TRACK REVIEW: HANNIE (ft. Carys Selvey) - 5 Years

TRACK REVIEW:

 

HANNIE (ft. Carys Selvey)

 5 Years

 

9.2/10

The track, 5 Years, is available via:

https://open.spotify.com/track/4U8nAj5OixDfBvYGg2tpqW?si=Cwg1Af4fR6-7Ik-oFv2syw

ORIGIN:

London, U.K.

GENRE:

Pop

RELEASE DATE:

8th March, 2019

__________

THIS time out...

I will be exploring HANNIE and their new single, 5 Years. I know the song has been out for a few weeks now and, going forward, I am only really going to look at songs that are new and upcoming. The trouble is that you get sent requests and they sort of pile up. I only have time to do one review a week from the public so it is inevitable that some get left a bit and become a bit older. That said, 5 Years is not that old and still fresh in the minds of many. I will chat about the song soon but, before then, I wanted to address HANNIE and how artists come together – or can do – in the modern age; duos/production duos and why there are marketing opportunities from HANNIE; getting a bit more online in the way of information to give the public a greater insight into artists; songs that do not have a bitter aftertaste or anxiety; a little about Pop in general and its flexibility – I will end by looking at where HANNIE are headed. I was looking at the story of HANNIE and how they found one another. I have interviewed Hannah Koppenburg and Annie Wagstaff before and they strike me as very bonded and sisterly. One would think they have been friends since childhood and sort of worked their way into music. Actually, they met over Instagram after they uploaded cover versions. Maybe it is not as romantic as a band advertising in a music magazine or there being this chance meeting somewhere that bonds them all together. Technology has provided us the chance to take music anywhere and, in many ways, it has made it easier for people to find one another. One might say the fact artists do form because of social media and the Internet lacks a certain charm, connection and human touch. There is something in that but how likely is it, nowadays, that every band/duo comes together that way? There are artists who meet in public and form friendships but I think the Internet provides a new world.

In the case of HANNIE, the girls got to see one another’s work and were able to see, before meeting actually, whether their music would mesh and they’d be a good fit. Maybe they could have met in a different situation or by chance but the fact Koppenburg is from Germany and Wagstaff is from England means that their paths might not have otherwise intersected. That is what I mean I talk about the Internet and this universe. How many great combinations and sounds have been forged because of the networking opportunities and platforms we have in the modern time? It is great that we have these mediums where artists can communicate and collaborate without having to navigate continents and space. Many might state that there is a lack of organic charge and a business-like approach to things but, as mentioned, there are plenty of bands that are formed in the old-school way. HANNIE have this natural understanding and bond and I do wonder if they would have found one another were it not for Instagram. The duo have amassed an impressive following and caught the idea of various brands and outlets. I do love what they are doing now and how far they have come. I am interested when it comes to artists and how they find one another. Not only is the Internet great for sharing music and reaching new audiences but it is invaluable when it comes to joining people together. I do think music is as broad as it is because we have sites like Instagram and Twitter so artists can collaborate more readily and have those options. I do love the networking opportunities out there and the fact artists from all over the world can easily find one another and create music. HANNIE do have a natural friendship but, again, would they be where they are now were it not for them uploading videos to Instagram?! I shall move on and look at duos in general.

When it comes to HANNIE, they are a production duo who works with other singers. I do love duos in general and the fact they are quite underrated. I think solo artists get most of the attention and they seem to be dominating music right now. Bands are still there and creating good work but they do not hold the same sway as they once did. I have always gravitated towards duos because they can often project the same energy as bands and seem to have greater nimbleness. I do feel solo artists can be a bit limited and lack a certain something. As REWS show, duos can definitely pummel and have the same strength as a full band. Most of the duos I come across work with Pop and Electro sounds but, in the case of HANNIE, they mix in different sensations and sides. I do think that duos will make a real charge and get more attention as the years go on. I feel duos are particularly strong and appealing because of that central relationship. Think about the way HANNIE connect and the quality of their music. You know there is that sense of trust and admiration at the core of everything they do. Bands can and do have that but there is something different about duos. It is a tighter unit and, in many ways, they do not have anywhere to hide. At a time when so many producers out there are men and I do wonder if women are ignored in that respect, HANNIE are inspiration and proof that some of the best sounds are being made by women. That might sound a little patronising but I know how many great female producers there are but I do think the market is more set up for men. HANNIE are quite rare in a sense and will lead to some change. I do think most duos out there have others produce their work and usually lead all the tracks. HANNIE are different in the sense they often use guests to voice their songs and the girls themselves produce.

 PHOTO CREDIT: Arielle Shear

Maybe I am wrong but I do not see many duos like that at all. I mentioned how HANNIE have collaborated with brands and among their credits is Nasty Girl and River Island. I am writing a piece later today that looks at artists going into fashion. There have been mixed fortunes for Beyoncé and Liam Gallagher this week but, despite it being tough for retailers and brands, musicians are still involved with fashion and keen to launch their own labels. I think there is something in there for HANNIE. It is clear that they are happy to join alongside brands and promote them but I do wonder whether they have considered launching their own wears. I think there is a HANNIE brand awaiting that could include clothing and audio equipment. They are great producers but they also have a real flair when it comes to style. One looks at them and you can easily imagine them launching their own fashion brand or a bigger label. Maybe they want to focus on the music for now but I can imagine them branching out and conquering the market soon enough. Not only could they establish their own brand but they could use that to inspire women in music and those thinking of becoming producers. There are so many different sides to HANNIE’s music and I think there is a huge audience out there for them. I am sure they have their own ideas and plans but we shall see where they head. Purists will state that artists need to focus on music but the modern climate means artists are going into other areas and focusing on fashion, technology and business. There is nothing wrong with that and I feel that they can act as ambassadors and inspirational figures. I do think, in a good way, HANNIE are quite marketable and could definitely succeed if they wanted to embrace their own fashion label or step in other directions.

HANNIE have been worked hard for a long time now and are growing with each release. I am curious whether they will put out an album in 2019 and what their plans are. I will touch on that in the conclusion but, as I hinted, they could go beyond music and get a HANNIE-style revolution happening. It is clear they have a big future but I do wonder where they came from and what music inspires them. It is the nature of modern music and P.R. campaigns that not too much is ever revealed about an artist. Maybe people figure that too much can be a bad thing and the music will fill in a lot of the gaps. I often bemoan the lack of photos some artists have and I do like to see a good biography. I know HANNIE met over Instagram and shared videos with each other but it would be good to know how Hannah Koppenburg and Annie Wagstaff started life. Every artist has a musical upbringing in the sense they were exposed to sounds and different artists. It would be interesting to discover how both of their lives started in that respect and how they came into music. I can get a bit from the music but there is a lot to be said for having a bit more information on the page. Most of the time, emails and pitches contain streaming figures and which outlets have supported the music of that artist. This is important as we can see how they are growing and popular they are but I want to know more about the human(s) behind the music and fewer statistics. It is good having some context when you approach artists – for journalists like me, it means I have something to write about and different angles. Carys Selvey is the singer on their latest track, 5 Years, and brings something fresh to HANNIE’s music. I like the fact the duo work with different artists and can get unique sounds with each release.

If they had a bit more information on the page, it would add to the music and give a bit more depth. It is a minor complaint but HANNIE, I am sure, have a lot to say, and there are few interviews online available. I am eager to know where they each come from – in a musical sense – and what motivates them. It is a competitive industry, music, so artists needs to think about their biographies and things like photos. There are some good photos online already but I wonder whether there will be some new shoots with HANNIE. This will all add to their portfolio and mean they can reach more people. The music itself is great and varied so they do not have to worry too much about the production/music side of things. To get that additional boost and reach new audiences, let’s get some HANNIE information and some interviews online with Hannah Koppenburg and Annie Wagstaff. I am excited to see where the duo can go and whether they will be touring in 2019. There is a lot to love about them and their music definitely has a special edge to it. I feel a lot of Pop artists can be a bit limited with their sounds and are not willing to experiment and look in other directions. I have seen duos split up because of this and the fact their music sounds very similar to other stuff out there. HANNIE are always mobile so I do not think they will have any danger when it comes to success and longevity. Maybe a bit more online would help them but I actually think they are doing really well at the moment. It is clear that the music media is responding to what they are throwing out and there is no real end to what they can do. 5 Years is their sixth release and, with every move they make, they step somewhere fresh. There are not many duos/bands that can claim that so I do hope that HANNIE have a very long and prosperous future.

Before reviewing 5 Years, I wanted to look at music and general and whether it is too reliant on negativity. Maybe artists are not deliberately trying to be moody and depressing but there are few out there that project anything other than anxiety and a bitter taste. Even if songs have an upbeat melody, the lyrics can be quite cutting and have that sour edge. It is not the case that every artist operates this way but I am hearing fewer and fewer cheery songs and artists who just want people to have fun or let go. I do get that artists want to project something serious and they cannot waste the opportunity they have. A lot of songs revolve around personal issues and problems. It is great to connect with people and write songs that are relatable and familiar. Aside from that, we all need somewhere to escape to. If all music is quite negative or anxious then that has quite a problematic effect on people. HANNIE are on the other end of the spectrum and keen to give as much light and life as they can. 5 Years is about living in the now and not really worrying about the past. We can all get a bit tense when it comes to expectations and we put pressure on ourselves unfairly. Rather than letting that feeling win out, let’s let life take us where it wants and see what happens. That sense of liberation and ease goes into the song – more artists should follow this example. It is great that there are acts like HANNIE that can take a more positive approach to music and create songs that make you smile. We need to embrace positive aspects because, right now, there is not a lot of positivity about. Music needs to be honest and real but it also needs to give everyone the chance to relax and find something nourishing. I go back in time when I want to experience something joyful and do worry modern artists have an inability to be forward-looking and bright. I shall leave things here because I am keen to explore 5 Years and a new venture for HANNIE.

One gets some funky clicks and twang from the opening of 5 Years. One might expect electronics and buzz but, instead, you get something quite smooth and slinky. Carys Selvey is on the microphone and talks about forgetting what was said yesterday and focusing on the future. I guess there have been cross words and some problems but that is not something she wants to focus on. There are little buzzes that come through and electricity that gives the song a bit more energy and passion. Combining with something more causal and cool, the song keeps growing and reveals new layers. HANNIE provide the texture and backing whilst the heroine reveals pains that have come before and some angered words that might have been said in haste. I do feel like there are many artists that focus on love and relationships and document them in a very negative and samey manner. Rather than dwelling on the rough aspects and getting hung up on the bad times, HANNIE and Carys Selvey are looking at moving forward and not letting that rule things. There is this positive aspect that is more about forgiveness and ignoring minor problems rather than letting stress and anger dominate. The chorus has a summer-time feel and boasts a pretty big beat. The song might be more suited to the shores of BBC Radio 1 but the reason I took it on – I am not a fan of BBC Radio 1 – is that there is more depth and potential to be found. I think a station like BBC Radio 6 Music could play the song because 5 Years is not pure Pop and does seem to have more to it. You come into the chorus not knowing what is going to happen but you get struck by the swagger and sway. The heroine wants any cross words to be set aside as, in five years, they are not going to be remembered.

 PHOTO CREDIT: Arielle Shear

So many other artists will look at an argument and make that the focus. There will be this invariable and stressful argument and it gets a bit tired. HANNIE and Selvey have created a song that asks what is the point of harbouring ill feelings and focusing on something minor. I can get behind that sentiment and feel that a lot of other artists need to follow this lead. The chorus for 5 Years is pretty emphatic and sounds like it is perfect for beach parties. I have not heard that many Pop songs that have a positive skin and a real natural sound to them. A lot of times, the production is too polished and the vocal sounds machine-processed and drained of personality. On this occasion, HANNIE treat the music with respect and allow the vocal to shine. It is pretty high in the mix and not subjected to trickery and technological intrusion. Of course, there is a bit of shine to be found but it does not dominate. Our heroine does not want to think that things are over and she knows everything is within reach. It seems like this relationship has provided challenges but she is not going to call it quits. They need to focus on the here and now and look at what lies ahead. The heroine is young and not going to let things get on top of her. When the chorus returns, it is already in the head and familiar. The fact there are vocals layered and nice little touches here and there makes it more appealing and stronger than a lot of material in the Pop market. Selvey does not want consequences and to think about problems: there are possibilities in front of them and they can let the silly little things slide. In many ways, there is this urge to make silly mistakes and be young while they can. Nothing as big as arguing and exploding but being a bit reckless and foolish when the mood calls for it. I do think many people ignore life and do not have enough fun. 5 Years is a great song for releasing energy and embracing positivity. Selvey gives the song a real sense of passion and excitement that will bring in those not usually enamoured of Pop. It seems that 5 Years is about these young lovers who could get buried by responsibility or focus on bad things but need to live their life and be free. I do think more artists should follow this lead and write songs that lift the mood and look away from the strains and perils of relationships.

It has been a busy past couple of years for Hannah Koppenburg and Annie Wagstaff. With Carys Selvey, they have created something great with 5 Years. The duo has been keeping busy but I wonder whether there are going to be more tour dates in the future. They have some great music under their belts so it is understandable people will want to catch them on the road. HANNIE is a solid and exciting unit and one that, I feel, could be around for years to come. I did ask whether they will release an album this year and that might be something to ponder. There is definitely a lot of energy and creativity in the camp and I would be interested to see what a HANNIE album contains. Clearly, Koppenburg and Wagstaff have a lot of affection for one another and you get this translated into fantastic music. I do love what they are doing and the fact there are not many others like them. I speculated they might think about a fashion brand or going into business and having their own label. The girls have been backed by brands before and are no stranger to that side of the market. Maybe that is all ahead of them and I know they want to concentrate on the music right now. This year is fairly new so I am sure it is too early to say whether they will tour abroad and how far they will go. Every release means new fans come on-board and there is this feeling that HANNIE are on the cusp of being pretty big. So many artists, as I said, deal with negativity and it is nice to hear music that genuinely puts you in a better mood. I think there is a lot of potential when it comes to HANNIE’s music and 2019 will be a very important year. Their material is getting stronger and I like the artists they collaborate with.

At the moment, HANNIE are playing around London and making a name for themselves in the capital. They have their own label, HANNIE Music, and have aspirations when it comes to international markets. I do feel like they could be a big hit in countries like America and I wonder whether that is part of their plans going forward. HANNIE are pretty ambitious and they have a great relationship with their fans. They are fairly new to Twitter and not tweeted much but I think they need to consider upping their game there. Instagram is important but there are so many opportunities on Twitter. They could gain such a huge following there and get so many chances from putting out a little more. It need not be anything too much; maybe some new updates or interviews. I think Twitter is essential and HANNIE can get their music spread to new nations if they use Twitter a bit more. It is a minor quibble but, apart from that, they hardly need my advice. They are doing really well and taking every chance to get their music to the people. I genuinely think duos like HANNIE can inspire the next generation and they are setting a great example. There are not many production duos around but HANNIE are much more than that. It seems there is this whole HANNIE universe that has its band of followers and name. I am not sure whether they have a nickname for their fans but, when you look at social media, you can tell that Hannah Koppenburg and Annie Wagstaff have a great bond with their supporters. It is wonderful to see and I do hope that there are many more years in the tank for HANNIE. It is the energy and passion they put into every song that amazes me and how busy the music is. May artists are content to throw out the minimum and not really look at other possibilities. There is a curiosity when it comes to HANNIE. Already, HANNIE have played around the world but I know there are nations they want to tick off the list and will want to explore. Australia seems like a natural territory for them and I do wonder whether they have considered playing there. I shall leave my predictions and urges aside and just encourage people to check out HANNIE. Their previous music was great but, with Carys Selvey, they have created something brilliant with 5 Years. It is a fantastic song that gets into the blood and really makes you feel better. This is what we want and should encourage. It seems there is no end in sight for HANNIE’s great music and, if anything, they are just getting started. If you need a boost and kick to get you out of the door then you really need to listen to what…

HANNIE are producing right now.                                                     

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Follow HANNIE

Twitter:

https://twitter.com/hanniemusic

Facebook:

https://www.facebook.com/hannieplays/

Spotify:

https://open.spotify.com/artist/7vp58vF08Hg9TbDrYH2nAh?si=j7wNTZH6Q1aJ_6L39xLSgw

Instagram:

https://www.instagram.com/hannieplays/

YouTube:

https://www.youtube.com/channel/UCYtdHajTrfKJmZ1IavyjCyg/featured

SoundCloud:

https://soundcloud.com/hannieplays

TRACK REVIEW: Sam Fender - Hypersonic Missiles

TRACK REVIEW:

 

Sam Fender

PHOTO CREDIT: Sophie Mayanne for CLASH

Hypersonic Missiles

9.5/10

The track, Hypersonic Missiles, is available via:

https://www.youtube.com/watch?v=WPsodKRs2SI

ORIGIN:

Newcastle, U.K.

GENRE:

Alternative-Rock

RELEASE DATE:

5th March, 2019

__________

I have talked about artists from the North East before...

so I will not cover that ground when referencing Sam Fender. I will touch on his roots but, when considering him, I think it is important to consider personality and his natural charm; critics’ choices and whether artists live up to that acclaim; male solo artists in general and the difference compared to females; natural songwriting talent and a sense of conviction off the bat; bringing Alternative Rock to the forefront and helping to revive that format for bands – I will end by seeing where Fender might head and how his future will pan out. I listen to so much music and, at the end of the day, I stick with very few artists. This is not a shot but, when it is so busy and bustling, what defines those who will remain and those who will fade away? I do find that, in musical terms, there are a lot of like-minded artists and that can make things very difficult. The distinguishing marker is, for me, their personality. How they stand out and remain in the mind. Sam Fender is someone who is very natural and does not force anything. He hails from Newcastle and does not try to be anyone he is not. One gets this very organic man who is open, funny and interesting and, in a landscape where it is hard to spot interesting people, Fender does stand out. I know there are artists who compel and grab you with their personalities – IDLES and Lizzo spring to mind – but there are not that many that really grab you. I wonder why this is. Maybe it is that magic combination but, with Sam Fender, you get this artist who is pure and compels with his humour and intellect. Maybe it comes down to where he comes from and the fact there is no need for pretence. There are so many artists who put on an act or seem very boring and distant. That is fine but, when it comes to artists who remain and stay in the mind, there needs to be something extra.   

