much as ten weeks’ worth of coffee! As we see from figures, physical music is holding strong. It could grow even more fruitfully if we lower the cost of physical formats, make it easier to play cassettes and C.D.s, and combine that with an overhaul of streaming sites so that artists get paid more and are less reliant on physical music to earn money. It would also be nice to see more people staying in coffee shops and mixing that with music listening!

 IMAGE CREDIT: Freepik

Maybe designing coffee shops that also sell music. Easier to talk and feel relaxed than at a crowded pub, you could have something that satisfies a need for caffeine, but it also means people listen to and buy physical music – which would make Noel Gallagher very pleased. You could (as I did) wonder what he is on about and whether he is pining for a time that doesn’t exist. If you take out the inanity and random Friends name-drop as being in any way responsible for us drinking more coffee (which it is not) and physical music struggling (which it isn’t), there are a few points that make sense and raises issues. Are we buying more coffee over music because of prices, or that music listening is less sociable than it once was? Are there realistic ways of lower the cost of physical music so that people buy more? Is the rise in vinyl and cassettes a sign of things to come? Are we buying coffee to take it away - and, if not, would music and the ability to buy music make us stay longer and, in the process, tie together café culture and music appreciation? These are all questions that are worth raising, and none are easy to answer. Rather than simply dismiss the once-astonishing Noel Gallagher as the Grandpa Simpson of the musical world, you can look at this latest bit of what-the-f*ckery as a time to address spending habits, culture in general, and the ongoing importance of keeping physical music alive and bought. If physical music sales are not at their record highs all of the time, they are at least moving in the right direction – and they are staying there too. Fear not, Noel Gallagher, for physical music will live forever. People are also going to buy a lot of coffee. That, my dear friend, means you are going to have to…

ROLL with it.

FEATURE: As You Are Me, And We Are All Together… Celebrating and Saluting the Mighty I am the EggPod

FEATURE:

 

 

As You Are Me, And We Are All Together…

IMAGE CREDIT: I am the EggPod/Chris Shaw

 

Celebrating and Saluting the Mighty I am the EggPod

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THIS is not tied to an anniversary…

 IN THIS PHOTO: Broadcaster Matt Everitt has appeared on I am the EggPod sevreal times (in December 2020, he chatted to Chris Shaw about Paul McCartney’s McCartney III)/PHOTO CREDIT: Matt Everitt

but, as this is a podcast that has inspired me, I wanted to focus on the brilliant I am the EggPod. I am not sure whether I have written an entire feature about it before, but there is actually a reason why it should be highlighted now. If you do not know about it, I am the EggPod is run by Chris Shaw. It is a podcast where guests talk about a Beatles or Beatles solo album. It has been running since January 2018 and, in that time, it has grown from this promising and interesting podcast to one that is among the best out there. With his endless passion and expert knowledge, Shaw and guests dissect and discuss these brilliant albums from Beatles members. I don’t think one needs to be a massive Beatles fan to appreciate it. Indeed, you can discover some truly great albums by listening to it. Such is the detail and effort that goes into each podcast, it is a must-hear. Wherever you get your podcasts, do make sure that you tune in. You can follow I am the EggPod on Twitter. If you do like The Beatles and, after hearing I am the EggPod are naturally hooked, there is a live event coming soon. On 1st July, I am the EggPod comes live from London’s palatial Opera Holland Park. There are tickets still available, and I would urge everyone to investigate. Chris Shaw will be speaking with Samira Ahmed, David Quantick, Stuart Maconie, and Mark Lewisohn. The latter is the world’s leading expert in all things The Beatles. It is going to be a spectacular event that I am so looking forward to attending!

Through the coming months, I will highlight some important music podcasts. I am as huge fan of The Beatles, but one can only learn so much from listening and research. There is something about hearing guests with Shaw talking about these albums. You get their personal recollections and insights, but there is this expertise and this real immersive experience. Shaw really knows his stuff…and let us not forget that this is not only Beatles albums. It includes solo Beatles stuff – so anything from the varied and vast catalogues of Ringo Starr, Paul McCartney, John Lennon, and George Harrison. It is a wonderful podcast that you can subscribe to and support. I am dropping a few episodes in this feature, just so you can get a taste of things. I am going to explain why I am the EggPod means a lot to me, and which album I would cover if I ever got a shot to join a pantheon of enormous Beatles fans! The fact that this podcast that has been going for five years has got this huge live event coming up should not be overlooked. In such a splendid venue, so many fans from around the country will come together to hear some truly fascinating chats. I am not sure what form the event will take. It seems like David Quantick, Samira Ahmed and Stuart Maconie will be in the first part/hour. Possible interviews about their love of The Beatles, they might each take an album to discuss. Mark Lewisohn will be in the second part. That will be a deep and fascinating interview!

Through five years of I am the EggPod, we have heard tears, plenty of laughs and some fascinating revelations! Go and binge the episodes, as you will not only stumble upon albums you might not know or have overlooked. You will learn so much about classic Beatles albums you think that you had figured out. It makes me wonder where this amazing podcast will go in the future – but I shall come to that. Like every big fan of I am the EggPod, you imagine which album you’d chose to talk about if Chris Shaw got in touch (or if you badgered him enough to let you on!). For me, it would be Traveling Wilburys Vol. 1. Released in October 1988, this was the debut album from the supergroup that features Roy Orbison, Tom Petty, Jeff Lynne, Bob Dylan, and George Harrison. This is one of my favourite albums ever, and it is my favourite ‘George solo’ album – or a non-Beatles Harrison release! I have such an emotional and deep connection to that album. Every time I play it, I am taken back to my wonderful childhood. I am sure that someone else has bagged this album for a future episode, but I will look forward to hearing what they say when that comes to light. I have discovered so many terrific albums through the podcast. From Ringo Starr solo albums that I did not know existed, to Paul McCartney, Wings, John Lennon/John Lennon/Plastic Ono Band, and George Harrison albums that have gained new importance and light, it has been a wonderful experience!

Of course, it is also thanks to the incredible array of guests that have come on and added their take and voice to these wonderful albums. From Annie Nightingale to Matt Everitt, through to Shaun Keaveny, Samira Ahmed, David Quantick, Dan Rebellato, and Eleanor Gray, it has been a wonderful magical mystery tour. From late legends like Neil Innes, to a new breed of Beatles fans telling Chris Shaw and the listeners about their relationship with The Beatles, I hope this wonderful podcast continues for years! I am not sure what plans Shaw has regarding expanding I am the EggPod. Maybe videoed episodes or regular live events. We shall have the one on 1st July but, given the buzz and popularity, it would be great to get some yearly I am the EggPod Live bonanzas! It is expensive running a podcast and booking guests, so it does need subscribers to keep supporting it so that we can get this amazing content. Having grown and evolved so much since its first episode, I think that we will get many more years of a tremendous podcast. Maybe you already know about it. You may be someone who is only discovering it today. If you can get to the live event at Opera Holland Park on 1st July, I would thoroughly recommend it. Chris Shaw has ensured that this familiar band and the members’ solo albums have found new relevance and life. I am sure there are guests that have not been on that Shaw would like to tick off of the list (Giles Martin springs to mind), but who knows. With every episode and post, the podcast is getting new traction and visibility. In Chris Shaw, here is someone who puts his…

HEART and soul into every episode!

FEATURE: Something So Right: Paul Simon’s There Goes Rhymin' Simon at Fifty

FEATURE:

 

 

Something So Right

  

Paul Simon’s There Goes Rhymin' Simon at Fifty

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I am looking ahead…

 IN THIS PHOTO: Paul Simon performing in Amsterdam in May, 1973/PHOTO CREDIT: Gijsbert Hanekroot/Redferns/Getty Images

to the fiftieth anniversary of Paul Simon’s There Goes Rhymin' Simon. The third studio album by the legend, it ranks as one of his greatest ever. Arriving the year after his eponymous album, There Goes Rhymin' Simon was nominated for two GRAMMYs in 1974 (for Best Pop Vocal Performance, Male and Album of the Year). A bigger hit than its predecessor, it reached two on the Billboard 200 chart. In the United Kingdom, the album peaked at number four. I wanted to celebrate the fact that There Goes Rhymin' Simon turns fifty on 5th May. I am not sure whether there is any anniversary release planned, but this is an album that everyone needs to hear. One of the greatest songwriters who has ever lived, Paul Simon’s gifts are all over There Goes Rhymin' Simon. Kodachrome, Take Me to the Mardi Gras and Something So Right are highlights from the album’s first side. On the second, we have American Tune and Love Me Like a Rock. Even the deeper cuts are fascinating. Simon would follow There Goes Rhymin' Simon with Still Crazy After All These Years in 1975. Another very different and genius album, this was a very fertile period for Paul Simon. One of the finest albums from 1973, I wanted to highlight a couple of positive reviews for There Goes Rhymin' Simon. Before that, Ultimate Classic Rock wrote about Paul Simon’s third studio album back in 2015:

“After spending several years dabbling in global rhythms and songforms – and kicking off his solo career in the wake of Simon & Garfunkel's dissolution – Paul Simon returned to his American roots for his second solo album, 1973's There Goes Rhymin' Simon, resulting in one of the biggest hits of his career.

The album, released in May 1973, found Simon leading a peripatetic series of sessions that took place in a number of far-flung locations, including London and Mississippi. But the place that truly colored the album's sound – and tied together its nimble explorations of gospel, folk, and dixieland – was the Muscle Shoals Sound Studio, located in Muscle Shoals, Ala.

Already the nexus for a series of classic soul recordings throughout the '60s (including Wilson Pickett's "Mustang Sally" and James & Bobby Purify's "I'm Your Puppet"), Muscle Shoals would ultimately become something of a pilgrimage for a long list of rock artists. Still, when Simon started the sessions for his sophomore solo studio project, he had no idea what to expect.

In fact, legend has it that Simon only sought out the studio because he liked what he heard on another track cut there – the Staple Singers' "I'll Take You There" – and showed up expecting to find a group of Jamaican musicians. Surprised to find a largely white crew, he rolled tape on what he thought would be one song: "Take Me to the Mardi Gras."