In the case of Sam Fender, we have someone who comes across as very friendly and has no barriers. I have heard interviews he has given and he always seems very chipper and honest. There is no need to be guarded in his case because Fender wants people to know the real him and no hide. You do get artists who are always wary of what they say and come across as too cautious and safe. Fender has that natural sense of fun and playfulness but he is always compelling in interviews. In his music, he addresses everything from toxic masculinity to mental-health. Alongside other artists like IDLES, Fender is keen to tackle these subjects and provide something substantial. In this interview with NME, Fender discusses the themes and his experiences growing up:

“I remember specifically for me as a kid growing up or as a young teenager if I ever cried or got upset in front of anybody, I would be so humiliated. I’d be so angry with myself for being upset and then it would just become this catch 22 situation. It’s that attitude that stops men from talking and stops men from being like able to turn to each other. Me and my mates are very, very close. We all talk about our problems – especially as we’ve got older. But I don’t think a lot of people have that. Men just need to be open and not emasculate one another”.

It is a difficult time for all of us because of political splits and the fact there is so much crap happening. It is up to musicians to address realities and dig deep. Fender is important because he has a very approachable demeanour and, at the same time, discusses meatier themes through the music. This is the sort of artist we should be encouraging right now. I either find artists can be rather boring or unengaging or they do not do anything special with their music. I shall move on now but, if you want to get a better sense of Fender as a very warm and receptive artist, have a look at interviews online and see what I mean!

Sam Fender attended this year’s BRIT Awards but did not really need to worry. He had already won their Critics’ Choice gong and quite right too! It must be great attending an award show and knowing that you already have one in the bag. I watched bits of the ceremony but I recall Jack Whitehall (the host on the night) interviewing Fender and it being a rather laidback chat. The story goes that when Fender found out about the award he was in a car and got a call through. He then went to his manager’s house where he projectile vomited on the garden. Whether there was alcohol involved or it was the pure excitement of the moment I am not sure. When speaking with Billboard last month, Fender addressed the BRIT win and how it has changed things:

“It's nuts. [My] following on Instagram just shot up thousands the other day. That was insanity. All the gigs are instantly bigger. We're playing 2,000 cap venues and stuff, which is nuts compared to when we were only doing a hundred half a year ago. It's happened very quick. Just the interactions being mental. What always will be weird is kids asking for photos. I just had three there outside the bus and I was just like, this is surreal. The fans over here are really incredible. Especially when it's not your city. And the following is so mixed as well. You've got all the really young teenagers at the front and then the older teenagers slightly back, then it's [people in their] '20s and '30s and then '40s. And in the back I've seen some people attend and be like, "I'm 70 and I fucking love your tunes." And I'm like, this is so good. It's amazing because it's really nice to see such a mad mass of people. I'm just going to keep on writing songs that matter if I can”.

There will be many more awards coming the way of Sam Fender but I like that he has been humbled and moved by the win.

 PHOTO CREDIT: MTV UK

It was a deserved win and one that will give him a booster. There is an album coming this summer, as I shall explain, and it is a busy time for Fender. There is always this debate whether artists marked out by critics are worth the plaudits. Look at the BBC and their annual ‘Sound of…’ and how artists who have won that fare. I always do feel that it is a bit dangerous following too closely to what various sites say. In the case of the BBC, they have picked some good artists through the years but they are not always spot-on. Fender was long-listed in 2018 and, to be fair, Sigrid, Jade Bird and Billie Eilish were also included. The most popular and appealing artists on the longlist – including Fender and Eilish – were not in the shortlist and, this year, there are some artists you know will do alright and those who might fade away. I know lists like this should be taken with a pinch of salt but I do wonder whether artists like Fender get overlooked. He should have been in the forefront of the BBC’s mind for this year’s essential sounds and, compared to artists like slowthai and Octavian (who were in the shortlist), I feel he has advantages. One of the past problems with critics’ choice rundowns is the nature of the artists included. There were a lot of male songwriters with a rather dull and commercial sound; too many artists who were comfortably primed for the charts and offered nothing in the way of depth and interest. I do think the BBC has strengthened in this respect but I do wonder whether a lot of the winners/nominated artists live up to their promise. The same can be said of the BRITs. Fender has that expectation and pressure now but last year’s winner was Jorja Smith – she has gone onto great things and looks set to be a big name indeed. Fender has a level head and confidence that means he will live up to the celebration and be one of those artists who thoroughly warrants the complete love and faith of the critics.

I have always marked female artists and highlighted them but I do think there are some male artists coming through worth looking out for. One of the problems with male artists is what they are writing about and the effect they have. I do find the best and most striking work of 2019 is from women. Maybe it is the fact many are being open with their music and tackling big themes that means they are standing out. I do think female artists in general are standing out and creating bigger waves. Maybe, too, male bands are more common than male solo artists or have greater scope. I referred to Sam Fender and how he has discussed mental-health and toxic masculinity in his music. Other bands are doing this but, in 2019, I feel it is vital as many people as possible step away from the commercial and love-based and get more serious. I often get this impression of the modern male solo artist and they are usually wearing a hat, strumming a guitar and talking about their love lives. Maybe this is unfair but I think a lot of the most interesting work is coming away from the mainstream and genres like Pop. Fender is an artist who can and will discuss his private life but he realises what an important platform he has. I often think about the deeper themes in music and who covers them. Maybe Hip-Hop, Grime and Rap are a bit more conscientious in that respect but, in 2019, many artists outside of these genres have been penning something rawer and revealing. I keep name-checking the likes of Julia Jacklin and  Little Simz – part of this female revolution; artists releasing material of the highest order. Male artists are doing this too but I always feel like female artists are more conscious and bold regarding subject matter. Sam Fender could easily do what many expect of him: write about booze, girls and success and not really deliver anything with much depth and resonance. Maybe we all have a narrow view of what the male solo artist is and should be.

To be fair, when it comes to the mainstream, a certain type of male artist is fostered. You will always find something more interesting and promising outside of that realm and on the outskirts. Maybe the female dominance will continue – I hope so – but there are great male artists like Fender who are peaking my interest. I do think there are a lot of male artists who use acoustic guitar or are electronic. It is quite rare to see a solo act with an electric guitar whose music has a real sense of grit and meaning. I do think Sam Fender can change the tide and take attention away from the softer and less impactful male solo artists. I am interested to see how far Fender can go and what his future holds. He definitely has his head screwed on and is not getting carried away. One would forgive the man for having a bit of swagger and confidence but Fender is down-to-earth and grounded. There is no sense of arrogance and boastfulness when you hear him talk. His Dead Boys EP was released last year and showed what he was made of. There is more material coming and, with each step, there is this rise in confidence and ability. Fender is getting out there and performing and all of this feeds right back into his music. I have been worried about Rock and whether it is slowly disappearing. Consider years past when we had a load of bands that were producing this very physical and anthemic sound. Now, we have Post-Punk artists but not that many great Rock artists that summon memories of the past. I appreciate modern music is very diverse but it seems electric guitars are not as potent and needed as once was. Aside from the odd band/artist, other instruments and sounds are being used. Fender has this very solid and electric sound that makes me hope we see more artists pick up the guitar. I have nothing against acoustic guitar and synths but I do long for something grittier and more rousing in modern music.

 PHOTO CREDIT: PHOENIX Magazine

Before I get to reviewing Fender’s latest track, Hypersonic Missiles, I wanted to stay with this theme regarding sound and authenticity. I do like the fact Fender is able to cast his net and look at societal ills, unlovable types and tougher issues. In this interview he discussed his track, Poundshop Kardashians, and what it was all about:

“Plastic action men being like, ya Georgie Shore types, pound shop Kardashians being budget Kardashians. That’s what I’m talking about, I’m being a prick about ‘em. There’s a line later on where I say, ‘we idolize idiots, masturbate over sex tapes, we love them and we hate them and wanna see them fall’. But it’s kinda in this weird state where people are famous for the sake of being famous, like what are they famous for? They’re famous for being famous, it’s a very strange thing, it is what it is. I’ve got nothing against ’em! Got nought against the Kardashians, I do think there’s a lot of, like, kids idolizing these pumped up deities, and it does make me think what’s the drive to do anything, what’s the example it gives to kids? All my roles models were either really talented musicians or they were wicked at football, they were good at something! [Musically] I’m not really talking about answers, I’m just asking questions, what effect does that have on a kid growing up? I dunno. I’m not smart enough to change a thing”.

Like Alex Turner of Arctic Monkeys, here is a lyricist who can pick from the streets and the people around him but also look at social issues and wider themes. There is a lack of love songs but, seeing as the scene is packed with artists writing about that, is there a big need for someone like Fender to follow suit?

“I just haven’t released a love song yet, that’s all. People are kind of obsessed about this, ‘he doesn’t write love songs, oooh’, but I just haven’t released one! I find that, as a starting artist, it’s not gonna set me aside from anyone else on the planet, it’s a very saturated thing. And to write a good love song is f****** hard. We need love songs, of course we do. I’ve got some love songs in there that are coming out, so we’ll see”.

As he revealed in the interview with Bitter Sweet Symphonies, there is so much to his work. I have mentioned Fender having this great guitar sound but, as a live performer, there are a lot of different aspects to be found:

“Um, it’s not just an indie band, not just a singer songwriter, there’s a lot of things in between, a lot of little touches, I’ll play some solo stuff on the piano then do stuff that’s really thrashy. I think it’s a very mixed show in sonic terms, quite a jumbled up set. I hate that when you see bands where everything’s exactly the same, so it’s got a lot of different flavors, caters for a wide audience, and it’s sad and loud”.

I know Hypersonic Missiles has been out for a couple of week but I have not had chance to review it until now. The cool-looking, rather basic video for the song has a sort of D.I.Y. charm that gives the song extra gravity and boost. There seems to be a lack of trust and unrest when you hear Fender sing. He keeps his voice level and direct without the need to shout and deviate. Backed by firm and driving guitar and a percussion heartbeat, the hero addressed a sense of disconnect and confusion. He is feeding the corporate machine and watching films; reciting its line and living with wool over his eyes. At this early stage, you get the feeling that there is this aspect of propaganda, fake news and media control. Whether he is talking about American lies and ideals that are fed to us through films and the news, you are gripped by the song and its meanings. I sort of feel like there is this young man who wants truth and guidance but is being fed all these lies and messages. Maybe there is an ideal and ‘perfect vision’ of what the world is and how things are panning out. There are tensions rising and anger around whilst the hero seems to be out of it – he is quite numb to a lot of things and seems to be out of the loop. The video helps give context because we see images of those on the Internet and a man being arrested; a variety of scenes that show people disconnected from the world. In one scene, there is a man wearing a virtual reality headset and, the more I hear Hypersonic Missiles, the more I think the nature of engagement and how we interact is at the forefront. Fender is addressing all of this and looking around. It is high time for hypersonic missiles he says and there seems to be this fatigue regarding lies and the way the world is being run.

The video shows people on webcams and lovers kissing; Fender cycling down a street and a feeling that there is hope. We get a contrast of scenes. From desolation and isolation to the purity of lying in the sun and being in love – maybe some things are going to crap but there is simplicity and purity to be found. Fender realises that the world is heading in the wrong direction but the hero will give his everything. Maybe he is speaking to a lover or friend when he talks about faith and devotion. Fender is not pessimistic and glum but, instead, there is a pragmatic view that many of us share. He watches the T.V. and film; he sees the way politicians lie and cheat and he is growing weary. One feels like he wouldn’t mind something ballistic to reign down and sort it all out. Rather than destruction and wiping people out, I get the feeling Fender just wants change and some truth. His voice has gravel and power but there is a sense of passion and vulnerability as well. There are not many singers who have these blends and I think it gives songs like Hypersonic Missiles an edge. The song does not have too much compositional pressure. We have the drum and guitar working away that gives the song its sense of anger and movement. I listened to the track a few times to get to the bottom of it. The first time around, you get a sense of what Fender is saying but you might need to come back a few times. The song ramps up and gets hotter as it goes towards the end. It is almost Bruce Springsteen-like when you hear horns come in and blare. At its heart, Hypersonic Missiles is about togetherness and trying to pull through. People in power do not have our interest at hearts. It is the common people and those out there in the real world who have the greatest power and influence. The silver suits and “cartoon tongues” that rule Fender’s world are causing distress and feeding lies. It is an experience we all have and our hero wants an end to it. There is this pining for change and revolution. Fender’s emphatic voice makes the words strike and stand out. He has this clear passion and, when you listen to any of his songs, you buy every world and dive into the music. Few artists can do that so easily so, if you are not familiar with Sam Fender, then make sure you check him out. All of his tracks are different and he has not really put a foot wrong so far. This all bodes well and I can see Fender recording quite a few albums in his time. The man has plenty of might and talent and it is great having him in the music world!

Fender is a busy man right now and will be touring around Europe for a few months at least. Look at his social media feeds and you can keep up with Fender’s movements. I am glad there is a lot of attention coming his way and the northern star is growing in stature. As this article from Rolling Stone highlights, there are not many chart acts writing their own music at the moment. Look at the Pop acts around and what is popular in the mainstream and how many of these acts actually write their own stuff? I do think we need to promote those artists who pen their own music because it is much more meaningful and personable. If you have musicians singing someone else’s words then does that create as big a hit compared to someone who is controlling their own music? Make sure you catch Fender on the road and see his fantastic live set. There is an album coming in the summer and I am sure there will be big U.S. date approaching. It seems like Fender has the world at his feet and he can do no wrong. It is quite rare to find a solo artist who writes their own stuff and brings in something electric and direct. I do think he has a golden future because there is no ego and agenda. Fender is always very engaging and interesting in interviews and he is a songwriter that does not shy away from harder subjects. He is opening eyes and minds but not doing it in a very heavy way. Instead, you have this artist who can splice humour alongside pathos and create this wonderfully rich and substantial sound. I will round things off now and come to an end but I want to encourage people to investigate Sam Fender and what he is doing. These are still early days but the man has a long career ahead of him. There are a lot of dates coming up so I hope he gets chance to unwind and recharge at some point! Everyone wants to see him and there will be a lot of buzz around his debut solo album. Keep your eyes on Fender’s social media channels and watch him explode. I did mention how some critics pump up acts and it can be rather short-sighted. So many have been elevated and tipped and not really lived up to that promise. In the case of Sam Fender, he will fulfill these predictions and become a huge star. He, of course, has his feet planted but, before too long, he will be headlining festivals and rubbing shoulders with the greats. Rather than be arrogant about it, the young artist will be graceful and humble. In a world where we need honesty and someone we can rely on, Sam Fender is here to provide that comfort and…

STEELY guidance.

___________

Follow Sam Fender

 PHOTO CREDIT: Daria Mohammed for The Mind Map

Official:

https://www.samfender.com/

Twitter:

https://twitter.com/samfendermusic

Facebook:

https://www.facebook.com/samfendermusic/

Spotify:

https://open.spotify.com/artist/6zlR5ttMfMNmwf2lecU9Cc?si=U2FaayDcR8mO_ifhRuew7w

Instagram:

https://www.instagram.com/sam_fender/

YouTube:

https://www.youtube.com/channel/UCNOPATl0JcguaVn1ovKWU1w

ALL UNCREDITED PHOTOS:

Getty Images/Sam Fender

TRACK REVIEW: Death of the Maiden - His House

TRACK REVIEW:

 

Death of the Maiden

His House

9.3/10

The track, His House, is available via:

https://deathofthemaiden.bandcamp.com/track/his-house

ORIGIN:

Oxford, U.K.

GENRES:

Post-Punk/Baroque-Pop

The album, The Girl with the Secret Fire, is available via:

https://open.spotify.com/album/4PVYrJPwDGvCP59LMZcYcp?si=wSRHHsbTR9mbI4PfhBttrg

RELEASE DATE:

29th March, 2019

Produced by Tamara Parsons-Baker and Richard Neuberg 
Mixed and Engineered by Richard Neuberg 
Mastered by Tim Turan 
Album Artwork by Millie Rawicz @millierawicz 
Recorded at Strawhouse, Oxford (www.strawhousestudios.com) 
All songs written by Tamara Parsons-Baker; lyrics for The Walls are Wider and The Love of Phlebas were taken from poems written by Henry Stead

__________

ON this outing...

I wanted to address a few things before I come to look at Death of the Maiden. I will discuss Post-Punk sounds and why there is a definite need for something more explosive in modern music; a little concerning female bands and, again, why they are being under-represented right now; greater visibility and awareness of difference and diversity; variety in music and how songs can grip the imagination – I will address why we need embrace bands like Death of the Maiden. The clocks have just gone forward and my brain is adjusting slightly to that. Waking up this morning, I was readying myself to write about various aspects of music – I have a list that I get through at the weekend – but my thoughts have changed. Although Death of the Maiden have a varied palette and eclectic sound, there is a directness and sense of physicality about their music that gets under the skin. Maybe they are not quite as intense as IDLES or Slaves but, in fact, there is more depth and emotion. They mix Post-Punk, gothic sounds and Pop together to create this sumptuous, dream-like music that takes you somewhere special. Although the sound is less accelerated than a lot of the Post-Punk bands around, their words are what stand out in that sense. There is an immediacy and sense of passion in the songs that swims in the blood. I have heard a lot of bands sacrifice depth and meaning for sheer energy and noise. That is not the case with Death of the Maiden. Tamara Parsons-Baker has spent a few years setting herself up as one of Oxford’s best artists and voices. Having seen off the competition and climbed up the ladder, she set up the band with Emma Coombs (drums), Jenny and Hannah Bruce (on guitar) and, together, they are Death of the Maiden. The Girl with the Secret Fire is an album that boasts the band’s chemistry and core strengths and showcases a wealth of textures.

In a good way, it is hard to describe Death of the Maiden and drilling down to their essence. One thinks about genres like Post-Punk and Baroque-Pop and gets their own impressions. Maybe we feel it is going to be morbid or snarling; too violent or gloomy. That would be short-sighted because, as Death of the Maiden show, there is much more power and resonance when it comes to being subtle and wider-reaching. You unpick their music and it is crammed with scenery, colour and imagination. I said how it is important we promote something physical and intense but, in fact, Death of the Maiden project that in the soul; a more subtle revelation that we need to see more of. I have argued how important it is we encourage range in music and I do think the most interesting stuff is happening away from the mainstream. I am not saying the biggest acts are boring but I do think there is a tendency to fit into some sort of groove and preconceived slot. You sort of wade through everything out there and it can be hard to decipher what actually has any meaning. There are a few bigger acts I really love but most of the more interesting material is coming from the underground. Maybe it is the lack of commercial pressure or the fact the current generation are shaping up to change things. I am seeing more and more artists genres and experiment with sound. I do think a lot of what is in the mainstream appears pretty narrow and flavourless but, with the best of the rising crop, we are seeing a true blossom and feast. Death of the Maiden explore the rawness of Punk and the sense of spirituality one gets with Baroque-Pop. I shall move onto another theme because I want to tackle something that has been on my mind. I do wonder whether some of the problems we see in the wider music world will change and we will see balance.

Whether Death of the Maiden see themselves as a female band or would prefer a gender-fluid label, there is no denying that, compared to some bands, they will struggle for festival bookings. I brought this up yesterday when discussing Glastonbury and its lack of female headliners but, moving forward, I do wonder whether discrimination is just with gender. There is a surge of feminism and need for equality but it is not being met with acclaim and respect by the industry. Many are fighting for parity at festivals and throughout music but I do feel like those in power have been lacking. Look at a group like Death of the Maiden and you have a solid and exciting band that have the promise to last for many years to come. I see so many male bands being given top spots at festivals and made cover stars but what of the female artists? They are, in my mind, producing the best music around and this is not being translated into acclaim and attention. What gets to me is the fact music is a meritocracy and that means the best music should be celebrated. Why is it that, in 2019, we still have the battle sexism and the ignorance of the music industry?! I do find it shocking that bands such as Death of the Maiden might be overlooked because of their gender. They have the promise to be a big deal and will get there soon enough but I do feel like many will hold them back because they are women. I have seen bands like them take longer to get to the top because festivals still have this problem booking women. That might sound gloomy but I know they will get where they need to get to. It might be a while longer until they are at Glastonbury but I do think the industry needs to open its eyes and mind when it comes to talent and not being so blind. If it was more gender-blind and actually judged artists upon their sounds then that would be a lot better.

Tamara Parsons-Baker, when emailing me, stated that Death of the Maiden are trying to be visible women, queers and those who fight for greater rights. I have been seeing a lot of discussion on social media and, whether it is relevant to this point, how many schools are uneasy regarding lessons around L.G.B.T.Q.I.A. issues. It seems that there is still uneasiness when it comes to aspects away from a heteronormative spectrum. Maybe this might not directly relate to music but I think it is important to raise the point. I feel like there is a real uncomfortableness when it comes to talking about sexuality. If bands like Death of the Maiden are determined to create visibility in that respect, is society as a whole going to match that? I find that there are many who feel it is wrong to teach lessons about L.G.B.T.Q.I.A. subjects in schools and it is not fair to foist that onto children. Parents think that it is wrong to instil these lessons at a young age and schools should not stray from more ‘traditional’ subjects regarding sex and gender. I do feel like it is rather absurd we have to have this argument because times have moved on and children need to be educated. It is wrong to ignore the sexual spectrum and, in essence, be discriminative. I am appalled that there is so much prejudice and stupidity today but I do wonder whether music is more open-eyed and aware. I have discussed sexuality in music before and how many L.G.B.T.Q.I.A. artists have to struggle. How easy is it for them to assimilate into the mainstream and discuss their sexuality in a very real and open way? I feel many people want music to be straight and white. They have this vision of normality that is denying passage to artists who just want to be themselves. Music is richer when it is expressive, opens its channels and does not judge artists at all.

Death of the Maiden are unafraid to be themselves but want to create greater awareness and discussion. I am still bothered by the lack of discussion regarding L.G.B.T.Q.I.A. artists and how, in the education system, the syllabus is quite rigid and coming under attack. I will skip to another subject soon but I felt it was worth raising because there are so many different sides to this band. I love what they are putting out and they have such strength. Their music grabs you and sucks you into this imaginative and special world. Sonically, they are exciting and compelling but, as people, there is another side to them. The sense of liberation and being who you are, this is what Death of the Maiden are all about. How far has the industry come since, say, the 1950s? Certainty, sounds have evolved and we are much broader than then but I do think attitudes have not changed. In terms of sexuality and gender, have we moved on at all? I do think that there needs to be more discussion and artists need to be judged on talent and not excluded on the basis of sexuality and gender. Discrimination extends to race, too, so music has a lot of problems that need tackling. When it comes down to it, we need to assess all artists on their potential and talent and strip everything away. Death of the Maiden would not necessarily label themselves as women or see themselves in rather limited terms. They are a fantastic band who warrant acclaim because of their talent and drive. The Girl with the Secret Fire is packed with great music and standout moments. I do hope that this quality and determination leads them to some wonderful places! I will end the review by talking about the band’s touring and potential but things are looking great right now. Reviews are already coming in for their album and there is an awful lot of positivity around them. It is their multifarious and vivid palette that has engaged so many minds.

One listens to songs on their record and there is dreaminess sitting alongside passion. Whether it is a striding piano line or something rawer, there is no denying Death of the Maiden are a rounded and exciting band. I do love how each song has a personality of its own and the band are not beholden to a singular sound. You hear what they are putting out and immerse yourself in the music. There is a subtlety to the playing and performances that mean songs are never too forced or pushy. That is not to say, too, the music is too calm or detached. The band has concocted this great blend that tackles dreams and nightmares alongside pure emotions and a sense of fantasy. In fact, some commentators have stated how Tamara Parsons-Baker is getting something off her chest in the music. There have been striking nightmares that have affected her. Rather than throw these ideas away, she brings them to the music and lets the listeners into her mind. I do think so much of music is based around relationships and matters of the heart and musicians do not really stray too far from that template. Music is at its most promising, enriching and engrossing when more of the artist goes into the music. There is great imagination in the work of Death of the Maiden and this is something others should follow. It is the sonic nimbleness and beauty that one finds that perfectly captures the soul. There is nothing too heavy and dark or anything that is too slight. One can be a fan of Baroque-Pop or Post-Punk and there are no borders at all. Indeed, Death of the Maiden have created an album that will appeal to music lovers of all shapes and sizes. From a purely aesthetic and sonic viewpoint, I can approach Death of the Maiden and find much to enjoy. Every song has its own story and skin and you keep coming back time and time again. One is affected by the compositions and vocals but you also gravitate towards the lyrics. They are never generic and too personal and, instead, there is a richness that sparks every corner of the mind. It is hard to put into words but you need to listen to the music to see what I mean.

Before I come to reviewing one of The Girl with the Secret Fire’s songs, His House, I wanted to stay with this theme of diversity. Like the band’s championing of gender and sex; the need to be seen and how hard it is to fit into a music industry that has this rigid ideal of what one should be, they are not slavish to sounds that are limited and commercial. I am seeing, as I said, many artists in the underground doing great work and Death of the Maiden should be highlighted because of their compositional talents. There is delicate piano and something romantic; militaristic percussion and rousing backdrops – sometimes all within the same song! I do find many artists lack a sophistication and depth but, with Death of the Maiden, every song has multiple layers and angles. The vocal is always at the centre but that is not to say the rest of the band is secondary. Instead, there is a connection and chemistry that infuses them all together and creates this harmony. We need to celebrate bands like Death of the Maiden because they have that special spark and edge. Their music rewards those who take time to digest and experience everything at its fullest. There are personal revelations and dreams being exposed but one never feels excluded or uncomfortable listening to something quite soul-baring. I hope I have not put people off listening to Death of the Maiden with my rambling and detail – I was determined to include them and get their music heard. They are already gathering acclaim but I feel like their future will be very promising. I do feel like a lot of artists who write quite simply and without passion are getting ahead of those who are more intelligent and different. This takes me back to my point regarding equality and acceptance in music and the wider society. It is important I get around to His House and study a song that has a great deal of quality. It is one of the standouts from The Girl with the Secret Fire; an album that is brimming with brilliant moments.

Opening with delicate strings that start to skip and create this wave, our heroine comes to the microphone with her voice ringing clear. The voice is very high in the mix which means that we feel the full force of the emotions playing out. Other songs on The Girl with the Secret Fire burn brighter in terms of compositional weight and instrumentation: the simplicity of the music allows the vocal to explore more but there is still great weight and potency. In fact, the acoustic guitar has this story of its own and I listened to His House a few times and found new stories and revelations coming through. It seems like there is this drama and sadness. Our lead seems to be in a space with stained windows – maybe a church or somewhere else – and her eyes are stained. We come into this house – whether emotional or literal – and hear about the roof coming in and things starting to crumble. The heroine’s hands used to be joined with another and there was this unity that kept her comfortable and safe. Now, it seems like this secure spot and location is being battered by the weather and slipping away. It may sound quite heavy and emotional but, in fact, there is a lot of beauty and tenderness. The vocal has a lot of passion and sadness but there is a sense of hope and focus that keeps it from sounding drained and lost. Backed by these spirited strings, we concentrate on this very evocative scene that seems to represent the heart starting to lose a beat; stability lacking and something transformative happening. This man begged and willed us (whether there is someone with the heroine or just the two of them) to take things outside. Just then, there is a surge of electricity and a new layer coming into the song. There is this sort of nodding to the spectral and religious throughout the song. I get the sense that, at the core, a relationship is being assessed but it almost like His House is a hymn; a prayer or something spiritual.

One cannot escape the transcendent nature of the song and how it makes one feel. Everyone will have their own view regarding the song and its true origins. I feel like some bond has been broken but, in a wider sense, there is something wider being addressed. Parsons-Baker’s voice is clipped and has a distinct accent but it carries so much nimbleness and movement. There are very few singers who can sing as evocatively and purely as her and that is something to be proud of. We see the heroine losing her feet and way; a sense of being directionless or looking for stability. We have this mix of the oblique and direct that takes your thoughts in different directions. The chorus talks about his house as being somewhere secure against the lashes of the storm. Again, whether it is a trusted friends/sweetheart or a church that is keeping the heroine guarded from the outside, I am not so sure. The chorus is powerful and everyone will have their opinions regarding the story and truth. Great songs get you thinking and leave a bit of mystery in the mind. With a voice that rises and summons great power but is also capable of being softer and tenderer, it is a masterful performance. Even if the lyrics become bleak and quite haunted – bones being picked; graves dug and visions of death – one does not necessarily view things literally. Maybe the heroine wants to escape a hard situation and suppression but I think there is a greater need to be rid of a burden and strain. Death of the Maiden are brilliant when it comes to matching darker lyrics with spirited and gorgeous music. It is this blend that makes His House such a memorable song. Our heroine is in the chapel and listening to this song that remains. I do wonder, at every stage, whether the song is a spiritual awakening or something dream-like. It is a powerful offering so one will have their own thoughts regarding its history. There is a mix of grand themes such as God speaking and spiritual reckoning and the more intimate. The heroine has clung onto this raft in an ocean; there have been challenges and you do wonder whether things improved. However one sees it, His House is a remarkable song that will be hard to forget. Each listener will have their own take and visions when it comes to the song. I hope my words got close to the truth of His House but perhaps it is best not knowing everything – keeping a sense of mystery and enigma.

I have talked a lot about Death of the Maiden and how they have progressed. They are a relatively new bands but that is not to say they lack experience and promise. Instead, they have an instant sense of confidence and comfort that suggests they are where they need to be and want to remain for a very long time. There are some great bands coming along right now and I do feel like the scales will tip from the dominance of solo artists to bands. What gets to me is how quality seems to take a backseat to something populist or commercial. I have talked a lot about festivals and their rigidness so I shall leave that be. What I do want to say is that people should judge bands like Death of the Maiden on their musical merit and the fact they are doing something fresh. Check out their social media pages for upcoming dates but the band will be playing at The Finsbury on 12th April. It is worth seeing them in these venues but I feel like larger spaces await them very soon. Death of the Maiden are not purely about the music. They want to give a voice to everyone and stand out in a challenging music industry. It is hard enough being a woman in music and the band know this. I have discussed how festivals tend to overlook women but Death of the Maiden should not fear that. Already, they have proven themselves and created an album that is crammed with delight. The Girl with the Secret Fire is a stunning album that contains ten songs that will stay in your mind for a very long time. It is hard to drill down to the essence of the album and why it is so special. Maybe it is the interplay between the band members of the fact the music is so beautiful and pure.

I love all the different things happening throughout and the fact one can escape in the album. I predict big things for Death of the Maiden and think they have a bright future. It is tough out there but I do not feel the Oxford-based group need to fear anything. I hope I have covered everything and explained myself well enough. It is exciting discovering a band that hit the heart and impress right away. There is so much out there right now and it is always hard to decipher the great from the average. I love Death of the Maiden and know that they will go far. With more tour dates and stage exposure, they will get to more people and attract the attention of radio stations and promoters. I know their music will resonate with a range of stations and who will bet against Death of the Maiden going international and playing big gigs. They have a determination and quality that is hard to fake and ignore. I have stated how it is early still but I think that, in a year or two, they will get to festivals and be playing some really great gigs. They clearly love what they are doing and this funnels into the music. Let me wrap things up now because I am aware I have talked a bit too much. Make sure you investigate Death of the Maiden and follow their progress. They are busy promoting their music right now and, with a great album out, many people will be experiencing them for the first time. In a world where there is a lot of the same thing being played, it is nice discovering an act that are unique and capture you straight away. One can listen to their music and feel better and, in these tough times, that is what we need. They go even further than that and can open your mind and make you think. Albums and artists that challenge the imagination and enrich you should be promoted above that which is straightforward and radio-friendly. I will leave things there but make sure you see Death of the Maiden play; follow them across social media and check out their album on Spotify. If you can, give them some pennies and throw some love their way. Things might just be getting underway but we will see a lot more from this band. They are truly...

A force to be reckoned with.

___________

Follow Death of the Maiden

Twitter:

https://twitter.com/d_o_t_m

Facebook:

https://www.facebook.com/Deathofthemaiden/

Spotify:

https://open.spotify.com/artist/4unq3Q3yF7ZvynBlPq28am?si=m09KSyOdTjej5NH4Oy2OQw

Instagram:

https://www.instagram.com/deathofthemaiden/

Bandcamp:

https://deathofthemaiden.bandcamp.com/

PHOTOS:

Helen Messenger

TRACK REVIEW: Billie Eilish - all the good girls go to hell

TRACK REVIEW:

 

Billie Eilish

all the good girls go to hell

9.6/10

The track, all the good girls go to hell, is available via:

https://www.youtube.com/watch?v=EdUoWklL2FI

ORIGIN:

Los Angeles, U.S.A.

GENRES:

Pop/Indie

The album, WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?, is available via:

https://open.spotify.com/album/0S0KGZnfBGSIssfF54WSJh?si=Uo4MA6TkRty1n_Qu-acbVw

RELEASE DATE:

29th March, 2019

LABELS:

Darkroom/Interscope

__________

YOU can hardly flick a magazine page...

 PHOTO CREDIT: Cameron Postforoosh

or see a page on a music website without seeing teenage star Billie Eilish staring back at you. Her album, WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?, has just arrived and, for the most part, met with passionate acclaim. The American artist released an E.P., don’t smile at me, in 2017 and, since then, I have seen her grow more ambitious and daring. Before I investigate her debut album and the song I selected from it, it is worth talking about young/newer artists and a certain voice; the new way Pop is going and those who are adding something fresh; putting pressure on young artists and allowing them to grow; following something as big as WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? and, in the case of Eilish, growing out into the world and where she can head – I might also nod to her personality and why she adds a certain freshness. I must confess I am not completely on the Eilish bandwagon when it comes to fervency. I think there is a bit of a way to come regarding star quality and hitting her peak. There have been some brilliant reviews but, in some more mixed ones, there have been comments regarding an inconsistency – maybe her album lacks a balance and, in terms of sonic scope, there is not as much as there could be. What is it about artists like Billie Eilish that stand aside? She might be the youngest of the approaching pack (still eighteen) but that is not to say she lacks experience and depth. In fact, in interviews recently, she has expressed her worries regarding her peers dying from drugs; how there is a lot of pressure on artists to succeed and what it takes to succeed. She definitely has a wise head on her shoulders and this bleeds into her music. A lot of the younger Pop artists, such as her and Sigrid, are straying from this rather simple template and creating music that has more personality and colour.

Listen to Sigrid and she, on her Sucker Punch album, makes you feel alive and energised but there are revelations and darker moments that give a balance. Eilish might not have the same optimism but, in her own way, she is an innovator and someone who is not beholden to the mainstream and a certain way. Look at articles such as this - and there is this young generation that is emerging and doing music their way. They do not want to talk crap and stick to the same themes as many of the commercial favourites. In many ways, people like Billie Eilish are narrowing the generation gap and speaking more to the older listeners who might not normally invest their time in modern Pop. Whether they are a D.I.Y., bedroom-made artist or are determined not to be coerced, there is something coming out that is blurring genre lines and quite exceptional. I do think there is a lot of expectation when you discover an artist so young who stands out. Eilish is a teenager and she has a long way to go but I still think she can blossom and expand. Her vision is different to what is around her and, as such, everyone wants a piece of her. It is scary seeing all the interviews and features written about her and, whilst I shall cover this more later, she is handling it all calmly. What is it about Eilish’s music that has captivated and entranced? This interview she conducted with The Guardian exposed some truth and talked to the woman herself:

“From her recent eerie single, Bury a Friend, to the brooding vision of grandeur in You Should See Me in a Crown, Eilish’s music conjures a twist on dark, theatrical pop, sharing as much DNA with the broad strokes of Broadway as it does Del Rey’s haunted balladry. The release of her debut album this week may mark the first time that many parents have heard Eilish, whose music represents everything about Gen-Z pop culture that foxes adults: genre-less but image-conscious; extremely online, but private. It deals in anxiety, sincerity and emotional intelligence, mixed up with classic teenage apathy. Her music, like her style, is difficult to place on a timeline or pin to specific references. It’s new and it’s accomplished. Eilish embodies it all.