"We did it on the second take," bassist David Hood later recalled. "He's got all this time left over, and he's not going to pay four days' worth of studio time for one song. So he says, 'What else can we record?'"

Continued Hood, "So he sits and plays and we tape 'Kodachrome' and a few other things. He was amazed, though, because he has always taken so long recording things, he couldn't believe that we were able to get something that quickly. But we had our thing down to a real science by the time we started working with him, because we had done so much stuff, we could make a chord chart and get you a really good track in one or two takes. Songs we'd never heard before, we could do that."

The band's loose feel (as well as its signature quirks, such as the sanitary napkins Hood says they taped to the ceiling in order to ward off a leak) lent There Goes Rhymin' Simon an irresistible warmth. That was entirely appropriate for a series of songs that, while not without a certain wearily mournful vibe, offered listeners a glimpse of Simon exploring themes of fatherhood ("St. Judy's Comet"), domestic tranquility ("Something So Right"), comity ("One Man's Ceiling Is Another Man's Floor") and plain old happiness ("Was a Sunny Day").

The result was an immediate hit, spinning off a pair of Top 5 singles in "Kodachrome" and "Loves Me Like a Rock" (the latter featuring stellar background vocals from the Dixie Hummingbirds) while nearly topping the album charts and picking up Grammy nominations for Best Male Pop Vocal and Album of the Year.

Like the rest of Simon's solo albums, Rhymin' Simon was more of a stylistic detour than a document of lasting change; although he'd invite some of the same personnel to join him on some tracks for his next record, Still Crazy After All These Years, he was already moving on to his next sound”.

Widely acclaimed and celebrated, There Goes Rhymin' Simon has not aged at all. At the time, one or two reviewers felt there was a lack of spontaneity and excitement to be found. I think that this is one of Paul Simon’s most interesting and enduing albums. This is what AllMusic said when they reviewed it. I think I first heard There Goes Rhymin' Simon when I was a child, and it has definitely stayed with me ever since:

“Retaining the buoyant musical feel of Paul Simon, but employing a more produced sound, There Goes Rhymin' Simon found Paul Simon writing and performing with assurance and venturing into soulful and R&B-oriented music. Simon returned to the kind of vocal pyrotechnics heard on the Simon & Garfunkel records by using gospel singers. On "Love Me Like a Rock" and "Tenderness" (which sounded as though it could have been written to Art Garfunkel), the Dixie Hummingbirds sang prominent backup vocals, and on "Take Me to the Mardi Gras," Reverend Claude Jeter contributed a falsetto part that Garfunkel could have handled, though not as warmly. For several tracks, Simon traveled to the Muscle Shoals Sound Studios to play with its house band, getting a variety of styles, from the gospel of "Love Me Like a Rock" to the Dixieland of "Mardi Gras." Simon was so confident that he even included a major ballad statement of the kind he used to give Garfunkel to sing: "American Tune" was his musical State of the Union, circa 1973, but this time Simon was up to making his big statements in his own voice. Though that song spoke of "the age's most uncertain hour," otherwise Rhymin' Simon was a collection of largely positive, optimistic songs of faith, romance, and commitment, concluding, appropriately, with a lullaby ("St. Judy's Comet") and a declaration of maternal love ("Loves Me Like a Rock") -- in other words, another mother-and-child reunion that made Paul Simon and There Goes Rhymin' Simon bookend masterpieces Simon would not improve upon (despite some valiant attempts) until Graceland in 1986”.

I am going to wrap up soon. It is surprising that there are not that many articles out there about There Goes Rhymin' Simon in terms of its creation and legacy. It is such a huge and legendary album; I do feel it needs more words written. Ahead of its fiftieth anniversary in May, I wanted to bring attention to Paul Simon’s masterpiece. Rolling Stone provided a deep and thoughtful review in 1973:

“THERE GOES RHYMIN’ Simon is the logical second step in Paul Simon’s solo recording career, and it is a dazzlingly surefooted one. Despite its many light, humorous moments, the core theme of his first album, Paul Simon, was depressing: fear of death, its focal point a sung poem, “Everything Put Together Falls Apart,” that while worthy of comparison with the best work of John Berryman, could hardly be called “easy listening.” Since the album dealt with anxiety, it communicated anxiety and was difficult in places to accept as entertainment. This isn’t true of Rhymin’ Simon. Like its predecessor, it is a fully realized work of art, of genius in fact, but one that is also endlessly listenable on every level. Simon has never sounded so assured vocally. He demonstrates in several places pyrotechnical skills that approach Harry Nilsson’s (in embellishment of ballad phrases) and John Lennon’s (in letting it all hang out), though for the most part, Simon’s deliveries are straight — restrained and supple, bowing as they should to the material, which is of the very highest order.

Rhymin’ Simon shows, once and for all, that Simon is now the consummate master of the contemporary narrative song — one of a very few practicing singer/songwriters able to impart wisdom as much by implication as by direct statement. Here, even more than in the first album, Simon successfully communicates the deepest kinds of love without ever becoming rhetorical or overly sentimental. The chief factor in his remarkable growth since Simon and Garfunkel days has been the development of a gently wry humor that is objective, even fatalistic, though never bitter.

Thematically, Rhymin’ Simon represents a sweeping outward gesture from the introspection of the first album. Simon has triumphantly relocated his sensibility in the general scheme of things: as a musician, as a poet of the American tragedy, and most importantly as a family man. Rhymin’ Simon celebrates, above all, familial bonds, which are seen as an antidote, perhaps the only antidote, to psychic disintegration in a terminally diseased society. As an expression of one man’s credo, therefore, it is a profoundly affirmative album.

The chief new musical element Simon has chosen to work with — one he has hitherto eschewed — is black music: R&B and gospel motifs are incorporated brilliantly both in Simon’s melodic writing and in the sparkling textures of the album’s ten cuts, more than half recorded in Muscle Shoals, Alabama. The opener is “Kodachrome,” a streamlined poprock production that uses the image of color photography as a metaphor for imaginative vitality. The song opens with a couple of Simon’s most pungent lines: “When I think back on all the crap I learned in high school/It’s a wonder I can think at all.” Next is “Tenderness,” a late-Fifties-styled doo-wop ballad in which Simon tells a friend: “You don’t have to lie to me/Just give me some tenderness beneath your honesty.” In addition to boasting one of Simon’s loveliest vocals, “Tenderness” has a nicely subdued horn arrangement by Allen Toussaint and soulful R&B backups by a gospel group, the Dixie Hummingbirds.

“Take Me to the Mardi Gras” is sheer delight — a Latinflavored evocation of abandon in New Orleans that fades out in joyous Dixieland music by the Onward Brass Band. This sensuous flight of fancy is followed by “Something So Right,” Simon’s love song to his wife in which he tells her he can hardly believe his present happiness, since he is by nature a pessimist. A ballad that begins in an offhand, almost conversational tone, it builds slowly into a declaration of great eloquence. Side one closes with a witty, R&B piece of homespun city philosophy, “One Man’s Ceiling Is Another Man’s Floor.”

“American Tune,” which opens side two is the album’s pivotal moment. A flowing ballad with the chordal structure of an American hymn-tune, its magnificent lyrics give us Simon’s definitive reflection on the American Dream. Writing from a state of exhaustion in England (Paul Samwell-Smith co-produced the cut in London, and Del Newman provided the stately string arrangement), Simon sees the country as a nation of “battered” souls, but still “home,” and the American Dream either “shattered” or “driven to its knees.” In an apocalyptic reverie, he equates his own death with the death of America and sees “the Statue of Liberty sailin’ away to sea.” The song, which has instrumental touches that deliberately recall Simon and Garfunkel’s “America,” is the single greatest thing Simon has yet written, a classic by any standard.

“Was a Sunny Day” reshuffles images from “Kodachrome,” treating them playfully in a semi-reggae setting. A “high-school queen with nothing really left to lose” makes love with a sailor whom she calls “Speedoo but his Christian name was Mr. Earl.” “Learn How to Fall” has an opening melodic phrase similar to that of Bette Midler’s now-famous intro, “Friends,” but a different message: “You’ve got to learn how to fall/before you learn to fly.”

The album’s last two cuts, “St. Judy’s Comet” and “Loves Me Like a Rock,” complete the thematic cycle of songs avowing familial devotion. In the exquisitely tender acoustic lullaby, “St. Judy’s Comet,” Simon enters into the imaginative life of his son, who wants to stay up late to watch for the mythical comet of the title. Simon concludes: “‘Cause if I can’t sing my boy to sleep/Well it makes your famous daddy/Look so dumb.” In “Loves Me Like a Rock,” a hand-clapping, call-and-response gospel anthem with the Dixie Hummingbirds providing the response, Simon resurrects his own childhood relationship with his mother. Since the anxiety-laden “Mother and Child Reunion” was the opening cut on the first Simon album, it is fitting that this incredibly powerful song of love and gratitude, reminiscent in spirit of “When The Saints,” should close the second.

Rhymin’ Simon is a rich and moving song cycle, one in which each cut reflects on every other to create an ever-widening series of refractions. Viewed in the light of the first album, Simon seems ultimately to be saying that acceptance of death is only possible through our ability to honor our human ties, especially those formed within the family structure. Only through the mutual affirmation of love can we redeem our imaginative powers from despair and be able to live with the breakdown of the wider “family” structure that is the American homeland without ourselves breaking down”.

There are some incredible albums turning fifty this year. No doubt that There Goes Rhymin' Simon is one of the most important from 1973. With songs from the album played to this day, it is clear there is a lot of love from one of Paul Simon’s greatest works. On 5th May, we will celebrate fifty years of…

THE magnificent There Goes Rhymin' Simon.