Lucid dreams, night terrors and sleep paralysis litter Eilish’s debut album, When We All Fall Asleep, Where Do We Go? It’s an album of firsts, of which Eilish has had plenty over the past year: being in love, experiencing the death of someone close and first time (she adds with another snort) being famous. She says it’s about the parallel awfulness of dreams and reality, and, occasionally, the pleasurable, dreamy quality of being alive. Her young life conveys no obvious torment or trial, but she makes a few lyrical references to her personal safety. She says she wouldn’t be able to do casual meet-and-greets any more for that reason. Although she feels happy on stage, she doesn’t feel physically safe up there. Before shows, “I’ll go through the back entrance because it’s the safest way for me to go. Sometimes, there are not-great people outside: not fans, sometimes people who … don’t want the best things for me.” Later on at the gig, I personally feel uncomfortable at the number of solitary older men incessantly taking photos of her”.

I think a lot of people still have a set impression of Pop and what it is all about. They listen to BBC Radio 1 and hear something tinny and machine-fed and assume that this is what modern Pop is about. I agree that there is this mass that seems to be concerned with the same lyrical themes and sounds. You get a lot of boring and overly-processed songs that are all designed to be disposal and easy to understand. Artists like Billie Eilish are seeing the modern, popular sounds and offering alternatives. I do feel that the more interesting Pop artists – whether that is Billie Eilish or Sigrid – are doing something more personal and inventive. Eilish is getting a lot of warm nods because she throws in odd sounds and has this true personality. Whether you respond to her textures or feel they are a bit dark, one cannot dispute they are a stark contrast to what is deemed popular and accepted. There is a bravery and boldness in WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? that staggers the mind.

Eilish could have come in with something quite safe and radio-friendly but, in many ways, she is more an Experimental artist than a traditional Pop performer – more similar to someone like Gazelle Twin than Rita Ora. Most of the criticism regarding Pop – through the last few years – concerns its staid and routine flavour. We know that Pop is getting sadder, more repetitive and involving minor keys but, staying within this rule, there are those that are capable of producing something interesting. There are few, I admit, that are doing these brash songs that are exciting; complex and rich that punch through the sky and have the ability to remain for decades. Instead, Pop is in a bit of a limited state. There is this need to be exposed and raw with the music rather than pen belting anthems. Some artists go for optimistic but, a lot of the time, it can feel empty. Many young artists are exploring difficult themes and darker realms but ensuring there is plenty of originality and intelligence. Genres are being pollinated together and explored and there is a more interesting Pop sound. Whether you count Billie Eilish as ‘Pop’ or have other labels for her, she is showing there is an alternative to the chart-bound shallowness. In this album review from NME, they drilled into some of the subjects Eilish explores and why she stands out:

“Though they are fairly traditional influences, her music is thoroughly modern. Her generation’s hope, anxiety, vulnerability and heartbreak are reflected in the songs she pens with Finneas. ‘Bellyache’, from that debut EP, was inspired by the regret she felt when she would shoplift or occasionally nab toys from friends. “I’d leave and want to throw up with guilt. I used to think the police were going to come to class and take me away from my parents,” she laughs. “It was completely irrational, but there’s nothing like that overwhelming feeling, and to say that a child can’t write about those feelings because they are too young is bogus.”

Now, Gen Z (teens born mid-’90s to mid-’00s; Eilish was born in December 2001) icons like Billie, guns-rights activist Emma Gonzalez and more are proving themselves tech-savvy, politically aware and ready to push the envelope creatively. “Bro, teenagers know more about the country that we’re living in right now than anybody,” she says.

“The world is ending and I honestly don’t understand the law that says you have to be older to vote, because they’re going to die soon and we’ll have to deal with it. That doesn’t make any sense to me,” she says. “But to see young people taking part in peaceful protests and not obeying is beautiful”.

 I do wonder whether, when we see and promote these bold artists, there is too much pressure on their shoulders. I wrote a piece about Sky Ferreira recently: she has returned with an album and this ends a six-year period of relative inactivity. Some wonder what has taken her too long and, after a successful debut, why has she taken until now to come up with something?! Listen to her new song, Downhill Lullaby, and it is similar to what Eilish is putting out. Ferreira is producing something with a darker hue and more dramatic tone; another Pop artist that is writing in a more expressive and interesting manner. There has been pressure put on her shoulders and I feel there is this tendency to expect too much from young artists. Maybe it is the generational gap and the mid-1990s/mid-2000s that means young artists now are being inspired by different artists. Maybe they are not growing up around the same sounds or perhaps the way they promote their music is different. More are doing it bedroom-made and promoting on YouTube; many are growing up in a different world to the one in which their older peers have. It is interesting seeing the difference but I do worry that, still, when we see a young artist doing well there is this need for them to follow their latest album up right away.

 PHOTO CREDIT: POPSUGAR

The business is so competitive and busy that there is a danger taking too much time away. If you have a big album like WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? then, of course, many will want something next year and they will want Eilish to tour the world. There is a raft of press out there and so many column-inches so that does make me wonder whether Eilish will be allowed some time off. She will be touring her album and bringing it around the world but, at the age of eighteen, she has plenty of energy in her. The downside is that there will be this fatigue that kicks in and she will not be allowed to relax. I do worry that we are expecting too much from young artists and, in years to come, what affect that will have on their physical and mental-health. Eilish is just starting out but, given the fact she is gaining headway, does this mean she will be allowed any time for reflection and room before the end of this year? Eilish has spoken about her peers dying from drug abuse and suicide and she knows there is something worrying happening. Do we expect too much and drive artists to unreasonable lengths?! It is a hectic industry but, even if you do have this very rare talent in your midst, that does not mean they should be driven and pushed to the point of exhaustion. This is not a new thing in Pop. Look back at the 2000s heyday when the likes of Britney Spears ruled and, back then, there was this need for her to tour relentlessly and she rarely caught a break. I do hope that people lay off her and give Eilish the room to live her life and not be controlled. She is someone who will not be controlled but, in order to succeed and be heard, she does need to conform to an extent. I do feel like she will be able to balance work-life and not burn-out too much.

WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? is Eilish adding her own style and voice to music. I have also written a piece about how annoying it is to see the way songs and artists are stylised these days. I used Eilish as a focal point because, as you can tell from her album and song titles, she is someone who is not exactly beholden to correct English. She likes to put songs in lower-case-only letters and upper-case in the case of the album. This is something that bugs me but, when I posted my article on Twitter, someone came back and argued that this – and other artists that do this – is a case of adding personality and art into music. To me, it encourages bad English and other artists to be rather lazy regarding songs. I see so many songs without a question mark when they should; many with lower-case lettering where there shouldn’t be one – this also bleeds into lyrics which, in some corners, can be rather basic, unimaginative and simplistic. Even if the stylizing lettering is annoying and not really needed, maybe it indicates a style and sense of personality that is different from the rather straight and disciplined music around. Eilish is someone who can address the same themes as many of her more commercial artists – including depression and struggles in life – and add more ambition and flair. Listen to any song on WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? and there is greater emphasis on the vocal nuance and experimental, interesting nature of the music than there is anything else. On so many Pop records, there is this need to be polished and formulaic. Many are too concerned with being radio-friendly and chart-conforming and you rarely get these more explosive and rare moments. Many have been calling for Pop to go in a new direction and take bigger risks. Billie Eilish is not the first artist to hone the sound she has right now – listen to FKA twigs and M.I.A. – but she could so easily have produced something pretty safe and soft.

 IN THIS PHOTO: Rachael Wright for NME

all the good girls go to hell is one of the more interesting and snaking songs on the record. It starts with a slow build and we get this sort of funeral wind and echo that suggests something dark. Eilish comes to the microphone with the words “My Lucifer is lonely” and you feel like we are going to have this punishing song. Just then, the track switches and we get a very bouncy and sweeter piano refrain and vocal that catches you by surprises. There is an element to the girl groups of the past like TLC and Destiny’s Child. Although Eilish’s voice is softer and less anthemic than those groups, there is a musical strut that makes the song pop. The lyrics, I wonder, might be about the heroine or a peer. She talks about standing there and killing time; not being able to commit to anything but a crime. Maybe this is a view of someone who is a no-good; a bad girl who is walking down a bad path and is wasting time with crime. Perhaps this is a side to Eilish and where she is in life. Many have noted how, on WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?, there are oblique lyrics and not a set construct. Look at other Pop songs and you get these rather obvious lyrics. Eilish talks about someone called Peter being on vacation and drops in animals and evidence; “Pearly gates look more like a picket fence” – she has friends but can’t invite them in. Rather than being these simple and hand-feeding lyrics that set out their stall clearly, you do wonder with Eilish and what inspired this song. Maybe it is about recklessness and excess; living on the edge and being in this excessive frame of mind. I can see there are nods to contemporaries and her friends but I get the feeling Eilish is looking at herself and how she is walking down a darker road. The beat rolls and there is this funkiness and, all the while, Eilish keeps her voice somewhat whispered and calmer – reminding me of M.I.A. in some places.

 PHOTO CREDIT: Dan Regan

Eilish talks about hills burning in California and I wonder whether it is a look at something like climate change or more to do with celebrity culture or a changing landscape. Things are never obvious with Eilish and you do wonder where the true origins lie. That pre-chorus builds speculation and drama but, when the chorus comes in, Eilish talks of the good girls going to Hell; God (as a woman) having enemies and Heaven being out of sight. Maybe you can see those lyrics as a warning or something oblique but maybe there are words about gender-equality and balance; perhaps it is more about control and something darker in music. I feel like a lot of Eilish’s observations stem from her peers and where she lives. The Los Angeles-based artist is growing up around a lot of fakes and there is corruption around. I love songs that go deep and make you ponder. Everyone will have their own interpretations but, in my view, we are listening to a song that talks about the city and how it leads people astray. The song has this wired and buzzing electronics that mixes with a big beat and a skipping piano. It is like a fusion of classic House with some Electronic and Pop all mixed alongside one another. Eilish rides the wave but keeps some caution in her voice. She name-checks those who need her help and, once again, there is mystery. She speaks about a man/men being fools and not being able to save themselves. They are poisoning themselves and begging for help and I wonder whether this is a reaction drugs and excess or something else. I love the combination of the more anxious lyrics and intriguing scenes with the lighter and more spirited composition. Eilish discusses Heaven and Hell and her own private Lucifer; the dangers and darkness lingering and people in her life fading away. all the good girls go to hell is just under three minutes and you sort of end the track and want a bit more – addicted and held by the blends and layers the song provides. Everyone, as I say, will have their own view regarding the song’s truth and I find the lyrics are amazingly mature and deep from someone so young. Regardless of your views about Eilish, you cannot deny she is doing something new and her music definitely engages the senses!

 IN THIS PHOTO: Rachael Wright for NME

I have covered Billie Eilish, I hope, in detail and explored her different sides. She is this sensation that is turning heads and getting people in the press very excited. I do love what she is doing and, although I will not convert completely – there are songs and moments on her album that are a bit samey -, I do think she is part of this more interesting and appealing wave of artists. Her album is collecting more than its share of great reviews and people are excited where she can head. I do feel like we will not have to wait five or six years for a follow-up but that is not to say she should rush another release. Many will want a successor to WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? because we are quite impatient and we have that thirst. Look at Eilish’s social media pages and you can see where she is headed and where you can catch her. I have heard Billie Eilish in the press and there is no pretense and ego. One knows her answers are not being carefully vetted and redacted by a P.R. team: instead, you get this honest teenager who wants to write the music that feels right to her. One of my biggest problems with modern Pop is the lack of personality and actual truth. You feel so much of what is out there is rather generic and follows too closely to everything else. You rarely get a sense of who the artist is and them writing in a way that is unique to them. Eilish is one of those artists who can relate and strike a chord but she does things in her own way. I know it is never a good way to cross-reference reviews but I think Variety nails her sound and what makes WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? shine:

“With all its moments of distortion and attitude, tempered by sheer loveliness, and rude and emotional songs about night terrors and daydreams, “When We All Fall Asleep, Where Do We Go?” feels like a rock ‘n’ roll album, even if there’s virtually nothing on it that sounds like rock music...

And although the jazziness is more latent than blatant in this sonic blast, she hasn’t done any disgrace to the name her parents gave her, either. Attention, 2020 Grammys: The future still isn’t quite done being female”.

Many reviews are saying the same thing and there is plenty of promise when it comes to the young Eilish. I do think the industry will heap expectation at her feet and there will be this need for her to keep touring, talking and making music. We are seeing a lot of artists suffer from that stress and tiredness but I think Eilish knows this and is not going to let herself get to that point. She has given the world this interesting and diverse album so, naturally, many will ask what comes next and whether we will get even more material later in the year. I will bring things to an end but I wanted to write about Billie Eilish because there are contrasting views regarding her music. Many are positive and hopeful but there are some that are not quite warm to her. Maybe that will change but, to me, Eilish is someone who is making Pop more interesting and brave. The production and eclectic compositions score these, at times, scary songs but you never feel offended or cold. WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? rewards patience and multiple listens so make sure you invest some time in it. Let’s stop the review here but, when investigating all the good girls go to hell – her and those bloody lower-case letters! – I felt like there was this strange and honest artist who was not following a set pattern and formula. The rest of 2019 is a busy one for Billie Eilish but she will have some time to relax, one hopes, sooner or later. She warrants some time off because she has worked hard and you can hear the effort in her debut album. Although Eilish has been making music for just a few years, it is clear that we will hear...

A lot more from her.

___________

Follow Billie Eilish

Official:

https://www.billieeilish.com/

Twitter:

https://twitter.com/billieeilish

Facebook:

https://www.facebook.com/billieeilish/

Spotify:

https://open.spotify.com/artist/6qqNVTkY8uBg9cP3Jd7DAH?si=KYG31wRHQgeV43YpouMyHg

Instagram:

https://www.instagram.com/wherearetheavocados/

YouTube:

https://www.youtube.com/channel/UCiGm_E4ZwYSHV3bcW1pnSeQ

ALL PHOTOS (unless credited otherwise):

Getty Images/Press/Artist (every effort has been made to cite and source the photographers in each case; I can add credits if needed)

TRACK REVIEW: Nadia Sheikh - Toxic

TRACK REVIEW:

 

Nadia Sheikh

PHOTO CREDIT: Javier Nomdedeu Lopez 

Toxic

9.3/10

The track, Toxic, is available via:

https://www.youtube.com/watch?v=CGKkcxrhcOA

ORIGIN:

London, U.K.

GENRES:

Indie-Rock/Pop

RELEASE DATE:

25th January, 2019

__________

I have been on a bit of a run...

 PHOTO CREDIT: Jon Mo

regarding female artists but, as there is so much quality out there, I do not feel like there is any need to break the run. I will cover Nadia Sheikh in a minute but, before then, I wanted to mention passion in music and sounds that definitely make you move; cultural and genre mixing that adds to a big impression; Indie-Rock sounds and whether there is a resurgence happening at the moment; the need to be inspired right now and uplifted; where Sheikh can head and how she will step as we head through 2019 – a little bit, again, about headliners and female artists (I shall leave the topic alone after this!). The reason I break down my weekend reviews to the near-mainstream (Saturday) and new (Sunday) is because, more often than not, I found I was getting sent similar-sounding artists without much of a story and background. It makes it hard to write a four-thousand-word review when you are faced with similar stuff and, as I know I can get more ammunition and inspiration from someone like Lizzo, that is why I break things up. It has been the case that, for the past few months, I have had to reject quite a bit of stuff because it is similar or not really distinct. When it comes to Nadia Sheikh, she definitely has an edge and sound that interests me. It might take a while before she is in the same leagues as the best out there but she is making her way out there. She has festival experience – which I will talk about later – and is producing something raw-yet-alluring. I am going to cover Elton John later because, not only is tomorrow his birthday, but there is a biopic coming out very soon – Rocketman is already gaining a lot of attention and speculation. We know how well Bohemian Rhapsody did at the box office and Oscars; it is a complete hit and, despite some historical and personal inaccuracies, the film fared pretty well.

One of the reasons why these films are happening and people want to see them is because, at heart, there is this catalogue of music that gets you up and energised. Think about a biopic of an artist that is a little upbeat and spirited and it does not really hold the same promise. These charismatic singers who had/have these fascinating lives; the songs that have come and how they connect with the people. I do feel like there is a bit of an absence when it comes to stomp and fun. Maybe it is because music is so large and wide-ranging that it is hard to get a proper sense of focus. Look at everything flowing out right now and can one say there is as much energy and fun as there was a couple of decades back? I do not think so and I wonder whether, as I have said before, introspection and deep emotion has taken away that sense of fun; whether artists are willing to be that submissive and feel they need to produce something deeper and more emotional. It is sad to see so little passion coming in terms of sound but I get why many do it. I have been hankering after music that gets the body moving and motivated but is has been pretty hard to find. I guess, when Lizzo releases her album, we will see a stormer that we can all get behind. It need not be a complete fire and explosion of a song: something that makes you a bit happier and can get the feet moving. That is all we ask, really! Nadia Sheikh has the potential to bring a bit of flair and kick back into music and, although it seems like I am writing people off, there are those who are pretty intoxicating and intense. In the case of Sheikh, she is someone who can mix the sort of lyrics that make you think and hold emotional weight but there is that musical attack – helped by her tight band – that adds something special.