FEATURE: The Digital Mixtape: Beyoncé’s Crazy in Love at Twenty: A Twenty-Song Guide to the Icon

FEATURE:

 

 

The Digital Mixtape

IN THIS PHOTO: Beyoncé on the set of the Crazy in Love video shoot

 

Beyoncé’s Crazy in Love at Twenty: A Twenty-Song Guide to the Icon

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AN important anniversary…

 IN THIS PHOTO: Beyoncé in a promotional photo for 2022’s RENAISSANCE/PHOTO CREDIT: Mason Poole

is coming up, so it gives me an opportunity to compile a Beyoncé playlist. On 18th May, 2003, her huge hit, Crazy in Love, was released. Featuring JAY-Z, it remains one of her best-known songs. The lead single from her 2003 debut album, Dangerously in Love, it is a superb song that introduced this remarkable solo act. Having been a member of Destiny’s Child before – and her final album with the group was with 2004’s Destiny Fulfilled -, maybe there was a mixture of confidence about her solo ability, and some judgment about whether she would be able to step out alone and do something individual and good. Those doubts were answered with the emphatic and anthemic Crazy in Love. Ahead of its twentieth anniversary, I wanted to both celebrate a song that went to number one in the U.S. and U.K. and provide a playlist for those who want an introduction to this icon. Maybe you are not a huge Beyoncé fan, but this playlist should help you out. Crazy in Love used samples from the Chi-Lites' 1970 song, Are You My Woman (Tell Me So). I love how you get this R&B base, but there is Rap and Disco elements. Maybe speaking about JAY-Z, this song is about the heroine losing her mind over this new love. It is one of her very best songs, and you still hear it played a lot today. Last year’s RENAISSANCE was Beyoncé’s seventh solo album. She has also released an album with JAY-Z as The Carters. EVERYTHING IS LOVE came out in 2018. The Dangerously in Love album is twenty in June, and I know there will be celebration closer to the time. I wonder whether there will be an anniversary edition or anything tied to that event. I wanted to mark the approaching twentieth anniversary of the majestic Crazy in Love with a twenty-song ultimate Beyoncé guide. If you need to hear the very best of this queen of music, then you should check out…

THE songs below.

FEATURE: Credit Where It’s Due: Visionary, Real and Leaps Ahead: Will the Brilliant Music Made by Women Lead to Change Regarding Equality?

FEATURE:

 

 

Credit Where It’s Due

 IN THIS PHOTO: SZA/PHOTO CREDIT: RCA Records

 

Visionary, Real and Leaps Ahead: Will the Brilliant Music Made by Women Lead to Change Regarding Equality?

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THIS is a subject that I come to regularly…

 IN THIS PHOTO: Ellie Goulding/PHOTO CREDIT: Madison Phipps

but I cannot help but think that this will be a pattern for years to come. Not to discount the music made by men (and non-binary artists) but what is being produced by female artists is phenomenal! I have already published a feature that listed the ten albums made by women this year so far. Since then, there have been stories and releases that emphasis the fact that female artists are dominating. I will drop a couple of pieces in there. We are only just in May, but the best and most extraordinary music so far has been made by women. There are a few notable aspects when it comes to the female artists established and rising. I think that the new breed coming through and defining genres. In terms of Pop, exciting artists like Dylan are adding their own stamp. That is not to say the Pop made by male artists is lacking something, but the personal, inventive, and striking music made by women is more indelible, original, and exciting. That is the same when we extend things across other genres. Even if certain genres are still dominated by men in terms of the numbers and representation cross festivals and radio, female artists in these genres are producing the most remarkable work. From the mighty and captivating Rock and Punk of Nova Twins to incredible Hip-Hop of Bree Runway, through the gorgeous Soul of Samara Joy, the words, vocals, and compositions are remaining in the memory much longer – and making a much bigger imprint in the mind.

It is not the case that they have more to prove or are shouter louder because of the misrepresentation and imbalance. I think it is a natural instinct and ability that has been present for a very long time. When it comes to Pop and Disco, there are various queens that one admires. Roisin Murphy and Kylie Minogue are two examples, but I think that Jessie Ware is leading that charge. With a faultless C.V. so far, her latest album, That! Feels Good! (released on 27th April), has received massive applause and acclaim. Maybe her finest album to date, there is nobody like Ware. I don’t think there is a male equivalent when it comes to someone who can mix Pop, Disco, and Post-Disco to such dazzling effect. This is what NME noted in their recent review:

“Jessie Ware is hooked on the feeling of self-expression. Labelling an album as ‘the real me’ is a line used all too often by pop stars, a declaration that often prefaces some lukewarm music, but the London vocalist’s fifth record feels genuinely enveloping: ‘That! Feels Good!’ is a maximalist tour de force of glossy pop sounds. A liberating collection that seeks to paint a three-dimensional picture of Ware – as “a lover, a freak and a mother”, as she sings on ‘Pearls’ – this album sees her embrace a Sasha Fierce-like alter ego in a celebration of dancing and female agency.

Ware has been working towards this moment for over a decade, constantly reaching for the stars throughout a fairly challenging career. With 2017’s middling ‘Glasshouse’ having been hobbled by an identity crisis, its follow-up, 2020’s ‘What’s Your Pleasure’, saw Ware illuminating her eccentricities; the latter’s strength was its total lack of subtlety, fuelled by Ware’s playful self-presentation and her use of big, thumping beats. Through it all, Ware’s newfound musical persona remained unmistakable: dramatic and theatrical, with a level of proud bravado.

Ware’s devoted following, and her many LGBTQ+ listeners in particular, have since turned to her for lively anthems that pay homage to the safe spaces made by and for the community. ‘That! Feels Good!’s 10 tracks often depict romantic relationships, but taken together, they are actually affirmations of self, a reflection of communal dancefloors world over. ‘Beautiful People’ doubles down on the sexual frisson of ‘70s disco classics, as well as inflections from the ballroom scene with its whispered vocals and marimba rhythms. The commandingly flirtatious ‘Shake The Bottle’, plus the aforementioned ‘Pearls’ – which was recently remixed by Brazilian artist and drag queen Pabllo Vittar – see Ware attack her lines via a precise staccato”.

Again, rather than dismissing the music of men, I wanted to highlight and emphasis the sheer quality and consistency of music made by women. I have used the term ‘embarrassment of riches’ before, but that remains apt. Every week seems to offer a potential year-defining album from a female artists. Not even half-way through 2023, who knows what will come! I do know that the end-of-year list will be heavy and made fascinating by albums created by female artists. Whether it is the intoxicating and earth-moving sounds of Jessie Ware or a tenderness and beauty that comes from an act like boygenius (Phoebe Bridgers, Lucy Dacus and Julien Baker), there is this amazing array out there. Alongside established artists who are putting their names in the history books, those rising acts to watch closely are also delivering music that hits hard. When it comes to emotional honest and revelation, I feel there is a potency and depth from women that outstrips that from male artists. The same comes of something that extends beyond sound and style. In terms of image and the complete artist, women are standing out front. A recent article by The Guardian discussed SZA and how she is a very real artist. That realness might be in short supply across Pop:

“SZA is a different breed of pop star. In even her most glammed-up press shot, she is splattered with blood; in another, she’s coated in a thick film of mud, and on the cover of her second album, the emotional bombshell that is SOS, she sits with her back facing the camera, looking out on a vast ocean, in a nod to a famed paparazzi shot of Princess Diana. These are distancing devices – ways for the 33-year-old musician to armour herself against the leery intensity of fame.

It makes sense that she would have an inclination towards self-protection: SOS contains some of the most intense, emotionally scabrous music to grace the UK or US charts in a long time. Case in point: Kill Bill, the album’s calling-card, is hardly your typical pop radio fare. It’s an unapologetic, avowedly sober murder ballad, in which SZA sings over a diffuse boom-bap beat about killing her ex-boyfriend so that no other woman can ever have him. The production is plush, comically light, gilded with soft doo-wop harmonies, but the lyrics are brazen, galvanised and monomaniacal. Although named for the Quentin Tarantino film, Kill Bill’s revenge fantasy provides no real emotional payoff; its narrative is a cry of pure fatalism, with no return for its narrator other than a split-second of bloodlust. I heard SOS at a listening session a week before its release, and when Kill Bill concluded – with SZA’s emphatic “Rather be in hell than alone” – you could hear much of those in attendance let out an audible “oof”.

This week, the song finally hit No 1 on the Billboard Hot 100 after a long run in the Top 5, nearly five months on from the release of SOS. The album spent nine weeks at No 1 on the Billboard 200, making it the longest-charting No 1 by a woman since Adele’s 25 seven years before, despite not yet being available in any physical formats.

SZA’s success feels like a win for a kind of pop music that’s in short supply right now. The songs that had been holding Kill Bill from the top spot, Morgan Wallen’s Last Night and Miley Cyrus’s Flowers, feel boilerplate in their emotion, presenting easily digestible versions of post-breakup sadness and post-breakup empowerment respectively. SOS is captivatingly messy, not just in its sad, funny, sexually frank lyrics, but in its production, which makes room for a country-emo hybrid, 90s-indebted rap, and plugs samples of Björk and Ol’ Dirty Bastard into the same song. SZA’s remarkable voice, somehow husky and mellifluous at the same time, is instantly distinctive – but seemingly unlimited in its applications, so broadly does she modulate it here – and is the unifying factor; it allows her to experiment far more widely than a lot of her contemporaries. The closest comparison in recent memory might be Janet Jackson’s unimpeachable output at the turn of the 90s – a time of commercial and critical dominance in which she experimented with nascent genres such as trip-hop and contended lyrically with both her newfound status as a sex symbol and a deepening depression”.

Whilst I disagree that Pop lacks realness, and the likes of Miley Cyrus provide music that is not as affecting and challenging, it is clear that the leaders and shape-shifting innovators of most genres are women. That may be a big claim, but I see very few genres that are either defined by or what they are because of male artists. From brilliant rising artists like Iraina Mancini and Holly Henderson, through to the legends who are putting out stunning music years into their career, I cannot help but feel music is made much stronger and more extraordinary by women. There are brilliant male and non-binary artists who are geniuses and staggering talents. Kae Tempest and Antony Szmierek are favourites of mine. Loyle Carner is another artist I have a lot of love for. They are not to be downplayed or seen as inferior. My point is that, whilst this obvious dominance and brilliance from women is coming through and shows no signs of slowing, it is not being reciprocated by the industry. I have written extensively about festival imbalance. Bills are starting to even out when it comes to genre, but the headline spots are largely occupied by male artists. Even if professional studios feature very few women, there are incredible self-producing artists that are inspiring women to go into production – and studios and the industry should recognise that are affect change and a better working culture.

Also, I still find radio playlists are a little skewed towards male artists. So much brilliant and impactful music is being overlooked and put aside to make way for men. I hope that things change next year. With so much sexism and gender inequality throughout the industry, how long will this go on?! There are so many visionary and exceptional women in music that are ensuring that the music made today will be heard and admired decades from now. I have asked before whether change will come. Whether the strength of female artists will be noticed and respected. I feel we will see some improvements. It is amazing (though not surprising) that so much phenomenal music is being made by female artists. It is a shame that the industry is so slow to bring about parity. From there being fewer opportunities for women (compared to men) to the abuse and discrimination many face, it is obvious things need to get better! Even if there is a long way to go, there are shoots and leaves blossoming that point towards parity and recognition. I want to embrace and celebrate male and non-binary artists, as they are essential and brilliant. I do feel that, notably, women are putting out music with that extra edge and depth. This year is definitely no exception! Everyone hopes that we see huge leaps forward regarding inequality and discrimination. I do feel that 2024 is…

A year where things get a lot better.

FEATURE: Spotlight: Kelli-Leigh

FEATURE:

 

 

Spotlight

  

Kelli-Leigh

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AN artist that…

I have so much love and respect for, Kelli-Leigh is not only a tremendous solo artist and former backing singer. She is an incredible songwriter and someone who has just directed, edited, and graded the video for her new single, Never Dance Again. A remarkable talent who is among the best artists we have in music, I wanted to spend some time with her. There are a few interviews I want to get to. Whilst most of the interviews with Kelli-Leigh are from 2020 or before, there is one from last year that I want to finish with. I wonder whether there will be album later this year. She has this collection of remarkable songs under her belt, so I am curious whether we will get an album and then a nationwide tour to promote it. No doubting the fact that she is someone who has a huge fanbase that would love to see her hit the road. If you have not discovered Kelli-Leigh then make sure that you correct this. With her own label, Music Core Limited, this is an artist who I think will be releasing phenomenal music for many years to come. There is nobody in the industry with her sound. I have always loved Kelli-Leigh’s music. She has featured on collaborations in the past, yet I think she is at her strongest when she is at the front and leading. She can effortlessly work alongside any other artists, but I feel her solo material allows us to experience her full range. I want to go back a few years to Run That Again’s interview with Kelli-Leigh. Later that year (in September) she released the remarkable E.P., Can’t Get Enough. Here, she discusses running her own label, and how working in the industry has been a bit of a rollercoaster:

“I set up my own label so I could release my own music to give myself an opportunity, platform and a place for my voice, and selling it out showed me that backing myself was the right decision to make, I felt overwhelmed and extremely proud.”

Being exposed to every level of the music industry comes with many experiences both positive and negative. We ask her about these and what advice she might have for aspiring artists as well as the best advice she might have received herself.

 “I have had negativity towards my journey, I’ve been told perhaps it would’ve been better to stay in my lane as a session singer and sing records for other people and earn a small living from it instead of wanting my own path as an artist. That came from someone I truly respected so that hurt the most.

“Other things have been; which I’m sure a lot of us have experienced, is that lack of support, people who don’t shout you out or want to credit you for your work. However, I have also met some of my best friends through working in the music industry, friends I will have for life and been on some of the most incredible adventures I could’ve dreamed off. As one of my besties Katie & I say ‘It’s a rollercoaster life’.”

“The best piece of advice I’ve ever been given was by my friend Leona Lewis who told me to make sure I have good management. I’ve definitely learnt my lesson from having bad management in the past!”

“I would love to work with Fink, I’ve been touched and inspired by so much of his music. One of my favourite concerts ever was seeing him and his band play with the Royal Concertgebouw Orchestra in Amsterdam a few years back, absolute goose-bumps! I’d also love to work with Artist and writer Tayla Parx, the hits she’s written is insane and her own music is so fresh. I’d love to see how her brain works in constructing a song.”

Kelli-Leigh has already shown international success with her music: she’s appeared on Radio 1 Live Lounge, been played on KISS FM, been in the top 10 Shazam trending and even entered Virgin Radio Dubai’s HOT 30 chart as a global artist. But it’s not all about the music. We’re also interested in what she gets up to when she’s not grinding out results. What’s one thing no one knows about her?

“I’ve seriously got into video editing, I co-edited my last few videos, and have completely edit my next two. I find it so rewarding getting the visuals right to the music and the more I’m involving myself in the editing process the more I feel like I’m giving the most honest creative version of myself”.

I will move along to a later interview. Lady Gunn chatted with Kelli-Leigh about the Can’t Get Enough E.P. Released in 2020, it must have been a difficult year for an artist who was releasing this big statement. When the pandemic struck and touring was not possible, so many artists were doing promotion online and unable to connect with their audience like they were used to. That said, I remember the E.P. coming out in 2020. It was a bit of a lifeline at such a difficult time:

“Can’t Get Enough is a journey EP.” With this in mind, South London artist Kelli-Leigh takes us through the early stages of a blossoming relationship with her five track project. Beginning with the first sparks of romantic connection on the glistening “Can’t Get Enough,” to the malty sultriness of “Whiskey Midnight,” Kelli-Leigh is an engaging storyteller.

“Lyrically, the project follows a relationship from the early days, the build-up of sexual tension, and ultimately the ending. These are the songs that most represent me as an artist and the sound I have been developing.”

It’s a sound that’s been long in the making. Having featured on a number of club hits, including “More Than Friends” (James Hype), “I Wanna Feel” (Second City), and the Billboard Dance Chart and GRAMMY-nominated #1 “I Got U” (Duke Dumont & Jax Jones), Kelli-Leigh also toured with Adele as a backing vocalist for her second album 21 in 2010 and has joined Jessie J and Leona Lewis on stage.

However, it’s her work as a solo artist where she has been able to create the music she’s always wanted to make. The EP is a polished body of work, shimmering with elegant pop melodies and jovial dance melodies – a celebration of her artistic journey.

We chatted with Kelli-Leigh to find a little more about her new project, as well as the importance of championing the independent artist.

 YOU’VE RECENTLY RELEASED YOUR NEW PROJECT CAN’T GET ENOUGH – COULD YOU TELL US A LITTLE MORE ABOUT THE EP?

“Sure! The EP is a journey of my sound. When I started the label Music Core back in 2018, I was finding my way through the dark. With each release I was learning so much that I never knew about the industry and how to release music. I also felt a big weight of expectation on what my sound should be from all my dance features. This EP is my favourite body of work so far, and listening to the full EP opens up the sound of who I am and lyrically what I’m about.”

YOU DESCRIBE THE PROJECT AS A JOURNEY EP – LYRICALLY THROUGH THE STAGES OF A RELATIONSHIP BUT ALSO IN YOUR MUSICAL CAREER AS WELL. WHAT DOES THIS COLLECTION OF SONGS MEAN TO YOU RIGHT NOW?

“Honestly, it shows me how far I’ve come. I’ve worked really hard on building my self-esteem for my own project. I’m strong-minded and very honest but I have been left feeling insecure about who I am as I’ve had so many opinions of who I should be forced onto me. This EP is all my songwriting, it’s my visual direction (with each video getting more confident as I learn more about video editing and how I wanted to present my art, for my budget). It’s also a milestone for what’s to come.”

 AS WELL AS SETTING UP YOUR OWN LABEL YOU ALSO RUN AN INDEPENDENT ARTISTS PLAYLIST WHICH IS REGULARLY UPDATED WITH FRESH NEW TUNES. WHY DO YOU THINK IT’S SO IMPORTANT TO REPRESENT THE UNSIGNED ARTIST?

“I just feel like there is a lack of clear support for independent artists on the playlisting side. Spotify has one main independent artist playlist which is extremely hard to get on, and that playlist is then broken down into several indie playlists based on genre. When you submit your songs for editorial on any DSP there isn’t a button you can click for Independent artists. So you’re in effect competing to be heard by major label artists who already have the monopoly of playlisting. There is such incredible music out there and starting this playlist has proven that tenfold. I’ve heard songs on this playlist that have under 1000 streams and are amazing!”

WHAT HAS RUNNING A RECORD LABEL TAUGHT YOU ABOUT THE INDUSTRY? WERE THERE ANY SURPRISES ALONG THE WAY?

“Be over-prepared. A release needs to be prepared at least 2-3 months in advance (finished production, mix & master, artwork, uploading to distributor, scheduling, marketing). You probably need more budget – marketing is bigger than any of us realize. Have a follow-up record if your previous one does well so you can piggyback off it.

Keep it moving, try to have no expectations as that can lead to disappointment especially for indie artists (I have been there several times). Most importantly, believe in what you’re releasing, as you’re doing it for you because you love the music. That has to be first.

Surprises, yes. Sometimes it doesn’t matter what stats you have, some people just won’t support a record, and one that you may not put as much attention on as the others will do amazing things. There is no industry consistency, all you can do is be consistent with yourself and hopefully the rest will follow”.

I will round off with an interview from Sound Plate. Talking about her Christmas single, Unwrap My Heart, the Grammy-nominated singer-songwriter also revealed why she was particular proud of her single, New Chic, and what she wanted to achieve this year (2023). I think this year has got off to a flyer for Kelli-Leigh. She is producing some of her best and most memorable music right now. This is someone everyone needs to keep an eye on:

“What advice can you offer other singers working with producers as session singers or featured artists. How important is being properly credited for your work?

Be aware of what the terms are before you agree to anything. Don’t be afraid to ask what the recording is for and what the intentions are for a record you are involved in. If you’d like to purely focus on the creative process make sure you have a manager or representation who is looped in with the producer and their team to query any concerns/make an agreement for the use of your work

This year, you have released a string of great commercial-dance tracks, how have they been received? Is their one track from 2022 you are particularly proud of?

I’m particularly proud of ‘New Chic’ it was my first release this year and my first release going back to being Independent after my 1st major label signed single the year before. It was rejected by the A&R however received a Spotify cover of New Dance Revolution and was supported and playlisted by Captital Dance, Kiss FM & Radio 1.