 PHOTO CREDIT: Alan Wells

Sheikh is half-Spanish so it makes me feel, in a way, that she brings some of that heritage into her music. I am not suggesting there are cliché Spanish sounds in the mix but one gets the feeling that something from the great country is sprinkled in the notes. Definitely, when you hear the passion in her voice and the way she can get people moving, that seems to have a very Spanish flavour. I have been to Spain seven times and, every time, revelled in the local music and how there is this intoxicating and instant charm. Maybe British artists are too rigid when it comes to sounds and, at a time when we need to embrace Europe and its people, I wonder whether we should look to the continent for inspiration regarding music. Certainly, there is enough gold and brilliance out there and I feel like a lot of it is being neglected. Sheikh has that family connection but she knows that, with a subtle bit of culture-fusion, she can get this rather electric and tangy punch that gives her music an edge. It is zesty and uplifting and it is different to everything I have heard. Not to make this political, but I feel like musicians here are probably taking heavily from the U.K. and U.S. I do not feel like we are that inspired by Europe but, when you consider, there are so many rich and diverse sounds out there. Not only does one get a sense of countries fusing within the music of Nadia Sheikh; she also mixes genres to create this big and impassioned impression. I do wonder, also, whether there is a general lack of energy in music as a whole. Maybe there is a fear that Indie-Rock is a bit of a lost genre or it is not as strong as it used to be. There are some great bands out there but I am hearing a lot more of other genres hold influence.

Sheikh’s blend of delicate vocals and an ominous Indie-Rock is great but she goes even further and dips into other types of music. I love stuff like Folk and Pop but I do feel like there is, as I said, too much emotion and delicacy. That is not to say it lacks appeal but I yearn for those artists who are broader and can get you involved. I feel like we all need a bit of a boost and kick right now so, thinking about that, I am seeking out those artists who can get us all jumping. I do feel like Rock and Indie are genres that have been overlooked or were popular years ago. I am hearing Post-Punk bands coming around but look at the mainstream and are there are as many Rock bands as there used to be? Certainly, in terms of numbers, there are fewer than there were in the 1990s and early part of this century but I do wonder whether there is too much of a stronghold by Pop. I am seeing some great Indie-Rock bands emerge but it is hard to integrate and shine in a mainstream that still is dominated by other genres – including Hip-Hop and Rap. In my experience, I feel that a lot of bands from the past have lacked originality and tastes shifted. We had the time when we idolised these bands but, more and more, the solo artists is taking over. Nadia Sheikh is a solo artist but she has a band. She has that combination of original and personal intent with some backing and strength behind her. It is actually quite rare to find a solo artist like her in music. When I think of solo musicians then I consider something gentler and less intense. I do feel like Sheikh has a definite role and chance to lead. The music she is throwing out is great and, alongside a few bands that have a similar sound, there is not a lot of company out there.

I do not feel like there is a complete recovery and rise but there are more Rock and Indie sounds coming out. Most of this is happening in the underground and I hope we see more of them come through. Look at the festival artists playing in the U.K. this year and very few of them are Rock-natured. I do wonder whether there is this reliance on certain genres or whether bands are heading in another direction. This might sound scary for Sheikh but I do feel like the wind is changing and artists like her have a chance to take advantage. One of the reasons why bands of the past struck a chord was because of the passion and the way they could unite us. They had these big choruses and anthems that got into the mind and made us all sing along. I do miss those days and, whilst Indie and Rock have changed a bit in nature, there are still those who know how to get us active and alive. In that sense, I do feel like there is hope that the scene will change and assimilate these artists into the pack. This is something I have also covered quite a bit but I do think there are very few artists out there who can get you happier and move the body. To me, music is at its strongest when we are lifted up and can feel better about ourselves. I do think there is a little too much gloom around right now and we are not producing enough music to lift the soul. Whether that comes from Pop, Indie-Rock or another genre, I wonder what has happened. I shall move on from this point right now but it is great that there are artists such as Nadia Sheikh who can step away from the predictable and obvious and create something with some physicality. Now, more than ever, we need music that can unite us and make us feel better.

Yesterday was a big day for London because we had the march against the Brexit vote; the right to stay in Europe and Article 50 to be repealed. There was a lot of protest and people on the streets and, whilst I did not go myself – it would have been so crammed and hectic out there – everything went off peacefully and there was a lot of passion to be found. I caught photos from the day and people were keen to express their support and solidarity. There is a mood percolating and enduring that is tense and afraid. Even though we have seen this strong army take to London to show their anger at the state of politics right now, we are all uncertain and not quite clear where things are headed. I do think that this country is as fragile as it has ever been. I feel there will be improvement and hope but it will take a while longer before we get that stability. Look ahead and where do we go from here? Is there going to be another general election and will we see another leader guide the country? In any case, it is clear that Brexit is going to be delayed and we are heading for another period of debate and clashes. All of this happens around us and people are getting involved. Nobody wants the country to be divided and tense and, at the moment, it is hard to break from this fog and stress. Right now, we need music to play a big role and, whether it is political or not, I feel we can all get some solace and comfort from musicians and what they have to offer. There are more politically-driven bands/artists emerging at the moment and those keen to have their say regarding the country. In my view, we need more music that provides a sense of escape and energy.

PHOTO CREDIT: Will Ireland Photography

Although Toxic does not sound like the cheeriest song out there, there is a general aura that gets you in a better space. That is an interesting observation in itself. How many songs, whether it is the lyrics or music, have a genuinely positive aspect? Every song I have reviewed for the past few weeks – with few exceptions – have had some sort of negative aspect. It seems to be a default position and, whilst not a slam against artists like Nadia Sheikh, I wonder whether artists are capable of finding light and writing music that does not have a negative edge. Luckily, when it comes to Sheikh, her punch and passion makes up for slightly unsettled moods that comes from a darker place. I listen to her music and do feel better after listening to it. There is a definite catharsis and, whist the lyrics are not exactly up there with a Beatles love song from the 1960s, one comes away with a warmer heart and more energy coursing through their veins. This is what we want from music and, at a time when we are sort of crumbling and separated, I feel music has a big role to play. We do all need that hope and connection and I think music can step up. If artists could more positive with their themes then that would be even better – maybe this side of music is something that is resigned to the past? I will conclude by looking at where Sheikh can head this year and develop but, before then, a look at headliners and arranging festivals. This year’s biggest festivals have already announced their biggest acts and it is another case of the boys taking the top slots. There are a few exceptions regarding female headlining but, largely, it is men at the summit. I do not understand why this keeps happening and why we need to fall back on the same old artists. The fact that The Killers are headlining Glastonbury when there are so many great female artists who could provide a more popular and fresh set...it is a bit baffling.

 PHOTO CREDIT: Jon Mo

Not only do I want more positive and energised music to come out but, when we see female artists like Sheikh plugging and producing great stuff, there needs to be this guarantee that, in years to come, there will be a possible headline slot. I do not think changes are coming in so far and we are pretty slow to progress. I am a bit annoyed that there is not enough room for women when it comes to headliners. I do worry that we are denying so much great talent. Look at the best albums of 2019 and they have been released by women. There are some great female Punk/Rock bands who have definite verve and I feel like they could headline a festival in years to come. Right now, there is this solo dominance but, in terms of genre, not a lot regarding Indie and Rock. Definitely, when it comes to songs that have a swagger and fire in their stomachs, there is a definite gap. I shall move on from this topic now but there are great artists like Nadia Sheikh who need to know that the industry will recognise them. The industry needs to be more receptive and open and we cannot just keep booking men for the headline slots. Maybe it is too complex to unpack and solve right now but we need to sit back and make some changes. Rather than get too hung up on the inequality around us, it is time to look at Nadia Sheikh’s latest track. I do not usually review songs that have been out a while because there is not much point. I look for the new tracks that everyone else is looking at. The fact Toxic came out in January would usually mean I look for something fresher but, as its video arrived this week, I have taken it on – possibly the last review I will accept when it comes to songs that have been out there for a fair bit. Regardless, it offered me the chance to look at an artists I have not featured before and a style of music that needs to be embraced more.

The sheer rouse and sense of fun that opens Toxic hooked me right in. I watched the video as I was listening to the track and, even from the off, you are put in a better frame of mind. Sheikh and her crew create a sound that has some old-school glisten and some modern touches. It is a nice brew that is quite simple but has so many different aspects and sides working away. It is like the introduction is a conversation and dialogue. When the heroine comes to the microphone, she talks about people talking but nobody really listening. There is not a lot of understanding and people taking the time to hear. Whether she is talking about her own words being ignored – or is looking at the world in general – I am not too sure. There is something bubbling and itching under her skin and, whilst the heroine is dealing with some personal struggles, the composition keeps things buoyant and positive. Listening to Sheikh and it seems like people are dismissing her concerns and words. They say everything is in her mind and she is getting carried away. Maybe there is this feeling that people are unwilling to listen regardless of what is happening and thinking about themselves too much. She does not reveal too much about the exact origin of this ignorance and conflict but one assumes that Toxic is about a general feeling of isolation. When we come to the chorus, there is this burst that combines modern Indie and the U.S. Pop-Punk style. It is a satisfying blend and will appeal to those who want a nostalgic rush but also those who desire their music modern and fresh. You get caught up in the rush of the song and are helpless to resist its physical push. I was wondering, throughout, whether there is a particular event that has triggered the birth of the song. You need to listen a couple of times but, slowly, the truth starts to come out a bit more.

POSTER PHOTO: Derek D’Souza

The band is definitely pretty tight and they have this sense of intuition. The connection and chemistry between them makes the song really strong and electric. You dive into the words and try and get a picture of what is happening. Sheikh does not want this bitter pill and she is trying to get away from a bad situation. I instantly thought about relationships or a love that has broken down but, the more I considered, the more I looked at other avenues. There might have been some passion-heartbreak but I think the heroine has been receiving some bad vibes from other areas. The system is overflowing with poison and it is filling her mind. Even though I have suggested artists like Sheikh can uplift and unite us, one cannot help overlook the fact that, at its heart, Toxic is a song that deals with some pretty tough times. The sound and the passion the entire band puts together can definitely make us all feel better and, in a way, I think the song is more of a release than anything. Rather than dwell on the words and make people feel stressed, Sheikh is venting and getting all of this toxicity out of her system. It seems that she has faced her fair share of negativity and pain but now, in this moment, it is all flowing out. Her voice has a nice balance between sharp-toothed and calm. She never truly explodes but there is definite potency in the vocal. Mixing a sense of teenage rebellion – in a good way, rather than immaturity – and the need to be taken more seriously, the catchiness of Toxic overtakes any feeling that we are listening to quite a heavy song. As I have said, the track seems like this release and moment to shed some old skin; get rid of those doubters and start from fresh. It is inspirational in that sense and I am not hearing too many artists like Nadia Sheikh. If you listen to cooler radio stations then you might but look at the mainstream and it is still Pop-heavy. There are a lot of songs that are written by committees and seem to fit into this formula. There is a lack of naturalness and personality that seems to dominate. With Sheikh and her band, one feels this song that means a lot and will resonate with people. I recommend it highly and hope it leads to more material. There will definitely be demand for more of the same from the talented songwriter.

I hope there is a lot more coming from Nadia Sheikh because she has a sound that is instantly appealing and engaging. There are not that many artists we can say that about. I love what she is producing and think she can go a long way. She has her band behind her and, whilst they definitely make the music pop and shine, it is Sheikh who leads and strikes the hardest. I forgot to ask whether she has an E.P. out and other plans but I am sure there will be news coming up. I feel like there are opportunities ahead of her so keep an eye out when it comes to her social media channels. She is a great live performer and has played at some big festivals in her time. That experience feeds back into the music and you get a sense of someone who is completely tight and focused. The music is exceptional and I’d like to think there is more arriving pretty soon. I would suggest, like I do with a lot of artists, to get some more promotional photos onto her pages. There are a few but not that many from the past year. A few portrait images – rather than landscape – would definitely add something. There are some good live shots of her but it would also be cool to see more of the artist away from the stage. Music is a very visual medium so I do like artists that have quite a stock of photos. That is the only real suggestion I would offer as, apart from that, there is nothing really to gripe about. Sheikh communicates with her fans and we have this artist who is very hungry and excited to see what comes next. Many will wonder whether there are festival dates and plans for new material – keep your eyes set on her channels. I am a new discoverer of Sheikh so not really sure whether what she is producing now is an evolution from her older sound. Listening to her past work, one can see she has grown more confident and ambitious. The music seems to have more nuance and passion and, in terms of her writing, I think that has sharpened too. One gets a nice blend of sounds and cultures; lyrics that are relatable and we can all identity with and a sound that gets the body moving. Toxic is a song that, on paper, sounds quite harsh and unforgiving. Whilst there is some truth in that, the abiding impression is of this musical moment that makes you feel better and stays in the mind for all the right reasons. Ensure you follow Nadia Sheikh and discover what comes next. She is an engaging and appealing artist and someone who can go quite a way. I will leave things there but, if you need a bit more boost and clout in your day then make sure you head the way...

POSTER PHOTO: Derek D’Souza

OF Nadia Sheikh.

___________

Follow Nadia Sheikh

 PHOTO CREDIT: Derek D’Souza

Official:

https://www.nadiasheikh.com/

Twitter:

https://twitter.com/NadiaSheikh_

Facebook:

https://www.facebook.com/nadiasheikhmusic

Spotify:

https://open.spotify.com/artist/1REWoOzJNHGCPDYsSBBghV?si=dQRq3XCsSx2v_ah3AcPcog

Instagram:

https://www.instagram.com/nadiasheikhmusic/

YouTube:

https://www.youtube.com/channel/UCa8bckV5qeBUcBXVOZoFJFw

TRACK REVIEW: Jenny Lewis - Wasted Youth

TRACK REVIEW:

 

Jenny Lewis

 PHOTO CREDIT: Autumn De Wilde

Wasted Youth

9.6/10

The track, Wasted Youth, is available via:

https://www.youtube.com/watch?v=ZY8bdQRpmGU

ORIGIN:

Los Angeles, U.S.A.

GENRES:

Indie-Rock/Alternative-Country/Folk

The album, On the Line, is available here:

https://open.spotify.com/album/2AHG3vkC3H7zqHbYdgCCcy?si=V_S0HXeHR_OLBbHWd9_ueg

RELEASE DATE:

22nd  March, 2019

LABEL:

Warner Bros.

__________

THIS is where I get to study an artist who is...

 PHOTO CREDIT: Pamela Littky

nearer the mainstream than a lot of the music I look at. On this occasion, I am looking at Jenny Lewis’ music and the song, Wasted Youth – from her terrific album, On the Line. I will talk about a few things but, among them, I will address age in music and how we perceive artists of a certain age; women and the fact they are creating the best albums this year; subjects that can make an album standout and resonate; relationships and how they can affect the aspect and dynamic of your writing; artists that stand out and can inspire – Jenny Lewis and how her career has developed through the year; where she can go from here. Lewis will probably not forgive me for mentioning age and starting with that but I have been thinking about it a lot. There are radio stations who, when an artist reaches thirty or thirty-five, they stop playing their music. Even though Jenny Lewis is in her early-forties, there is this sense that one is only relevant and cool when they are in their twenties – even getting into your thirties seems like a bit too much! Artists have spoken out against this a lot but, the more I think about music and the finest words out there, they are coming from artists who are not in their twenties. By that, I mean a little more world experience and maturity makes for the best music. On the Line deals a lot with family, addiction and change but it is not an album I could ever expect from someone younger than Lewis. The Rilo Kiley star has been in the industry a long time and I think where she is now, and what she writes about on her current record, is her strongest work. Why is it that the industry deems artists insignificant or not as cool when they get to a certain time in life? Maybe it is a problem more common here but it is a shame that some would reject Lewis’ music before they even hear a note – knowing that she is in her forties.

 PHOTO CREDIT: Wendy Redfern/Redferns/Getty

The album cover, in a way, acts as a sort of sign that she is as stunning as potent as ever. Her last couple of albums have not featured her face but the fact there is a shot of her cleavage, in a sense, is her showing that age does not matter and that she is still very young. It is something I wanted to mention because so many of the fantastic albums I have heard the past couple of years have come from artists who would be considered a bit past-it by the ‘cooler’ stations. That is not to say young artists are irrelevant but, when it comes to music, every station and outlet should judge people on their talent and sound rather than their age. Now that On the Line is out in the world, it is picking up fantastic reviews and amazing fans. Lewis has tackled some hard subjects on the record but there is light and plenty of charm underneath something a little more affecting. I feel it is Lewis’ maturity and time of life that makes her latest album so strong. I listen to her work and feel that, strangely, the best work might still be ahead of her. I will come to look at another subject but consider the career Lewis has experienced so far. She is on her fourth album but has worked in other bands and made such a huge impact on the industry. I love how her sound keeps evolving and the fact she seems to get stronger and more striking with every release. Lewis, as I shall explore, has experienced some loss and change recently and that all goes into On the Line. The fact Ryan Adams worked on the album – the maligned and controversial artist is in the news for the wrong reasons – does not add any sour tones at all. Lewis, in fact, has revealed in interviews how she felt uncomfortable around Adams and was never really that happy in his company. His contributions are not that evident and, fortunately, it is Lewis’ voice and tones that stand out the most.

I want to address some Lewis-specific things in a bit but I am amazed by the quality of albums that has arrived this year. From my experience, the best and most ambitious albums usually come out towards the second-half of the year. I wonder whether it is a planned thing but we tend to see things improve by the time we get to summer. Look at the albums already out and it is clear that 2019 is a very big and exciting year. I have raised this subject before but it is women, in my mind, who are creating the best work around. We have not even heard what Lizzo will give us with her upcoming album, Cuz I Love You, but it has the potential to be a year-defining record! This week has also seen Lucy Rose release, No Words Left. It is her most affecting and stunning work and is picking up four and five-star reviews – the British artist has grown through the years and, like Lewis, seems to get stronger with every release. Other huge records from the likes of Julia Jacklin, Little Simz and Sharon Van Etten have surpassed most of what the men are putting out there. All of the albums have a sense of the personal and depth to them. Artists are starker and more revealing with their music; willing to explore themes beyond the mainstream’s lust and create something challenging. I do wonder, as I keep saying, whether this quality is going to be mirrored with some festival bookings. This year, in the U.K., there is a sense of the predictable: a gender imbalance and most of the headliners are men. I do wonder why the same tired and inferior acts get booked and why women are being ignored. It is something that needs sorting out but, looking at this year’s best, how long can the industry look away? I do hope that the likes of Jenny Lewis are considered for headline slots next year because she would be a really popular choice.