Having worked with so many stars in the past, have any of them given you any unforgettable advice or wisdom you can share with us?

I’ll never forget when Leona (Lewis) said to make sure to have good management.

I’ve had some ups and downs with that over the years and i always think back to her advice. Your management truly is an extension of you, the artist so you want someone who is honest, caring, strong and has your best interests at heart. It’s your career you are trusting someone with at the end of the day and a bad email, phone call or meeting can potentially hinder or ruin future opportunities for you as an artist. At the same time you need someone who isn’t afraid to stand up to bullies in the industry who will try and get something out of you because they are higher up. It’s the most important relationship you’ll have in your business career.

Looking forward, what does 2023 hold for you, will you be returning to Ibiza again, any other exciting projects we should look out for?

I’m looking forward to heading out to LA in January for some sessions to celebrate my Grammy Nominated writers credit on Diplo’s album with ‘Forget About Me’ which I co-wrote with Aluna. I’ve also got several collabs which will be dropping early in the year so looking forward to those out before continuing with my single release”.

If you are new to Kelli-Leigh or only know some of her work, go explore and spend some time with this stunning artist. She is someone I am predicting will enjoy many more years in the industry. As one of our very brightest and most astonishing artists, you need to ensure that she is…

IN your hearts.

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Follow Kelli-Leigh

FEATURE: Before 30th July… A Kate Bush-Related Challenge to Raise Funds for Crisis

FEATURE:

 

 

Before 30th July…

IN THIS PHOTO: Kate Bush signs an autograph in 1980/PHOTO CREDIT: Mirrorpix/Getty Images 

 

A Kate Bush-Related Challenge to Raise Funds for Crisis

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I am not going to mention Kate Bush’s birthday…

 PHOTO CREDIT: Katebushnews.com/Cabaret vs Cancer

until closer to the time on 30th July. She will be sixty-five. I know that is a big birthday, but she will be the last person to celebrate it with such significance and hoopla! She will be pretty modest and low-key, I am sure. I know that many websites will use the opportunity to mark her sixty-fifth birthday. Maybe they will do her best sixty-five songs or write about Bush’s ongoing significance. I have said how I’d like to do a Lionheart podcast. Bush’s second studio album came out in November 1978 so, ahead of its forty-fifth anniversary, maybe a special podcast. It is an underrated and under-loved album that more people should really appreciate and seek out. I think that would be a fitting tribute to someone whose music has enriched so many lives. I am definitely going to up the amount of features I do. Rather than highlight her birthday and age, it is a good opportunity to go deep with her albums and explore various sides to her career and personality. There is something special I want to do. As opposed a birthday present, there is something Kate Bush-related that would be awesome. She is someone who has spent so much of her career supporting charities. The likes of Crisis are particularly close to her heart. Recently, Bush donated a couple of signed CDs to a very worthy cause. Here are more details:

“Kate has donated a number of signed Running Up That Hill CD singles to the annual Cabaret vs Cancer charity music auction. Cabaret vs Cancer was set up in 2016 and raises money through cabaret and burlesque shows as well as themed online auctions to help people coping with the effects of cancer. Kate has donated signed items for the previous two music auctions. Dave Cross from HomeGround Magazine is a patron of the charity, and last year organised a Kate themed cabaret fundraiser at The Royal Vauxhall Tavern in London. The music auction also includes signed items from Kim Wilde, Belinda Carlisle, The Pet Shop Boys, Stormzy, Taylor Swift, Joan Armatrading and many limited edition vinyl and CD collectibles. Please do check out the auction online here, a wonderful cause – thanks Dave!”.

IN THIS PHOTO: Kate Bush cuts her thirtieth birthday cake on 30th July, 1988 at Blazers Boutique, where she was raising money for AIDS Victims/PHOTO CREDIT: Mirrorpix

It is no surprise that Bush has opted to raise money for a worthy charity. There are those who would say that, as she has a fair bit of money herself, why can’t she donate herself. She wants to give something; something like a signed C.D. It also helps raise awareness and focus, rather than her just doing this privately. Getting fans involved and bringing to the focus important charities has been in her blood since the early days. For example, on her thirtieth birthday on 30th July, 1988, Bush cut her birthday cake at Blazers Boutique where she was raising money for AIDS Victims. This kind of altruism and selflessness is another reason why she is so respected and loved around the world. I felt, rather than doing a birthday celebration or something related on 30th July, I would use the opportunity to follow in her footsteps. If she spent her thirtieth birthday raising money for charity, I would like to do something for charity on her sixty-fifth birthday. I have been thinking about backing Crisis and raising money for them. A charity that aims to end homelessness, I am acutely aware of the problem living in London. There is so much rough sleeping in the capital, and you wonder how much is being done to help those in need. A very worthy charity that aims to assist those affected and try to end something that shouldn’t exist in the modern age, I wanted to do that highlights her work, but also raises money for charity.

 PHOTO CREDIT: freepik

Rather than something like an album listening party, event, or podcast, maybe a marathon challenge or something that would be quite a feat. It would be interesting to hear suggestions, but I was thinking of doing a challenge related to journalism. 31st July falls on a Monday this year so, starting on Sunday and ending on Monday morning, I was thinking of instead writing one to-end-them-all feature. Designed to show a love of the icon and also a guide to music for new listeners, rather than write an entire book about her – which would take weeks and months -, doing something over the course of maybe twenty-four hours would be more fitting. Perhaps it could be streamed, but the challenge is to complete the whole thing and publish it before 8 a.m. on Bush’s sixty-fifth birthday. Instead of making mention of her birthday, it would be like any normal feature, albeit a pretty comprehensive one! Linking to Crisis, I would set up a fundraising page and urge people to donate. Of course, if I do not finish the feature by the deadline, then that does not mean the charity goes without. The money goes there regardless. It is chance for me to express my love of Kate Bush with that desire to introduce her to as many people as possible. There is a whole generation out there who do not know about her work, or they do not know the depth of its brilliance and variety. Crisis is a charity that I am a big supporter of . The charity offers year-round education employment, housing and well-being services from centres in East London, Newcastle, Oxford, Edinburgh, South Yorkshire, South Wales, Croydon, Brent and Merseyside. It would be amazing to do something for them and bring Kate Bush into it. I wonder if people would donate and support an idea like that. Ahead of her sixty-fifth birthday, I have been thinking of doing something big that would not draw attention to that milestone, but it would be an opportunity to do something special. A marathon feature or twenty-four hour challenge, I think, would be a nice tribute to..

AN amazing person.

FEATURE: An Amazing Return! Why the Revival of the HMV Flagship Store on London’s Oxford Street Is Especially Important

FEATURE:

 

 

An Amazing Return!

IMAGE CREDIT: HMV

 

Why the Revival of the HMV Flagship Store on London’s Oxford Street Is Especially Important

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ONCE beautifully situated…

 PHOTO CREDIT: Getty Images/HMV

at 363 Oxford Street in London, there was something beautiful perfect about HMV. With so much foot traffic, you would wander into this big store and browse for vinyl, C.D.s, books, and merchandise alongside so many different people. It was a vibrant and bubbling hub for those who were looking for something special. The flagship store closed its doors in 2019. That looked like things were it. High rent and a comparative lack of trade meant that this hugely important and convenient store closed. Since then, one has had to go to independent stores to get music. I cannot think where the nearest HMV is to central London. I guess the pandemic starting in 2020 meant so many people wanted to support record stores that were struggling. With HMV doing well during the past few years and getting new customers and increased sales, it not only means that the company has survived and is growing. We also get to see the return of an historic store that we all thought had been consigned to history. This Music Week article explains more:

“HMV is set to make a return to Oxford Street after a four-year absence, with a lease signed to confirm the reopening of its flagship later this year.

HMV currently has 120 shops across the UK, including a West London location in Westfield, the specialist Fopp store in Covent Garden, and the 25,000 sq ft Vault in Birmingham – Europe’s largest entertainment store.

Sunrise Records owner Doug Putman acquired the historic music chain in 2019. Since the closure of the 363 Oxford Street store in the same year, the presence of a flagship in the capital has been on the agenda.

Under Putman’s tenure, the business has evolved its concept to centre on a fan and community-orientated offer, including in-store gigs from local acts. It has successfully tapped into consumer demand for vinyl.

363 Oxford Street will feature HMV’s new logo, and be fitted out with the new ‘HMV shop’ concept. The first store featuring the new layout and offering opened in Solihull on HMV’s 100th birthday in July 2021.

The concept will have been taken to 24 new sites – and retro-fitted to 14 of the existing estate – by the end of the year. By 2024, half of the HMV estate will have been converted to the new concept.

Doug Putman said: “The expansion of our fan-focused pop culture offer is really working for us and the reopening of our flagship represents the culmination of a good few years of hard work. We are also opening stores in Europe this year, so while it is the culmination of one phase of work, more excitingly we see it as the launchpad for an exciting new era for HMV.”

The new 363 Oxford Street store is expected to stock a large range of pop culture merchandise, vinyl, film, TV and music technology.

In the past year, HMV shops in the UK have welcomed artists such as Charli XCX, Stormzy, Shania Twain, Raye and Ellie Goulding for signings. The central London shop is expected to draw big names and is set to stage performances from up-and-coming acts through the HMV Live&Local programme.

363 Oxford Street played host to the very first HMV store in 1921. It became one of the UK’s most famous retail destinations. In 1995, Blur performed a memorable rooftop gig. A year later, the store hosted the Spice Girls’ Christmas Lights switch-on.

It remained there until 2000 when HMV relocated to its 150 Oxford Street store (since closed). HMV later returned to 363 Oxford Street in 2013. Since its closure in 2019, the site has been operated as an American-style candy store.

Cllr Geoff Barraclough, Westminster City Council’s cabinet member for planning & economic development, said: “It’s fantastic to see this iconic brand back on Oxford Street, where it stood as a driver of music and pop culture in the capital for so long. It’s also particularly pleasing it is replacing one of the many US candy stores which sprang up during the pandemic.

“The return of this famous name is proof that there’s a buzz back in the West End. Established retailers want a presence on the UK’s premier shopping street and as a council we want to see the nation’s high street reinvigorated and home to brands like HMV.

“There’s nothing quite like browsing through CDs and vinyl in-store. As a teenager who bought his first LP in an HMV shop some decades ago, I look forward to reliving that experience!”

Sam Foyle, co-head of prime global retail at Savills, acting on behalf of the private landlord for 363 Oxford Street, said: “The return of HMV is a major milestone for Oxford Street. It shows the growth in belief and confidence for the street. The previous vacancy and short term candy store tenant, was the focus of the challenges facing Oxford Street. HMV reopening along with many other global transactions in progress, demonstrates that Oxford Street has recovered”.

PHOTO CREDIT: Getty Images/HMV

I have been shopping at HMV since I was a child. Whereas other chains like Our Price have come and gone, the reliability of His Master’s Voice has been there always. I was worried that HMV would decline and go into liquidation without chance of survival. Stores have closed down, but that is the sad reality of the high street. This fresh news is marvellous. It will give hope to other stores. Maybe there will be new HMV branches popping up soon. I hope that the reopening of the flagship store leads to maybe another one opening in Oxford Street – as I believe there used to be two HMV stores down that way. It has been sad walking past where the flagship store used to be and not seeing and feeling that welcoming buzz and intoxication! I am not sure what special gig or event is planned for the reopening, or exactly when the flagship store returns. it is still magnificent to know that this year will see the resurrection of HMV on Oxford Street. With so much room that one could explore, this store was always going to struggle in such an expensive part of London. Now, with profits at HMV up and there being this loyal and unwavering customer base, let’s hope we do not have to say goodbye to it for a second time! We need to ensure that the flagship store remains where it is for many years to come.

 IN THIS PHOTO: 1963: an HMV van outside the store/PHOTO CREDIT: Getty Images/HMV

Not only is there this accessibility and convenience for those in London. I also feel that the more we get rid of stores like this, the worse it is for the industry as a whole! At a time when vinyl is booming, cassette sales are rising and there is this new demand for physical music, chains like HMV are vital! The friendly and passionate staff are also a big reason why the stores succeed. It is nice to browse and have so much awesome choice. I am looking forward to browsing the vinyl, picking up some T-shirts and generally seeing what is in there. The new design and layout means it is going to be a different look to what it was in 2019. You will still be able to get all you need, but it will be more modern and interactive. I have seen the news shared online, and there is this celebration, relief, and delight. When it was closed in 2019, I remember being so gutted! That was echoed and amplified by so many other people. The high street has always struggled, and the pandemic has not helped too much. Maybe people have less money, so it is especially unexpected that we should hear of a once-gone HMV store rising again in its rightful place. I have not been to 363 Oxford Street recently, but I don’t think anything has replaced it. That space can now reopen and make up for lost time! Situated in a very busy part of London, you know the store will get a tonne of customers when it opens its doors once more. Running alongside the successful and rise of physical music, it shows that people want to shop for music on the high street - and they are not solely relying on streaming and buying music online. Let’s hope that this continues and we cherish the flagship store for a long time more. HMV is such a respected and beloved chain that means so much…

 IMAGE CREDIT: Dog & Trumpet

TO all of us!

FEATURE: One for the Record Collection! Essential May Releases

FEATURE:

 

 

One for the Record Collection!

 IN THIS PHOTO: Paul Simon/PHOTO CREDIT: Myrna Suarez

 

Essential May Releases

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I am casting my mind forward…

and looking to the great albums that are due for release next month. There are some phenomenal releases that people need to get involved with and pre-order. To start, on 5th May, there are a couple of albums that you need to check out. One that you might want to pre-order is Ed Sheeran’s ‘-‘ (Subtract). An artist who has had this run of albums using mathematical symbols, he now brings that series to a close. It seems like this might be his most open and vulnerable album yet. Even if I recently reacted to something Ed Sheeran said regarding the use of critics and whether we need them, I know there are people out there who will be interested in his new album and want to get a hold of it. Even if some critics may take against it, there is no doubting the popularity and place Sheeran holds in modern music. He is likely to score a chart topper with ‘-‘ (Subtract). This is what Rough Trade had to say about an album that will rank as one of the most anticipated and popular of the year so far:

“Ed Sheeran releases his new album ‘-‘ (Subtract) - the last in his decade-spanning mathematical album era. An album that revisits Ed’s singer / songwriter roots, and one that was written against a backdrop of personal grief and hope, ‘-’ (Subtract) presents one of the biggest stars on the planet at his most vulnerable and honest”.

An album that differs from Ed Sheeran’s is The Lemon Twigs’ Everything Harmony. Featuring one of the best album covers of this year, it is going to be another exciting and inventive release from the amazing American duo. I would urge everyone to pre-order this album from one of music’s most fascinating forces. I always love what The Lemon Twigs offer up:

“On Everything Harmony, the fourth full-length studio release from New York’s The Lemon Twigs, the prodigiously talented brothers Brian and Michael D’Addario offer 13 original servings of beauty that showcase an emotional depth and musical sophistication far beyond their years as a band, let alone as young men.

Everything Harmony successfully blends the brothers’ distinct personalities while giving voice to their eclectic influences. Opening the album with the unassuming acoustic folk of plaintive “When Winter Comes Around,” which echoes the sophisticated grandeur of classic Simon and Garfunkel recordings, they immediately switch things up to the sunny classic pop motif of “In My Head.” “Corner of My Eye” channels an Art Garfunkel-like vocal melody over a moody, vibraphone-tinged backing track suggesting the chamber pop of Brian Wilson.

While they had no grand concept for Everything Harmony, both the D’Addarios felt a “palpable mood of defeat” prevailed while writing and recording it. “New To Me” was inspired by their shared experience with loved ones suffering from Alzheimer’s, “What You Were Doing” is dressed in the tortured jangle of vintage Big Star, while “Born To Be Lonely,” written after watching John Cassavetes’ Opening Night, deals with what Brian calls “the fragility that often comes with age.”

Everything Harmony is a unified song cycle born of shared blood and common purpose. With two musical heads being better than one, there’s no shortage of ideas to draw on. Their only impediments are time and the challenge of keeping up with their own prolific musical inspiration. “We share an intuition and tend to be influenced by one another,” says Brian, “so the lyrical ideas on this record tend to complement each other. Writing has never been the issue for us. It’s completing, editing and compiling that takes the time. We’re trapped in a web of songs!”.

I am going to move things to 12th May, as there are a series of albums from this week that you will want to look out for. The first, Alison Goldfrapp’s The Love Invention, looks remarkable. We know her from Goldfrapp, but this is her debut solo album. An artist that is such a mighty talent, the singles we have heard from her debut solo album are sounding awesome! This is an album that you really have to pre-order, as I am predicting it will not only be among this year’s best. I think that it will be in the running for a Mercury Prize. You know that Alison Goldfrapp is going to deliver something sensational:

“Alison Goldfrapp has set a towering bar for British synth-pop in the 21st century and she’s only just getting started. The magnetic London-born singer, songwriter and producer’s seven albums with Goldfrapp were fuelled by an unfailing modernity and a sixth sense for sounds that were more timeless than any trend.

With the release of her debut solo album The Love Invention - an electrifying dance-pop suite - her multi-faceted musicianship reaches a new peak.

The Love Invention marks Alison’s reawakening as a dancefloor priestess, in an intoxicating showcase of the disco and house influences that have always been at the heart of her musical DNA. In Alison’s quintessentially complex way, the album's moments of sincerity are paired with a devious sense of fun. Lead single “So Hard So Hot” bottles the ephemeral joy of a dancefloor with its anthemic house beat, disco handclaps, and an exquisitely alluring vocal, whilst on “NeverStop,” Alison is flooded with the rush of an all-encompassing love over a buoyant, rubberised beat, and Balearic synths and a swooping punch-the-air chorus on 'Love Invention'.

Alison’s dedicated approach to pop innovation has firmly situated her as the rare leftfield artist who has been embraced by the pop mainstream without diluting one iota of her individuality”.

The American-born, Manchester-based BC Camplight (Brian Christinzio) offers up The Last Rotation of Earth on 12th May. An artist that I have so much respect and love for, his new album follows the incredible 2020 gem, Shortly After Takeoff. I have a feeling that this will be the most striking and memorable album from BC Camplight. If you have not heard his music before, I would proudly recommend pre-ordering The Last Rotation of Earth. You will definitely not regret it. Everything BC Camplight releases is so powerful and evocative. An artist that can draw you into a song, I am looking forward to seeing what The Last Rotation of Earth will sound like. It is definitely going to be among the best albums of this year:

“Is there a curse that says Brian ‘BC Camplight’ Christinzio cannot move forward without being knocked back? That the greatest material is born out of emotional trauma?

Whilst making his new album The Last Rotation Of Earth, Christinzio’s relationship with his fiancé crumbled after nine inseparable years. The album follows this break-up amid long-term struggles with addiction and declining mental health. The outcome is an extraordinary record, with Christinzio describing it as “more cinematic, sophisticated, and nuanced than anything I’ve done before. And more desperate”.

A group and album that may not be familiar with everyone, I would advise people to invest in Esben and the Witch’s Hold Sacred. Go and pre-order an album that is guaranteed to leave an impression. I am looking forward to it coming out on 12th May. In a strong week for music, this album is one that you will not want to let slip away:

“Esben and the Witch - comprising Rachel Davies, Thomas Fisher and Daniel Copeman - began in Brighton in 2008, later decamped to Berlin, and is now split three ways across the UK, Germany and the US. Their winding geographical journey feels representative of their path as a whole. The band have snaked through various scenes and sonic worlds across their 14 years together, while always squirming away from an easy genre classification. Their first two albums, 2011’s Violet Cries and 2013’s Wash the Sins Not Only The Face - both released on Matador Records - offered gothic, electronic-tinged dream pop and post-rock. Beginning with the Steve Albini-produced A New Nature (2014, self-released on their own Nostromo Records), they came to explore heavier post-punk and metal textures, which they intensified through 2016’s Older Terrors and 2018’s Nowhere (both via Marseille-based metal label Season of Mist).