Women have always been treated differently to male artists but I am noticing a split between the genders. Aside from a few male acts here – I think about IDLES and The 1975 – the subject matter addressed (by women) is a lot more stirring. So many male-made albums are not really breaking from the conventional or offering depth. I find the best female singers more nuanced and captivating whilst their lyrical approach has more heart, variety and intelligence. All of this combines into music of the highest order indeed – 2019 is very much the year of female music. It would be foolhardy to assume that men will completely suck-out this year but I can see this female dominance continue for the rest of the year. Jenn Lewis has also created an album that could be, already, considered one of the very best of the year. I love what she is putting out into the world and I am amazed (but not surprised) by the incredible quality women in music are creating. I shall move on in a second – as we need to dig deep into Jenny Lewis’ world – but she is this human that is very inspiring and brave. She has not long ended a long-term relationship and experienced the death of her mother. In interviews, she is charming, open and engaging and she is a definite role model for generations to come. It makes me angry when we promote men above women without reason and tend to ignore the best artists around. The passionate reviews Lewis is already accruing for On the Line should give pause for thought and, let’s hope, 2020 is the year when artists like her are rewarded with headline slots and industry aplomb. I have been scanning a few interviews she has provided and, when probed about the album’s themes, Lewis is quite frank and willing to share her story. Rather than being this very personal and dark record, there is a lot of character, story and light.

Whilst there are some great positives regarding On the Line – she collaborated with Ringo Starr! – Lewis had to channel tragedy and loss into her songs. She had to deal with the end of a twelve-year relationship with musicians Jonathan Rice and discovered her mother was dying. Little White Dove relates to Lewis visiting her mother in hospital whilst other moments address the moments after. In this interview with The Independent she revealed her feelings regarding a rather challenging relationship with her parents; how her mother’s death affected her:

“When you get the call that someone’s not well, you have a choice to be there or not,” she says now. “I decided to be there, and I’m so happy that I did. You feel their true essence in that setting, where they can’t get up and bounce. In those moments, you just see people for who they are, and they’re just like you. They are you. They’re just souls in a body that’s done. They’re just humans. They’re your parents. They tried their best.” There’s a long, heavy pause. “They weren’t great at it,” she adds with a husky snigger. “But we all have our issues with our folks”.

Despite the fact that ending a long-term relationship is, in a weird way, an achievement – Lewis noted how she had never been in a bond that lengthy! – there was the obvious heartache and pain:

“You think it’s never gonna end, you wanna erase the memory of the person, you’d do anything, you’d take a pill, you’d get surgery, you’d move away… and then one day you don’t think of them all day long. And the next day, you think of them less. And then you’re better. And you forget what it feels like to be heartbroken. And you like someone else. Hopefully. And certainly you can experience that in your twenties, but I think thirties heartbreak has a whole other level of weight. It hurts. It really hurts. Physically. I wonder if men feel the same heart hurt in that way”.

PHOTO CREDIT: Ali Seib for the Los Angeles Times 

I do feel 2019 is a year when the best artists are being a lot braver regarding personal loss and relationship struggles. Lewis’ music is never too hard and oppressive. Instead, she can mix funkiness and energy but does not shy away from the realities. In this interview with The Times, she was very candid:

““We all go through it. And it’s beautiful to witness life and death — it’s incredible. But it’s heavy shit too, man. I hadn’t seen my mom in years. And there we are, hanging out, and we have the same sense of humour. We laughed at the same jokes. The same facial expressions. We were just... the same. Nothing else mattered. All that time and space, and we thought the same things were funny”.

Relationships, physical and familial, are important and play a huge part in On the Line. Lewis is never too flippant about her mother’s opiate addiction but there are moments when she sighs and feels like a lot of her time has been wasted coping with the chaos around her. It is obvious her mother’s death hit hard but one feels like the years living around an addict took a lot from Lewis. Lewis also – when speaking with journalists  - states how she has not had many boyfriends so the fact she was with Jonathan Rice for twelve years was very new. That separation caused a lot of heartache and Lewis takes all of these pains and puts them into her music. One might feel like On the Line is a dark and suffocating album but it is more about Lewis being honest and never being too heavy. There is humour and light, as I say, in her music and you get this nice clash of the uplifting and heartaching. The music is so eclectic and the compositions so deep and rich. Lewis’ voice is a weapon that continues to strike and get right to the heart. She has been in the music industry for decades and, I feel, is stronger than most of her peers. It is amazing how many standout moments there are throughout On the Line.

Reviews have been great and it is clear that many people have been affected by Jenny Lewis’ latest album. I do not usually bring in other reviews – as it seems to detract from what I am writing – but NME offered their feelings:

“‘On the Line’ frequently throws up surprises. Taking the piss out of the West Coast’s reoccupation with horoscopes as she scours the house for Bourbon, Lewis taps into a droll and dark humour. Amid the sadness of ‘Party Clown’, Lewis invokes a surprising source of metaphor: “When I cry like Meryl Streep, when I crack my head wide open, I wanna be next to you,” she sings. And ‘Heads Gonna Roll’ ends on a particularly searing couplet: “A little bit of hooking up is good for the soul / Heads gonna roll”.

‘On the Line’ toes many tightropes. Hedonism is liable to osmose its way into escapism at any cost. Comic relief is a close bedfellow of total desperation; the darkest, bleakest moments in life can often arrive coupled with a strange kind of laughter. On her fourth solo record, Jenny Lewis skewers all of these tensions with astonishing ease. It’s up there with her greatest work to date”.

There is that dark humour and instant sense of relief throughout the album. One moment you might be laughing and bowled over by great line; the next, you might get caught out by a bit of searing emotion or something quite dark. These contrasts are wonderful and it makes On the Line such a rewarding and fulfilling album. The Las Vegas-born, Los Angeles-based artist has dealt with a lot over the past few years so I do wonder where she will go from here. Let’s enjoy Lewis’ current album and, trust me, you will need quite a few listens for everything to settle in. I have heard a lot of great records in 2019 but very few have matched the beauty and revelations of Jenny Lewis’ On the Line. A remarkable and utterly engrossing album from one of the finest songwriters in the world right now.

 PHOTO CREDIT: Ismael Quintanilla (Getty Images for SXSW)

Wasted Youth is the second track from On the Line and begins with a rather waltz-like rhythm. It is charged and open-chested and then, before too long, sort of goes into Folk/Country calm. Such a fulsome and intriguing introduction gets the mind working and you start to wonder what the song will relate to. Lewis talked about “slidin’ down a bong” and recalling her father – when her dad used to sing her songs but now he has gone. Whether talking to her sister – a sister is mentioned – or a message to her mother, too; there is this sense that things used to be pretty tough. Lewis wasted years on “a poppy” – referring to her mother’s opium addiction – and there is this stark mix between honesty and a rather causal sing-along style. After talking about drug addiction and seeing a broken home, Lewis projects these wordless coos, almost child-like and like a nursery rhyme. Lewis has grown up around drug addiction and a home that was not as stable and loving as it should have been. Maybe she was subject to waste and drugs herself but it seems like the younger Lewis had a rather tough road. She had to watch her family split and there is this balance between innocence and this little song – when things were easier and settled - and the realisation that things have been out-of-whack for a while. Lewis’ voice remains composed and sturdy throughout and there is so much depth and nuance in every line. Her vocal is packed with emotion and passion and the tone alone captures you and get into the heart. I mentioned how the composition started life as this twisting and unusual thing but, throughout the song, it supports Lewis and creates its own story. There is an odd sense of catchiness in Wasted Youth as Lewis does not want to make it too heavy and bleak. The melody and rhythm hypnotises and gets into the bones but you are moved by the story and its emotions.

It is clear that her mother’s addiction and downfall denied Lewis a proper youth and upbringing. There is not really anyone to blame – as addiction is complex indeed – but one gets a sense of anger and fatigue from the heroine. Things have been wrong for a while and one can only imagine the daily scenes and clashes at the Lewis household. It seems like her father’s departure and absence added to the instability and tension. Lewis never drags the listener into how but neither is she pretty casual and remiss. Wasted Youth is a stunning song that brings you into Lewis’ world and gets into her soul. I love so much about the song but the combination of composition and vocals is exceptional. There is this mixture of the joyful and striking; the band drives Lewis and her vocal responds and adds to the composition. A lot of singer-songwriters deal with topics like addiction and family strife with a rather dark tone and lack of energy. Jenny Lewis injects some passion and energy into the music and its gives it an extra layer. It means the song is accessible but never throwaway. Indeed, the story Lewis tells comes from a very bad time but I feel Wasted Youth will give other songwriters inspiration and bravery when they want to talk about similar things in music. There are many more moments like this (on) On the Line. The album gives us a glimpse into Jenny Lewis’ life: the pains and relationship woes; her familial troubles but, above all, there is hope and a sense of moving forward. Wasted Youth is a definite standout and a song that continues to amaze me. I love the way she adds these wordless vocals that clashes against these visions of isolation, pain and addiction. There are not many songwriters who would take this approach and it is fantastic to see. By the end of Wasted Youth, you want to go back and listen again and again. Lewis herself has this addictive quality where she gives so much of herself to the music but holds a little something back. If anyone is new to Jenny Lewis then Wasted Youth is actually a great place to start. Make sure you also listen to the rest of On the Line and let it seep into the bloodstream. Every album from Jenny Lewis is marvellous but On the Line is particularly strong and rewarding. Although songs like Wasted Youth are challenging and serious, Lewis’ incredible emotional blend and songwriting keeps you invested and never appears too stark. Such a fantastic and incredible blend from a truly amazing songwriter!

 PHOTO CREDIT: Autumn De Wilde

As is common with my reviews, I do not get the time to assess an entire album – as I would have to give each song a few words; that would do them a disservice – but you need to hear every moment. I selected Wasted Youth as I feel it is the best distillation and representation of On the Line. Most songs are around the four-minute mark but nothing feels too long and expendable. Lewis packs so much into songs and you definitely want more by the time you reach the finale, Rabbit Hole. I do feel this year will see some great band-made music but it is solo artists who are releasing the best work right now. I have mentioned how women are leading the charge and, whilst Lewis would not exclusively want to be labelled a female artist – get rid of the label; be more gender-fluid, perhaps – there is no denying her and her female peers are producing the best music of 2019. It does make me wonder how long it will take artists like her to be recognised wholly. I have already mentioned age and how there is ageism at some stations; how festivals seem to headline men and ignore the women – all things that need to be challenged and remedied. I would love to see Jenny Lewis play a U.K. festival and I know she holds love for the people here. I think she would make an amazing headliner has so has this glorious back-catalogue from which to take guidance from. On the Line comes off of the back of relationship termination and dealing with her mother’s death – in addition to coping with her addiction and declining health. One would see Lewis as this rather lonesome figure that has been abandoned, whether through death or separation, but there is so much wit and strength in her music. She uses On the Line as a form of release and therapy but, as with all her albums, there is plenty of wit and strength.

It is another astonishing record and one that will continue to pick up impassioned reviews. Check out her social media channels regarding tour dates and footsteps. There are U.S. tour dates happening right now – she is in Long Beach tonight – and it looks like she has a full diary until later in the year. In fact, Lewis looks to be booked and occupied for the foreseeable future. I do hope she gets time to come to the U.K. and, importantly, time to chill and reflect. She might want to think about another relationship and a new bond; she will be thinking about personal space and her next move and I do wonder whether there are plans regarding new music projects and bands. I shall move on and let you get about your day soon but I want people to gravitate towards Jenny Lewis and On the Line. Her new album is great but I would advise people to search through her previous albums and see how this exceptional artist has grown and blossomed. I hate to bring up age again but, at forty-three, Lewis is providing more wisdom, glory and quality than most artists half her age. One needs to pay more attention to artists like Lewis: those who have had more life experience but she have a lot to offer. She is still a young woman and who knows what the future will hold. In some ways, her latest album is the end of a rather challenging period in her life. One can feel a catharsis when listening to songs throughout On the Line. The album will give guidance and hope to those experiencing similar woes but, above all, there is that hope and beautiful bouquet that gives us wit, brilliant stories and some fantastic songs. Another stunning record from Jenny Lewis, expect On the Line to be among the frontrunners when it comes to the best albums of 2019. I shall leave things there but I would urge everyone to get hold of On the Line and listen to it the whole way through. Jenny Lewis has proved, even this far into her career, that she is full of surprises and you can never really predict she will head. I know we will get many more years of staggering music from...

THIS sensational human.

___________

Follow Jenny Lewis

 PHOTO CREDIT: Ali Seib for the Los Angeles Times 

Official:

https://www.jennylewis.com/

Twitter:

https://twitter.com/jennylewis

Facebook:

https://www.facebook.com/JennyLewis

Spotify:

https://open.spotify.com/artist/5cMVRrisBpDkXCVG48epED?si=Uj_J4WngQSCW4LvVKB26jQ

YouTube:

https://www.youtube.com/channel/UC9qDclpoGtztMnaTMM_a4CA

Instagram:

https://www.instagram.com/jennydianelewis/

YouTube:

https://www.youtube.com/channel/UC9qDclpoGtztMnaTMM_a4CA

ALL UNCREDITED PHOTOS:

Getty Images (every effort has been made to track down the photographers in each case)

TRACK REVIEW: Elles Bailey - Little Piece of Heaven

TRACK REVIEW:

 

Elles Bailey

Little Piece of Heaven

9.4/10

The track, Little Piece of Heaven, is available via:

https://www.youtube.com/watch?v=ZfiWOdLbEMw

ORIGIN:

Bristol, U.K.

GENRES:

Country/Americana/Blues

RELEASE DATE:

13th March, 2019

The album, Road I Call Home, is available here:

https://open.spotify.com/album/7rooTZehVu9pdUIirCwA0a?si=rAtrfIV6T0eydF8dPp3iIg

RELEASE DATE:

8th March, 2019

__________

I realise I have included quite a few women...

PHOTO CREDIT: Alex Berger

in my review section and will definitely be bringing more men into things soon! The reason I have been featuring more women is because, largely, they are given less attention than the men. I will talk about Elles Bailey very soon but I wanted to talk about a few different things before then. I wanted to address Country music and whether there is gender equality; how the scene differs here from the U.S. I will also come on to investigate Bristol and why there are plenty of areas outside of London that warrant fondness; D.I.Y. artists and those who get to tour around the world; a bit about fusing genres and how that can lead to something incredible – I’ll end by talking a bit about Bailey and where she might head. Because my reviews are not your average cut-and-paste jobs you get from most sites, I might be repeating myself to an extent. That is why I choose a bigger artist to review on Saturdays: I can go in a different direction and it is easier to create a bigger review. That is nothing against the new breed but you tend to find less stark diversity and sonic invention than you will with those who are closer to the mainstream. The stories can be very similar and you find yourself struggling for words. In the case of Elles Bailey, there are some interesting new angles I can explore and work from. I have known about her music for a while now and have been following her. She plays Americana and Blues but, at its heart, I detect a great influence regarding Country. This is a genre I am keen to talk about more because it is not really as huge here than it is in the U.S. I will come to that soon enough but it seems, around the world, there is inequality when it comes to the genre. Look even at Blues and there is still that dominance by men. By that, I mean there are plenty of female artists but how many of them are being featured on the radio?

 PHOTO CREDIT: Eric Hobson

In America, there is definitely a problem regarding women on the radio. Many stations feel that playing two women in a row will drive people away and it will turn people off. The fact that big artists like Kacey Musgraves and Carrie Underwood are famed and celebrated should, you think, give them a free pass and passage. It seems that there is that discrimination and feeling that men are more commercial and popular. Maybe it is not as rife here but look at the songs played on the radio in general and how often does one here Country music featuring? We do not really have any specialist stations and I feel, even when I hear Country, most of it is women being played. Artists like Elles Bailey look to Nashville and the scene there for inspiration. It is only natural that Country artists here look at the bigger U.S. scene and what is happening. If they see that radio stations are mostly playing men – despite the fact that there are a lot of great women playing – then that does not reflect well. We want to encourage a new breed of Country artists forward and I do worry a lot of women will feel the scene is against them. Bailey is not pure Country, I know, but she is someone who takes guidance from America and the best artists there. Even though there are these wonderful artists like Miranda Lambert, there is this dominance on U.S. radio when it comes to men. If anything, I feel women can bring more emotional diversity, texture and interest to Country than the men. They are not being represented fairly and that is something that bothers me. Look at Elles Bailey and she is certainly on a rise right now. She is getting her music played on the radio here but I wonder, if she ever moved to the U.S., whether life would be a bit harder. Those aspirations might be in sight so I do hope things change and there is more balance in years to come.

Like Country music in the U.S., a lot of the best artists here are melting in other genres. I have mentioned Kacey Musgraves and one can see Pop and Americana mixing alongside all sorts of sounds. Maren Morris is another big artist who is not beholden to a single sound and is taking Country in new directions. Whilst there is Nashville in the U.S. and a huge base for Country artists, we do not really have anything as grand in the U.K. Country music is no longer about Stetsons and naff music. Maybe there was this idea that, years ago, you had to play something a bit corny and it was all twang and no real substance. Now, in a modern age, Country has moved on. Big shows like Nashville have not only inspired American artists – the British have taken note and been compelled. We have stars like Catherine McGrath and Ward Thomas; a new wave coming through that is showing how broad the genres is. As this article from The Guardian last year showed, big festivals and mainstream artists are helping make Country more accessible and interesting:

“Midland are one of the acts performing at the Country 2 Country, a vast annual festival held simultaneously in London, Dublin and Glasgow over three days, celebrating a music genre that has gone from decidedly cringeworthy to undeniably cool in a few short years. The inaugural C2C, a one-day event held in London in 2013, sold 17,000 tickets: this weekend more than 80,000 people will descend on C2C, many of whom weren’t born when the 1992 Billy Ray Cyrus hit Achy Breaky Heart put a nail in the coffin of country music in the UK.