Hold Sacred represents a reset in many ways. After Nowhere, Davies felt exhausted and disenfranchised with music, and for a while entertained the possibility that Esben and the Witch had come to an end. If they were to make a new album, they needed to take everything back to basics. They departed from their record label, returning to independence through Nostromo. They expanded operations, too, with the launch of Haus Nostromo, an online emporium and journal through which they branch away from purely music, selling “a curated collection of books, zines, art prints, clothing and more”. It’s aimed at building community, celebrating the act of collaboration, and offering an ethical, passion-driven and truly DIY platform for artists across various mediums. “Similar to the spirit of Esben, it’s always been essential for us to do everything on our own terms,” says Davies.

In the summer of 2019, the band retreated to a villa outside of Rome, with no expectations or pressures but simply the intention to enjoy each other’s company and see what musical inspiration may arise from that. This is where the rough sketches of the songs that would form Hold Sacred came to be. “It was a wonderful, restorative retreat,” Davies says. “It felt free again, and a reminder that perhaps there was still a spark left for us to unearth.”

The songs that were emerging were different than any previous. They’re brooding, gentle, almost ambient; there are no live drums, and the instrumentals comprise simple, sparse guitar and keys. “We wanted to create a softer, calmer record; a record we’d listen to when we need soothing, like the ambient records we find comforting and, dare I say, almost spiritual,” says Davies. The band used no outside producers or engineers, keeping the process limited to the three of them from start to finish — harkening back to the spirit of their earliest days when Copeman would record them in his bedroom and bathroom”.

One more album before we move on to 19th May. Madison McFerrin’s I Hope You Can Forgive Me is one you need to check out. An artist who I really love, go and pre-order this album. McFerrin blends a cappella, Electronic Pop, Jazz, and Soul. The daughter of Bobby McFerrin, she released two a cappella-based E.P.s before releasing 2019's You + I, produced with her brother Taylor McFerrin. I do hope as many people as possible buy and hear an album from one of modern music’s greatest voices. She is a phenomenal artist that we all need to embrace and highlight:

“Madison’s latest project, I Hope You Can Forgive Me, represents an evolution in her career as she finds ways to improvise and self-produce in the midst of an ever changing global pandemic landscape. I Hope You Can Forgive Me builds upon that next step sonically while exploring themes of love, self preservation, fear, and conjuring. What comes out of this work and Madison’s career thus far is a commitment to leave - leave fear and doubt behind in order to make space for what is next to come, all with a sense of style, fun, and invitation to dance through it”.

There are three albums due on 19th May that I want to suggest to you. The first is from a true legend of music. Graham Nash releases Now. It is an album from someone who, among his honours, founded The Hollies. I do not even think that he is an artist now that appeals to an older demographic and past generation. Here is someone creating remarkable music that needs to be heard by all. Go and pre-order a phenomenal new album from one of music’s giants and all-time greats. I am excited and primed for new music from the genius Graham Nash. For those who might not have heard Nash’s solo music, Now sounds like an album that you will want to get a hold of:

“Two-time Rock and Roll Hall of Fame inductee and founding member of both the Hollies and Crosby, Stills and Nash, Graham Nash returns with his first studio album of new material in seven years, titled Now. Now is produced by Nash and longtime touring keyboardist Todd Caldwell”.

Another album from 19th May that you will want to pre-order is Hannah Jadagu’s Aperture. This may be someone new to you. I only discovered Jadagu’s music last year, but I have really connected with it. I do think that you should pre-order Aperture, as it is going to be a stunning album from a rising artist that everyone needs to be aware of. Take some time out today to listen to the music of the wonderful Hannah Jadagu:

“Fresh out of high school, Hannah Jadagu released her debut EP, What Is Going On?, a collection of intimate bedroom pop tracks recorded entirely on an iPhone 7, which was, at the time, Jadagu’s most accessible mode of production. An off-the-cuff approach to music making and instinctive ability to write unforgettable hooks belied the intensity of Jadagu’s subject matter. What Is Going On? confronted some of the nation’s most urgent struggles through Jadagu’s compassionate perspective. What Is Going On? built on the small online fanbase Jadagu had developed by releasing music on SoundCloud for years as she realized her growing passion for songwriting.

Now, Jadagu is releasing Aperture, her first LP and most ambitious work to date. Written in the years between graduating from high school in Mesquite, TX and her sophomore year of college in New York, Aperture finds Jadagu in a state of transition. “Where I grew up, everyone is Christian; even if you don’t go to church, you’re still practicing in some form,” Jadagu says, laughing. “Moving out of my small hometown has made me reflect on how embedded Christianity is in the culture down there, and though I’ve been questioning my relationship to the church since high school, it’s definitely a theme on this album, but so is family.”

 As a kid, Jadagu followed her older sister – a major source of inspiration – to a local children’s chorus, where she received choral training. “I hated it,” Jadagu admits. “But it taught me how to harmonize, how to discover my tone, how to recognize and write melody.” The aching single “Admit It” is dedicated to Jadagu’s sister, whose love and impeccable taste have been a constant since Jadagu was a kid. The siblings were raised on mom’s Young Money mixtapes and the Black Eyed Peas (to whom Hannah credits her love of vocoder) but it was in the sanctity of her sister’s car that Jadagu discovered the indie artists who inspire her work.

With Aperture, Jadagu faced the challenge of finding a co-producer capable of complementing her work without dominating it. Enter Max Robert Baby, a French songwriter and producer who captured Jadagu’s attention with his take on Aperture’s lead single “Say It Now.” The duo worked remotely, sending stems to one another via email, before meeting in-person for the first time at Greasy Studios on the outskirts of Paris. “When I recorded my EP, it was all MIDI, but in the studio Max and I worked with a ton of analog instruments,” Jadagu says. “Every track on this album, except for ‘Admit It,’ was written first on guitar. But the blanket of synths throughout helps me move between sensibilities. There’s rock Hannah, there’s hip-hop Hannah, and so on. I didn’t want any of the songs to sound too alike.”

An aperture is defined as an opening, a hole, a gap. On a camera, it’s the mechanism that light passes through, allowing a photographer to immortalize a moment in time. For Jadagu, the word perfectly encapsulates the mood of her debut album. In the years it took her to complete, she faced moments of darkness, sure, but the process of making it was ultimately a cathartic experience, one she now shares with you. Let the light in”.

There are three albums from 26th May that I will finish off with. An album whose presence was announced recently, Paul Simon’s Seven Psalms sounds so interesting. Few expected news of a new album from Simon this year. His previous, In the Blue Light, came out in 2018. His fifteenth solo studio album is like nothing he has done before. Every music fan needs to pre-order one of this year’s most important albums:

“Recorded entirely on acoustic instruments and predominantly performed by Paul, Seven Psalms showcases Simon’s craft at its finest and most captivating, simply with his voice and guitar. Intended to be listened to as one continuous piece, the 33 minute, seven movement composition transcends the concept of the “album".

A stunning, intricately layered work, it’s a record which establishes an engaging and meditative, almost hymnal soundscape, with Paul’s lyrics providing the gravitational center for constellations of sound woven from guitar strings and other acoustic instrumentation – including choral elements from the highly-regarded British vocal ensemble VOCES8, and a beautiful vocal appearance by Edie Brickell.

True to the origin of psalms as hymns meant to be sung rather than spoken, Seven Psalms reaches back to the very genesis of folk music: King David’s Psalms. The result is a quietly moving musical experience which uncovers a wealth of subtle details with every repeated listen. A step apart from anything Paul Simon has released before, Seven Psalms defies categorization.

The record’s tone is complemented by its artwork, which features a close-up extract of “Two Owls” by the celebrated landscape artist Thomas Moran”.

A terrific young artist who is going to go far, Gretel Hänlyn releases Head of The Slug Club on 26th May. It is her first two E.P.s, Slugeye and Head of the Love Club, combined into a vinyl. You can pre-order it here, and I would suggest you do, as Hänlyn is an immense talent. Head of the Love Club came out in March, so you may have it already. I would urge people to go and get an album that brings together two E.P.s that highlights an amazing artist. I will bring in an interview from The Line of Best Fit, as they spotlighted someone that is going to have a very long career:

“Hänlyn, aka Maddy Haenlein, has taken time out of her afternoon to catch up at a pub in central London for a chinwag over a pint. She sips on her Guinness contently, feeling better after a nasty infection earlier in the week. But also coming in armed and ready with the prospect of new music, a run of live shows in April and a festival slot alongside the legendary Iggy Pop this Summer, her drink is sure to taste that extra bit sweeter.

“I feel really happy with how things are working out,” says Hänlyn as she reflects on her musical journey to date. She first cropped up in 2021 with her distinctively brooding vocals marking her adrift from her contemporaries.

PHOTO CREDIT: Brennan Bucannan

The buzz around Hänlyn has only grown since. Her debut EP Slugeye gained her critical acclaim and this month she deliver its follow up Head of the Love Club. It’s a bold new body of work which showcases an evolving artistic persona with depth, vulnerability and a brazen edge that’s characteristically ‘Gretel’. Most of all, it’s a statement that showcases just who Hänlyn is.

“I wasn’t trying to please any majority,” Hänlyn assures. “A lot of the time during recording, I was messing around with different vocal lines and styles that made me go ‘eugh, I hate that, let’s do it!’. It’s often the things that are ugly and a little too honest that resonate with people rather than nice, romanticised lyrics. They’re the kinds of things that make people think about what’s going on in their lives.”

Hänlyn’s capacity to confront challenges in her own life as a 20-year-old adult has been resolute. As a teenager, she went through an illness which impacted her muscle growth. This particularly affected her diaphragm, meaning that she had to learn how to sing all over again. “Emotionless” is how Hänlyn says she felt during that time and the numbness she experienced then continues to pervade her today.

PHOTO CREDIT: Brennan Bucannan 

“This is a little heavy, but I remember the time when I’d just finished my GCSEs, my mum sat me down and she told me that she had cancer," Hänlyn explains. "I didn’t feel a thing. Nothing happened inside of me. A few weeks ago, my aunt died. When I was told that, I didn’t feel a thing. It’s so weird. It makes me think like ‘what is wrong with me?’ But I think music is how I process emotions. I don’t get that catharsis without having processed it through a song first.