Former One Direction singer Niall Horan worked on his debut solo album with country artist Maren Morris, while Ed Sheeran’s work has been hugely shaped by the genre, and he’s written a track, Stay the Night, for the Shires’ new album, Accidentally on Purpose, out in April. Adele consistently cites Alison Krauss as a major influence, and has recorded a track by Chris Stapleton, who performed at last month’s Brit Awards alongside Justin Timberlake...

PHOTO CREDIT: Alex Berger

Rebecca Allen, president of Decca UK, Musgraves’s label, says: “The British love her because she is a maverick. She wasn’t frightened of the [country] old guard and stayed true to herself, and as a result appealed to the new guard of fans”.

Stars like Kacey Musgraves are giving British artists food for thought and it seems likes there is a growth in British artists over in America:

“It’s not just British fans who are growing in numbers: there’s a rise in UK country acts making waves, here and in the US. Crissie Rhodes, one half of homegrown act the Shires, said: “When Ben [Earle] and I first started making music together in 2013, there wasn’t much of a country scene in the UK; now it’s a massive community and still growing”.

Elles Bailey is one of the names who is bringing British Country to new lands and, one feels, takes a bit of influence from the U.S. newcomers and giants. On her new album, Road I Call Home, she has worked with hit-maker Roger Cook, Nashville giant Bobby Wood and Dan Auerbach (of The Black Keys). That is a pretty impressive roster and, when you listen to the songs, there is so much happening. I do feel like there is a growth regarding Country music in the U.K. and we might soon challenge the U.S. I am not sure whether U.K. artists will get the same focus as the Country stars in the U.S. as we do not have the same popularity and options. I shall move on and look at other things because I am quite keen to look at a great song from Elles Bailey. Before I come to that, I want to look at areas outside of London that are worth checking out. Bristol is an area that has always produced great music and I feel more people need to keep their eyes trained there.

 PHOTO CREDIT: Alex Berger

Not only is there that great history of Trip-Hip music and artists like Massive Attack but you have greats like Portishead and The Cortinas. IDLES are part of the new breed that are putting Bristol back on the map and, from everything I have heard, it is a wonderful city to be based in. I am seeing venues close in London and it is quite hard to predict how sustainable it might be for some artists to remain here in years to come. Great sites are closing and there are more and more people coming along. It seems like the musicians-to-venue-ratio is quite high but one wonders how easy it is to get attention and stand aside. Bristol seems to be freer regarding the crowds and there is great variation to be found. Spaces like Colston Hall, Thekla and The Exchange provide spaces for new artists but I feel, with new acts like Elles Bailey and IDLES adding to the city’s history, whether there are plans for development and expansion. So many artists I know love playing in Bristol and always love going there. The city itself is magnificent and provides so much interest and warmth. I would like to see more venues coming in so that the best musicians there are not tempted to come to London. Bristol is a great space for musicians and there is so happening. In terms of genres, it is not confined and limited: one can experience clubs that cater for Trip-Hop lovers and there are venues that host Pop, Folk and Country. It is a very vibrant scene and one that is always growing. I do hope there is more investment in Bristol and we will see a raft of great new artists come from the city. I hope Elles Bailey has no immediate plans to move because she seems to be comfortable right now and, listening to her music, picking up different colours and genres with it. It is the way she splices together different sounds that fascinates me and makes her stand out.

PHOTO CREDIT: Alex Berger

Bailey is someone who is inspired by American music and the Country scene but there is Blues and American involved. Americana and Country are different. The former is a collection of shared traditions and sounds that define America. It is not purely Country and can bring in Folk and Blues. There are Blues touches to Bailey’s music and she has that Country skin. It all comes together wonderfully and you get this very rich and rewarding blend. I will finish by talking about Bailey’s D.I.Y. approach and her touring but I do like the way she mixes together genres and takes her music in different directions. If you listen to songs on Road I Call Home, there is plenty of stomp, swagger and Blues funkiness alongside something more tender and introspective. One can hear America in her bones but Bailey is keen not to be limited and too beholden to one sound. Throughout the album, we get this very eclectic selection that gives the songs such weight and fascination. I do think that a lot of artists are not being daring when it comes to unifying different genres and taking chances. Although there are more British artists looking at Americana and Country, I still feel like there is an over-reliance on other genres such as Pop. Growing stars like Elles Bailey have shown what can happen when you sprinkle all these different avenues together. She has created this very personal and appealing brew that not only makes her music strong but gets you interested in different genres. I feel Blues has changed through the decades and there are not that many artists keeping it alive. The same can be said for Americana. We do not have that many British artists playing Americana and looking at that genre. I do feel like Elles Bailey and her peers are trailblazers in that sense because, in a homogenised scene, we need artists who are bolder and more innovator. I think things are okay in modern music but it would be good to see the mainstream a bit more varied and not just rely on what we hear right now.

Elles Bailey is someone who has her own dynamic but she is always growing and looking to strengthen what she does. Her fanbase is growing and I know she has one eye on the U.S. Right now, there is every possibility she could be a big name there which makes me wonder whether she will move there soon enough. That is a big decision but, right now, Bailey is enjoying touring and making music. It is her D.I.Y. approach and determination that impresses me. She is always promoting herself and gigging around the world. Whereas a lot of artists are not too active on social media, she is always putting her music out there and looking for gigs. What is amazing is the sheer tenacity and determination of Bailey. There is no stopping her and you get this feeling that music is everything to her. Even though she has collaborators when it comes to putting her music together, there is not this huge army regarding promotion and bookings. Bailey is the one who connects with fans online and gets her music out there. Many big artists have teams pushing their stuff around the world but Bailey takes care of business and, as such, seems like a much more personable and accessible artist. It is no surprise that her music has connected with the masses and her streaming figures are huge. That is not usually an area that bothers me – I look for quality rather than big figures – but Bailey is someone who deserves every single streaming figure. She keeps working relentlessly and this is translating into success and plaudits. I alluded to the fact Bailey might look to the U.S. very soon and her fan numbers are growing there. It would not be a huge leap of faith to assume that she would want more celebration there so I will keep my eyes open. At the moment, she has tour dates around the U.K. and will be busy as we head through spring.

PHOTO CREDIT: Cam McMillan

It is actually Elles Bailey’s birthday – I hope this review is a nice addition! – and she has been reflecting on the touring she has done. It is clear that Bailey wants to connect with people around the world and very proud of what she is putting out into the world. Road I Call Home is a terrific album that will appeal to those who love Country and Americana but there are great Blues and Rock moments to be found. It is a great album that is easy to love and one will find songs they fall for easily. I want to look at Little Piece of Heaven because it is new and a great little slice of Road I Call Home. When thinking about Bailey and what makes her stand out, it is a combination of everything. She has that boldness when it comes to genres and sounds and, when you hear her sing, every note rings with conviction and passion. I love her delivery style and how she manages to bring you into her heart. There are few songwriters who have that sort of power but, with Bailey, she does that easily. Her songs have her own stamp on them but each one is quite different and explores new ground. Because of that, you are invested throughout and her music has that broader appeal. I have mentioned how there is sexism in American Country radio but I feel there is this British explosion that can remain where they are and make their way onto the bigger stations. Bailey has a great foundation here but she is respected around the world. It is her determination and spirit that keeps her moving; brilliant songs that are connecting with people and that mutual love. I am keen to move onto her new track and show you why she is such a strong and promising artist. This year has already been busy and eventful and, with Little Piece of Heaven out, proof she is among our strongest and most promising artists.

There is a discernible strut and movement when you listen to Little Piece of Heaven. The guitars scratch and strum as the song whips up its own storm and brings sunshine. Our heroine is at the microphone and her soulful and impassioned voice shines through. One reason why I love artists such as Elles Bailey and her peers is because you get something soulful and big. Many Pop artists have very limited voices and they can seem rather empty and vacant. In the case of Bailey, there is so much strength and shiver when you hear her sing. She apologies to her sweetheart for making him feel that way. It appears that there have been some issues in the past or the two have not always seen eye to eye. There is a bit of mystery regarding the opening of the song and where the lovers stand. It seems that Bailey was looking for companionship and someone to hold onto. She never meant to push him away and the two have gone through a bit of tension. Love, she says, is complex and never can be predicted. Even though, as I said, there is something quite revealing coming out, the song is never morbid at all. Bailey investigates her place and situation but never dowses it in whiskey and gasoline. She is trying to piece things together and, as the song’s title suggests, things are not all bad. I instantly looked at the title itself – Little Piece of Heaven – and was expecting a distinct sound and narrative. Instead, the heroine is fighting against these tides and forces. She does not care what people say and is keen to keep her sweetheart by her side. I get the view that people might try and split them up and there are some disapproving tongues. Bailey apologises for being very casual and like she is not invested but she is deeply passionate about the relationship. The lyrics are very clear and understandable and, rather than hide her feelings behind obfuscation and obliqueness, we get these very striking and stirring sentiments.

I am not sure why others are willing to see bad sides but the two will not be broken. The love Bailey receives is her Heaven and she is not going to let that get away! Maybe it is the case that some think the man is not right for her but, as one looks at the song’s video, they seem like a great fit – he is not someone you’d associate with trouble and strife. It is interesting to guess who the man might be in the song and whether the two are still involved. Bailey pours her heart out and knows that life is not as simple as it should be. The composition keeps quite simple and unobtrusive and you get this nice combination of Country and Blues. One can hear Country themes in the lyrics – the lovers who fight against separation; the guitar definitely has a Country vibe – with the sophistication and soul of Blues. It is an intoxicating cocktail and one that gets right into the blood. Even the most casual of listeners will be interested to see where the song goes and how the two work out. I cannot figure why their relationship is facing tests and what has happened – I guess that is part of the mystery! There is a lot of hokum theory (fate and destiny bringing them together: no such thing, you see) and some tenderhearted compassion and romance. It seems like the two are a great fit so it makes me worried as to the prognosis of the relationship. They are strong against the wind but having to fight this suppression. I do like the strength in Bailey’s words and how she is not going to let the negativity get to her. It is her voice that really captures me at every stage. It is so full of life and passion; one cannot ignore the wonder arriving from Bailey. She is one of these singers that can take you off your feet and make every song shine and explode. There is a lot of spirit and uplift to be found in Little Piece of Heaven. Bailey is seduced by this love and she is never going to let anyone break them down. In a music scene where there is still too much negativity and anger, it is good to hear an artist who has that faith and keeps their eyes focused.

Touring continues for Elles Bailey as we head through March. She heads to Bridgwater on 21st and makes her way back to Bristol; then down to Southampton and Horsham before coming up to Bath and back down to Bournemouth. In terms of itinerary, it is quite up-and-down – she moves in different directions rather than a straight line – but it will give her a chance to see new places and faces. The travel will be quite brutal and exhausting but the rush she gets from the stage is hard to fault. At the moment, she is playing a lot of smaller/medium-sized venues but it cannot be too long before she is commanding the bigger stages. Her numbers continue to rise and her music is being featured on radio. There are not that many artists like Elles Bailey in the U.K. and I know she will be a big name very soon. What amazes me about her is how she manages to craft this very personal and unusual sound that is completely fresh yet strikes a note of familiarity. Her music is busy and bold and it takes you to wonderful places. Her songwriting is wonderful and she is not an artist who deals with a lot of clichés and tropes. Instead, you get a true storyteller and performer who is puts all her emotion and soul into the music. Bailey is tirelessly promoting her music and eager to play where she can. I do hope she gets time to recharge – especially today of all days! – and has some moments to unwind. With a new album out, there is that demand but it also means she can, when touring ends, look at her next moves. I speculated about America and I do wonder whether that is in her sights. She would fit in very well and there is a place for at multiple venues. Her live sets are lauded and that sort of confidence will easily translate to the U.S. market. Let us see what she has planned and what is in mind for the rest of this year. I am troubled by the fact certain genres are not as receptive to women as others. Maybe things will change but progress I stubborn and slow. With great artists such as Elles Bailey shining, stations must take notice and change their ways. I shall leave things here and let you get about your day but I would urge people to seek out Elles Bailey – one of our best young artists right now. The Bristol-based musician is already making big moves in 2019 and she will not want to let up anytime soon! Listen to Road I Call Home and I guarantee there will be something in there for everybody! I have featured her latest single because it struck my ear hardest and there is a video out there right now. As she takes a breather on her birthday and enjoys the spoils of the day, Elles Bailey can be proud of everything she has achieved and look forward to…

A very bright future.

___________

Follow Elles Bailey

PHOTO CREDIT: Alex Berger

Official:

https://www.ellesbailey.com/

Twitter:

https://twitter.com/EllesBailey

Facebook:

https://www.facebook.com/ellesbailey/

Spotify:

https://open.spotify.com/artist/4NPMwh3kDwi6uVCNtmeUvU?si=2KWR_LM7Rdua8mr3uO4pPA

YouTube:

https://www.youtube.com/channel/UC5_0JHwbrDxdqaGvT_qdRpw

Instagram:

https://www.instagram.com/EllesBailey/

UNCREDITED PHOTOS (every effort has been made to find the photographer credit):

Getty Images/Press

TRACK REVIEW: Billie Marten - Betsy

TRACK REVIEW:

 

Billie Marten

PHOTO CREDIT: Katie  Silvester

Betsy

9.5/10

IMAGE CREDIT: Spotify 

The track, Betsy, is available via:

https://www.youtube.com/watch?v=o19nhh4ophs

ORIGIN:

London, U.K.

GENRES:

Folk/Singer-Songwriter

RELEASE DATE:

13th March, 2019

PHOTO CREDIT: Katie  Silvester

The album, Feeding Seahorses by Hand, is available from 26th April, 2019.

PRE-ORDER:

https://www.roughtrade.com/gb/music/billie-marten-feeding-seahorses-by-hand

LABELS:

Sony/Chess Club Records

__________

I do not need much of an excuse to review...

 PHOTO CREDIT: Tom Adam

Billie Marten - but it always helps when she continues to bring out such great music. In a way, I have been following her career for a few years and sort of seen this maturation and blossoming. She has turned from this newcomer teen who was writing about her life and feelings and now, on her second album, there is a more outward perspective. I will start off with that and then, in a bit, look at female artists vs. male artists in 2019; Folk and why it is a genre that is burning hard; changing your life and absorbing new experiences/influences; recording processes and how the best albums can come down pretty quickly – a bit about Marten and where she is heading. It is quite wonderful seeing this songwriter go from strength-to-strength and, as I say, I have known about her music since she was sixteen. Her debut album, Writing of Blues and Yellows, arrived in 2016 and I instantly fell in love with it. In a year where we had albums from Beyoncé and David Bowie, Marten’s debut remains my favourite. It is a gorgeous and spine-tingling collection of songs that address her life but also a definite ambition. I still adore the record and play it often; listening to that unique voice and how she can paint these incredible scenes. Songs such as Emily and Heavy Weather are incredible and instant – you cannot believe you are listening to someone so young! It will take a big effort to shift that album from my mind and when her second album, Feeding Seahorses by Hand, comes out next month, maybe it will not be as instant. The reason I say that is because Writing of Blues and Yellows has stayed in my heart and I can identify with the young woman writing. Marten was making sense of anxiety and her life but doing so in a very original and spectacular way. It is only natural that, a few years later, Marten would change and her dynamic would be a little different.

IMAGE CREDIT: Getty Images

I will talk about her new life situation but, on her sophomore release, there is a greater need to look at the outside world and absorb what is happening right now. Betsy is the lead-off single from Feeding Seahorses by Hand – a bit confusing as she has already released two tracks from the album – maybe this is the first ‘official’ single – and Betsy is a great blend of what we know of Marten already (in terms of her style and voice) but the lyrics are definitely fresh. I know there will be Writing of Blues and Yellows-like songs on her new album but there is a lot more of the world-observing young woman who needs to put it onto paper. It is a trend that is defining this year and, as I will show in a bit, it is mainly female songwriters doing this. Maybe it is me being soppy and sentimental but I was not quite willing to let go of the Yorkshire-based artist at her family home; the teen who was quirky and comfortable surrounded by beautiful geography and recording music at home. In many ways, one felt like they were at Billie Marten’s home in 2016 and could picture the scenes. Because of that, Writing of Blues and Yellows had this real sense of the physical and evocative. Even though a lot of the songs had a downbeat nature, Marten mixed that with songs of light; she was looking to other lands and seeing where her life might head in a few years. Three years after her debut album, a lot has changed for Marten. The Yorkshire-born artist is no longer there and, when looking at her publicity photos, there is something a bit different and changed. This is natural but, as I said, I have a fondness for the debut-album Marten and how that album makes me feel. I have noticed something interesting about female artists and how they differ from the men in 2019.

I am going to write about it in more detail this weekend but there is a definite split between the male and female perceptive in modern music. Some critics have noticed how the men of music are more boring and writing about their personal lives. Aside from more exciting options like Sam Fender, we have something rather tepid from the largely bearded and acoustic guitar-strumming alternatives. I will name no names but there is a feeling that male artists in 2019 are more concerned with following acts like Ed Sheeran and creating something more commercial and far less challenging. It is not the case that every single male artist is quite dull and lacks ambition but I do feel like there is this divide. Listen to the male crop and there is so much of the same thing bubbling around. Not a lot of it resonates and says anything important. Female artists, on the other hand, are producing something more interesting. This is even the case when we talk about the Pop mainstream. Listen to other artists, though, like Julia Jacklin, Lucy Rose; Billie Marten, Sharon Van Etten and Self Esteem and they are reflecting the world beyond their bedroom. It is no coincidence that albums but Van Etten, Jacklin and Little Simz are seen as some of the best from this year so far – because of what they are talking about and how important their words are! I am not sure whether all of Feeding Seahorses by Hand is all going to be political and impersonal but you know there will be that charm and Marten touch. Songs we have already heard – Mice and Blue Sea, Red Sea – are more about personal struggles and what is going on in her life. Betsy is, as she explained, more about a political feeling and something rotten in the country. This CLASH feature included a quote from Marten regarding the song:

“It was the first time I’d tried jamming with someone and had the pressure of writing instant, spontaneous lyrics. They poured out actually, it’s about confronting a politician, no one in particular, but sort of ridiculing them. I liked the idea of using number 9 instead of 10. I didn’t want the big political stance, and I didn’t want to single out a specific human, it’s representing parliament as a whole institution really.”