That cathartic release sprawls across Head of the Love Club, which fuses elements of Gothic fantasy influenced by her background in short horror stories with searing doses of introspection. From energetic lead singles like “Drive” to more pensive moments like “Little Vampire”, as well as the gloriously abrasive title track, there are a diverse range of soundscapes which paint the EP in a myriad of eerily dark and colourful tones. “When I go into a song, I don’t want there to be a reference track of what it sounds like,” says Hänlyn. “I had a clear idea of what of what I wanted and what I feel would impress me as a listener, which was how I approached the project.”

Her latest material has been essential for her to compose: “During the time when the majority of Head of the Love Club was written, I had quite a strange and unique relationship with someone who was a lot older than me,” she says looking down slightly nervously. “There was quite a strange dynamic; for around a year, I found myself being so confused and obsessed with this person that I felt powerless, like a little girl. So, a lot of the EP is me reflecting on that relationship and often how tiny it made me feel”.

There are two big albums to end up with. Following her award-winning 2021 debut album, Collapsed in Sunbeams, we are now going to get the anticipated My Soft Machine. This is an album that I suggest everyone pre-orders. It looks like it will another hugely successful and accomplished album from one of our finest and most important artists. Arlo Parks is truly sensational. Here are details of her second studio album:

“Twice Grammy-nominated, Mercury Prize and Brit Award-winning artist Arlo Parks is returning with her second album, My Soft Machine on Transgressive Records. My Soft Machine is a deeply personal body of work; a narration of Parks’ experiences as she navigates her 20’s and the growth intertwined. Explained ever-articulately in her own words below...

“The world/our view of it is peppered by the biggest things we experience - our traumas, upbringing, vulnerabilities almost like visual snow. This record is life through my lens, through my body - the mid 20s anxiety, the substance abuse of friends around me, the viscera of being in love for the first time, navigating PTSD and grief and self sabotage and joy, moving through worlds with wonder and sensitivity - what it’s like to be trapped in this particular body. There is a quote from a Joanna Hogg film called the Souvenir, it’s an A24 semi-autobiographical film with Tilda Swinton - it recounts a young film student falling in love with an older, charismatic man as a young film student then being drawn into his addiction - in an early scene he’s explaining why people watch films - “we don’t want to see life as it is played out we want to see life as it is experienced in this soft machine.” So there we have it, the record is called....My Soft Machine.” - Arlo Parks”.

Let’s finish off with the upcoming album from Sparks. The brilliantly-named The Girl Is Crying in Her Latte arrives on 26th May. From the L.A. siblings Ron and Russell Mael, you just know that this is going to be a real treat. Sparks are one of the most consistent groups (duos, technically) in music history. Their endurance and constant sense of invention is truly amazing. Their new album sounds terrific:

“Sparks release their hugely anticipated 26th studio album, The Girl Is Crying In Her Latte via Island Records. The LP marks Sparks’ first release on the venerable Island Records label in close to five decades, following such classics as 1974’s landmark Kimono My House, highlighted of course by the indelible hit single ‘This Town Ain’t Big Enough For Both Of Us’. The new album is described by Ron and Russell Mael as a record that is “as bold and uncompromising as anything we did back then or, for that matter, anytime throughout our career.” The album includes such instantly intriguing new musical vignettes as ‘Mona Lisa’s Packing, Leaving Late Tonight’ and ‘Nothing Is As Good As They Say It Is’, songs which once again display Sparks’ seemingly ceaseless ability to craft complete, intricately detailed stories within perfect three-and-a- half minute pop masterpieces. Both characteristically timeless and unequivocally modern, The Girl Is Crying In Her Latte once again affirms that, after more than a half century making such masterpieces, Sparks remain inimitable, ingenious and, as ever, utterly one of a kind”.

If you need other album tips, there are some more here, but the ones I have suggested and outlined are well worth thinking about. Huge releases from Sparks, Paul Simon, and Arlo Parks sit alongside treasures from Madison McFerrin, and BC Camplight. If you need some guidance as to which May-due albums are worth pre-ordering, then I hope the above…

WAS of assistance.

FEATURE: Inspired By… Part Ninety-Five: Adele

FEATURE:

 

 

Inspired By…

PHOTO CREDIT: Charlotte Wales for THE FACE

 

Part Ninety-Five: Adele

_________

THERE are a couple of reasons…

why Adele is now up in Inspired By… It has been an oversight until now but, on 5th May, she turns thirty-five. Ed Sheeran titles his albums with mamthmet6ic symbols (+, % etc.), and Adele of important birthday milestones. You wonder whether there will be a remix album or something where you mix their albums together to come up with a sum! Anyway, 2021’s 30 is the most recent album from the London-born artist. As her thirty-fifth birthday is not far away, I wonder whether the next album will mark that occasion? 25 (2015), 21 (2011) and 19 (2008) came before. Now, with a big birthday ahead and so much changing in her life since she was thirty (in 2018), one wonders what her next chapter will explore. I might do another feature ahead of her birthday. Now, because is such an influential artist, it is high time I put her in Inspired By… Before I get there, AllMusic provide a detailed biography of the legend:

“Weaving classic soul, confessional songwriting, and pop polish, English singer Adele became a global phenomenon in the 2010s, breaking records and collecting accolades along the way with her powerhouse vocals and all-too-relatable songs. Beginning with her 2011 sophomore set, 21, no singer could compare in terms of sheer sales or stardom and Adele existed in a different stratosphere than her British or American peers, selling tens of millions of albums at a time when many musicians struggled just to get to a million. The key to Adele's appeal lay in her sly, subtle execution, first heard on her 2008 debut LP, 19 (named, like her subsequent albums, for her age upon the time of its creation), and its U.K. Top Ten single "Chasing Pavements." However, it was 21 and its hit singles "Rolling in the Deep," "Someone Like You," and "Set Fire to the Rain" that established her as an artist of a generation. In 2015, she continued to break records with her third effort, 25. Ushered in by the global smash "Hello," the set became the best-selling album in the world in 2015, staying at number one in the U.S. for ten consecutive weeks and taking home Grammy Awards for Album of the Year, Best Pop Vocal, Record of the Year, Song of the Year, and Best Pop Solo Performance. After an extended break, she returned in 2021 with her fourth LP, the aptly titled 30, which again proved a Brit Award- and Grammy-winning global chart-topper, paving the way for her first Las Vegas residency.

Born in London in 1988, Adele Laurie Blue Adkins first made an impression in 2006 when her demo landed her a deal with XL Recordings. She toured as an opening act for Jack Penate, and graduated to headlining status by the end of 2007, thanks to BBC Radio 1 playing her single "Daydreamer"; another song, "Hometown Glory," was also released as a single on Jamie T.'s label Pacemaker. An appearance alongside Paul McCartney and Björk on the BBC 2 television show Later with Jools Holland came next, and a recording contract with XL Recordings was finalized soon afterward. Early 2008 brought similar luck as Adele found herself atop the BBC's new music talent list, which was compiled from the votes of 150 music critics. That same January, XL issued a new single, "Chasing Pavements," along with her first album, 19. The title reflected Adele's age at the time of the record's release, and its popularity resulted in the release of several bonus editions throughout the year. In 2009, she won Grammy Awards for Best New Artist and Best Female Pop Vocal Performance.

Her sophomore album, 21, featuring the gospel and disco-infused single "Rolling in the Deep," was released in February 2011. The set proved to be both a critical and commercial success, becoming one of the longest-running number one albums in history and spending over 18 weeks at the top spot. The glow of 21's success was dimmed somewhat when Adele was forced to cancel her tour after suffering a hemorrhage on her vocal cords, undergoing surgery for the ailment in November 2011. That same month, she released the concert CD/DVD Live at the Royal Albert Hall. Both Adele and 21 received many end-of-year honors, and in February 2012, as album sales began to creep closer toward ten million copies, she won six major Grammy Awards, one of the few artists in history to accomplish the feat in one night.

In October 2012, Adele announced that she had recorded the theme to the 23rd James Bond film Skyfall. Produced by Paul Epworth and recorded at the prestigious Abbey Road Studios, the single entered the Top Ten of both the U.K. singles chart and the Billboard Hot 100 upon its release. By early 2013, 21 had registered sales of over 25 million copies. Although she promised she was in the early stages of creating her third album, 2013 and 2014 came and went without fresh material.

In mid-2015, reports of an imminent third album started to surface, and the rumors were confirmed in October by Adele and her label. Its first single, "Hello," debuted at number one in both the U.K. and U.S., becoming the first song to sell over a million downloads in its first week of release. 25 debuted worldwide in late November 2015 and broke the single-week U.S. sales record previously held by *NSYNC's No Strings Attached. 25 went on to top the Billboard 200 for ten weeks and took home Grammy Awards in 2017 for Album, Song, and Record of the Year, as well as Best Pop Solo Performance and Pop Vocal.

Following several years of relative quiet, Adele resurfaced in October 2020 to host an episode of Saturday Night Live. A year later, she issued the single "Easy on Me," the first offering from her fourth album, November 2021's 30. Featuring production input from familiar faces Greg Kurstin, Max Martin, Shellback, and Tobias Jesso, Jr., 30 also welcomed Ludwig Goransson and Sault's Inflo (Michael Kiwanuka, Little Simz) for a mature and graceful set that focused on themes of separation and parenthood. The album topped numerous global charts (including in the U.K. and on the Billboard 200) and took home the Brit Award for British Album of the Year and the Grammy Award for Best Pop Solo Performance for "Easy on Me." Although delayed due to COVID-19, in November 2022 the singer also launched her live Las Vegas residency, Weekends with Adele, held at The Colosseum at Caesars Palace”.

To showcase the influence of Adele – and mark her upcoming thirty-fifth birthday -, below is a playlist of songs from artists who are inspired by her. I can hear her impact when I hear the music of artists coming through. It is clear how important she is. A titan of modern music. Her impact and influence will reign and continue for…

MANY years to come.