“The song turns the wise old politician into a child, infantilising them takes away their power. I think most people feel a bit unsafe with it all, because it’s impossible relate to these characters. No one shows any personal weakness or empathy, and if they do, they’ve already cracked”.

It is amazing seeing how the sixteen-year-old Marten who was writing about the need to break from where she was and discussing stresses in her life and changed her lyrical perspective and is now tackling politicians and the way they run this nation. Alongside Rich Cooper, Betsy is a track that definitely has something to say and seems to be following closely to the best female artists of today. I am not sure why there is this split regarding themes and musical depth but maybe there is this feeling that male solo artists cannot write politically or need to be more commercial. Artists like Sam Fender are the exception but maybe the words are more potent and intelligent coming from female artists. Whatever the reasons, I am seeing this contrast and I feel 2019 is going to be defined by the female voice. Since Billie Marten released her debut album, a few other singer-songwriters of similar voice – nobody is quite as mesmeric as her – have come along. Lucy Rose is the closest example and it will be interesting to see how Marten’s forthcoming album compares to Lucy Rose’s No Words Left. It is clear Marten is more comfortable jamming and writing lyrics on the spot now. Before, she would often write in her room and craft lyrics in quiet. In many ways I prefer that vision and young woman but I realise people change and, if it leads to terrific music, then one must let go of that romantic vision. The slightly older Marten is still the same but city life has changed her perspective and process. I am glad she has a new album out and I was worried whether we might have to wait until later in the year to hear anything. I do think it is these fantastic young women who are shaping music this year and delivering the biggest records. I must move onto Folk and Singer-Songwriter genres and cover them a little bit.

Before I mention that, I must nod to Billie Marten’s song titles and how they grip you before you even hear them. I am still hearing so many artists who write boring titles and they seem very samey. On Writing of Blues and Yellows, songs like Heavy Weather, Teeth and La Lune stood out and sort of gave you an impression before you heard the songs. On Feeding Seahorses by Hand, we have songs like Cartoon People, Blood Is Blue; Vanilla Baby and Boxes. In some ways, Marten is more an author creating chapters and mini-stories than a traditional songwriter. On her debut, I sort of felt this narrative but each song inhabited its own world and skin. Now, in 2019, it seems like there is a similar thing happening on her sophomore release. Maybe it is me but I think genres like Folk allow artists a bit more expression and sense of the literary. Pop, to me, seems about creating these bangers and tracks that will get in the head and make an instant impact. Even if Pop artists are being more personal, there is this more processed and soulless sound that doesn’t have the sort of depth and nuance you’d like. Other genres can create depth but I feel like Folk and Singer-Songwriter are the perfect choices. Here, artists can take the momentum down a bit and relax the energy. Billie Marten has always been great when it comes to letting listeners into her world and creating these amazingly rich and wondrous songs. Her peers such as Laura Marling and Lucy Rose do this too but I think Marten is a step above. One of my biggest fears when I knew Marten had moved to London and was growing a bit was that she would go electric or maybe add more Pop into her music. I would forgive her and many would have done that. Happily, she has not radically altered her debut sound and we still have the gorgeous voice at the centre and a similar vibe. If anything, she has become bolder as a composer and there is more electric guitar and other instruments in the mix – her debut largely revolved around acoustic guitar with percussion and piano (and some strings on a few songs).

 PHOTO CREDIT: Liz Seabrook

Things have definitely changed for Marten and I do think that the music has evolved in a natural way. Rather than succumb to the temptation to go commercial or collaborate with a line of different singers, her core is solid and it means those who love her debut album (such as me) do not have to adapt too much. I do like the fact that the production sound is a little different to Writing of Blues and Yellows. It is a bit less intimate and a bit bolder. There is more electricity in the songs and, thematically, Marten is documenting the world about her and not quite as enclosed and homely as she once was. It is this maturation and sense of this young woman stepping out into the world. I am pleased to see there is a natural change between albums because repeating her debut album exactly would have been an unwise move. I did mention how this year will be about women in music and maybe it the way they look at life that leads me to believe this. I know bands like IDLES and Sleaford Mods have a political mind but you do not hear a lot of it from solo artists. It is hard to explain but I do feel a lot of male solo artists are more interested in commercial success and talking about matters of the heart. Whether they feel ill-equipped to pen songs about politics or they feel they need to follow the mainstream best, it is down to some great female artists to say something more relevant and important. Billie Marten sees what is happening in the country and is motivated to have her say and address her anger through songs. Even on her 2016 debut, she was conscious about the bigger picture and not beholden to being too personal and limited. It is the move to the capital that has compelled a lot of her new expressions and directions. She has said that, on her new album, she is unlearning a lot of what she learned on her debut.

Some of the best moments from Writing of Blues and Yellows were when you got the feeling you were at home with Marten. On It’s a Fine Day, the closing number, we could hear her dad mowing the lawn. It seemed like, on Teeth, we were in her living room and there was definitely an intimacy and feeling we were right inside Billie Marten’s life. Now that she has relocated, her process is different and her objectives have changed. Her lyrical talent remains but she has had to sort of write in a different manner – no longer in a cosy room in Yorkshire, the city-based Marten now has to get used to the different pace and feeling around her. I am not sure exactly why she moved to London but I get there was a feeling that she needed to be closer to the action and the commute to and from Yorkshire was a bit of a drag. If one looks at her Twitter and Instagram feeds, there is still the same quirky and charming Marten we are used to – especially when it comes to things like trying new food (I wonder if she is still fascinated by alpacas?!) – but there is a stronger, bolder and more resolute musician in her place. Marten packed her bags after finishing school and, rather than continue in higher education, she left the beauty and grace of Yorkshire to come to the more rushed and packed London. Working in a bar, she was able to observe the world passing by and, crucially, she found her feet before too long. Able to observe a greater demographic and more people, this inspired her music and outlook. A few songs on Feeding Seahorses by Hand look at political figures and how ridiculous they are but there is also the feeling that this young woman still feels a bit squashed by the city. Marten knows she is more aware of society than she was at fifteen – the then-Marten more engrossed in records and books – but she has retained that sense of intimacy and warmth that defined her debut.

Moving to London has also provided greater opportunity when it comes to personal and spaces. I  believe she resides in East London but, in terms of producers and studios, there are greater options compared to somewhere like Ripon (where she used to live). Although a lot of the lyrics and music was written in London, Marten actually recorded a lot of the album in Ethan John’s Bath house. She recorded over this intense two-week period and worked in a way that was very different to her debut. In many ways, I sort of see Marten as a Kate Bush-like figure. Bush, on The Kick Inside, wrote the songs at home on her piano – some were written when she was as young as thirteen! There is this personal feel to the album and Bush allowed herself time to get the tracks write and make sure she had them all right when she headed to the studio. By her second album – or later in her career – she was writing more in the studio and recording in a very different way. In fact, when Bush was Marten’s age, she had just brought out The Kick Inside but already looking to work in a different manner. There is less need to have this perfect and polished sound: instead, Marten has created music that is honest, urgent and broader than what we are used to. Betsy has only been out a couple of days but is already delighting people and making an impact. I should move on and get to the song itself – as I have talked quite a bit. I hope, too, there will be some new photos uploaded to her social media because there is a split between the sixteen-year-old debut-look and how she appears now. She can still create striking art and images but there are different tones this time around – Writing of Blues and Yellow’s album and singles had actual painted images as their covers; a more homebound and intimate feel, as I say. Besty is the new song from Feeding Seahorses by Hand – or the ‘lead-off single’ as many have said – and it is a cracker.

 PHOTO CREDIT: Victor De Jesus

Whereas a lot of songs from Writing of Blues and Yellows began with a gradual rise or some acoustic passage, Billie Marten is bringing percussion and force more to the fore. Maybe this reflects the album’s tonal shifts but I feel she is becoming bolder with her compositions. Betsy opens with this crackle from the drums and unexpected rush. Many might have been expecting a bit of guitar lick and piano tenderness but, no, there is this nice little spark that gets things going! In a way, there is this Country feel to the song. It is a soothing and languid in equal measures. There is this nice woozy electric guitar in the background that creates this sort of ripple and mood. Marten’s voice has a tired-but-seductive quality and it is almost whispered. This creates this wonderful mix of emotions and sounds that makes the song an instant winner. We know that Betsy is about an unnamed politician and a reflection of how, in some ways, the country is being torn by those in power. “Heard you got the job/Hope it serves you well” suggests a sort of sarcasm where politicians are in government for their own ends; a way of serving themselves and not the people. In this “coffee-ticket town”, it is only natural these people in power are not really concerned with the bigger picture: their voters and those who they are meant to be looking out for. Marten, as narrator, calls in at number nine and there is the feeling she will not get any truths. I mentioned how there is a sense of sarcasm but maybe cynicism is a better term. When we get to the chorus, there is this percussion rise but it is more the odd bit of cymbal and a more paced delivery. Rather than popping in big drum solos and packed sounds, there is this breezy and dreamy sound from the drums that gives this mixture of keen kick and lumbering vibe. “Take a generational bow” are words in the chorus and it makes me wonder where that came from.

Again, it seems like Marten is calling politicians out and getting them to bow to those they have let down – sort of mocking their lack of accomplishment and wondering what they are for. In that slightly breezy-cum-breathy sound, one can draw a line between Julia Jacklin and Billie Marten but there is something distinct about Marten’s words and how she delivers her songs. Even when Marten – as she does in the second verse – is talking about politicians corrupting and talking about death, there is this upward lilt in her voice and half-smile that keeps things being too heavy and haunted. The words are powerful and the second verse talks of leaders messing with heads and the church. These are deep ideas and expressions and Marten projects her words beautifully. There is no huge anger nor is there this sense of detachment. Instead, we have this artist who seems angered but has a weariness and sense of defeat. Whereas a lot of writers repeat choruses and have this very rigid approach to songwriting, Marten is different and ensures that her songs have movement and flow. “It’s wavy, man” she explains; the way she chooses her language is incredible! “Are you ruined by the shake of a hand?” is another line and, again, Marten showing she is so much more interesting than most songwriters. This mixture of oblique and tangible means the song strikes upon the first spin but you’ll want to go back and hear it again to see if the words paint new images. As percussion waves and clashes, Marten talks about the world and how it is no man’s toy. Things have changed and the glory days – perhaps as old as the 1990s – are behind us. Where are we heading and how far have we really come?! Billie Marten knows we are doing things wrong and is trying to make sense of it all. Rather than yell and be aggressive on the record, there is this sense she is tired by the machinations and lying; not having the strength to get worked up but she knows how bad things are and we need to do something. Betsy captivates from the start to the end and, in the outro, Marten sings “All feel better/This all feels better/So much better” and it has this mantra-like quality. The words are hypnotic and wave-like and take the song to a beautiful end. Betsy is a complex song and has layers but there is a definite truth. If Feeding Seahorses by Hand contains more songs like Betsy then critics will be drooling and it will be among the best albums of 2019 – something Billie Marten is fully capable of doing!

 PHOTO CREDIT: Katie  Silvester 

We have heard three songs that will appear on Feeding Seahorses by Hand. There is more political and social awareness on the nineteen-year-old’s new album but Marten is still tackling self-doubt and anxieties – Blue Sea, Red Sea and Mice are prime examples of this. I cannot wait to hear the rest of the album and, as I say, the rest of the songs sound great. I love how she can create this anticipation with titles alone. If Writing of Blues and Yellows was about this teen in Yorkshire who was making sense of the world and seemed to be vibing from her record collection – a lot of classic Joni Mitchell and Jeff Buckley in her songs – the slightly older Marten is in a fresh setting and reflecting what is happening in London. She has been inspired, good or bad, by the mix of people and the pace of life (one feels getting crushed on the Underground will never inspire anything positive). It is amazing seeing how she has grown and how far she has come. Betsy is a song that shows how, in many ways, she has kept her true and distinct sound but really changed as a lyricist. Marten will tour the U.S. in May and returns to the U.K. to headline – beginning on 5th June in Birmingham before concluding on 13th June at London’s Islington Assembly. Check her social medic channels and official website for ticket details as, from 22nd March, they go on sale. Also make sure you pre-order Feeding Seahorses by Hand and get it on a cool, orange vinyl! I still maintain Billie Marten is the finest young songwriter we have right now and, despite new artists coming through since her 2016 debut, nobody has the same jewellery box as Marten. That brilliant voice and all the colours and gems she has at her disposal; the way she expresses her lyrics and that nuanced and multi-layered voice! I feel that the female voice will guide 2019 so would  not be shocked if Feeding Seahorses by Hand cracks many top-ten lists come the end of this year. In many ways, critics omitted Writing of Blues and Yellows from their end-of-year lists and, given the fact the album picked up a slew of four-star reviews, it was a travesty! Let’s hope, when Feeding Seahorses by Hand arrives, the critics, come December, will not be...

 PHOTO CREDIT: Katie  Silvester

MAKING the same mistake again!

___________

Follow Billie Marten

 PHOTO CREDIT: Katie  Silvester

Official:

https://www.billiemarten.com/

Twitter:

https://twitter.com/BillieMarten

Facebook:

https://www.facebook.com/billiemarten/

Spotify:

https://open.spotify.com/artist/02YLJJnWC7YQVixkjEBRn7?si=qbtVYQoSS1677UcpIN3wQA

YouTube:

https://www.youtube.com/user/billiemarten

Instagram:

https://www.instagram.com/billiemarten/

SoundCloud:

https://soundcloud.com/billie-marten

PHOTOS (those uncredited):

Billie Marten/Getty Images

TRACK REVIEW: Freya Roy - Midnight Train

TRACK REVIEW:

 

Freya Roy

Midnight Train

9.4/10

The track, Midnight Train, is available via:

https://open.spotify.com/album/0M1F9DrXDSRswti9VV3Ni1?si=OvCDpK-aRS-HMr2W-U57ag

ORIGIN:

Norwich, U.K.

GENRES:

Neo-Soul/Jazz

RELEASE DATE:

20th February, 2019

__________

ON my Sunday review...

I step away from the mainstream and the bigger artists and look at an act that is rising and approaching the bigger leagues. On this occasion, I will speak about Freya Roy and her latest single, Midnight Train. I want to discuss female artists and their potential after International Women’s Day and the discussions we saw; artists based outside of the capital and, again, why ears should be more ambitious; styles like Neo-Soul and Jazz; taking a gap from music and recharging; receiving funding and using crowd-funding – I will end by talking about Roy and where she can head in the coming year. We have just celebrated International Women’s Day and, aside from sneering men wondering when they have their own special day – there is actually an International Men’s Day! – it was a good opportunity to talk about women in music and why we need to see change happen faster. I agree, as I keep mentioning, there is progression but I think there are fantastic women making great music not quite getting the same acclaim as their male peers. Freya Roy has been a little quieter than normal the past few years but look at the strength of her work and how she continues to press forward. She is a talented producer too and I think that is one area where we could focus. A lot of artists self-produce but we do not often have discussions about women as producers. The studios are still quite male-heavy and I think a lot of women are not being encouraged in. Maybe it is education and the fact we need to start at school-level; I know there are great female producers around who do not get the same focus as the men. In the case of Freya Roy, she is a fantastic artist and someone who is planning her next steps. It is hard to keep an eye on all artists and celebrate all the fantastic examples but there are so many male bands and solo artists who get pushed along and so many female artists overlooked.

It is a subject I raise quite a bit but I think that, following International Women’s Day, we need to take a look at how we judge women in music and whether there is enough improvement. From the stage to the studio; the radio through to the boardrooms – are we creating enough awareness and trying to redress imbalance? I don’t know but I feel like there is this crop of extraordinary female artists coming through that will take longer to get to festivals and headline stages because many promoters do not consider them. I think Freya Roy is the complete package and someone who is growing and blossoming. Maybe a few more photos would be cool… – she has a great style and look and could come up with a few neat concepts – and that would add to her terrific music. The photos out there are great but I know the visual side of music is important. Freya Roy, as I shall explore, has had a changeable few years and has taken a bit of a step back from the music industry. She is definitely back in force and I feel, very soon, she is an artist we need to talk about in very fond terms. I feel the style of music she is playing separates her from the pack. I do like Pop and Folk artists but it can be quite samey and there is not a lot of difference to be found – that is my impression. I do feel that, after International Women’s Day, we need to correct our visions and take more time to respect and appreciate the great female artists and those who make the music industry shine. I shall move from this subject but I feel it is important to mention it once more. One of the things that attracted me to the music of Freya Roy was the fact she is not based in London. I am always curious whether we give enough focus to those who are not in the capital.

Freya Roy is Norwich-based and many might feel there is not a lot going on outside of the capital. Norwich has The Waterfront and Karma Kafe and it is actually a city that gets overlooked. Maybe one would assume that Norfolk is a bit uncool but, in fact, Norwich is a very diverse and fascinating part of the U.K. I am not sure whether Roy will be moving to another part of the country in time but I think she is in a great place. If people like Stephen Fry rave about Norwich then it is good enough for me! I have not been myself but I know there is actually a rising music scene and a lot of great artists based there. I think Norwich is somewhere that promotes diverse music and true characters. Let’s Eat Grandma are the teenage duo who released their sophomore album, I’m All Ears, last year. They were overlooked for wayward and I feel they deserved a lot better. Rosa Walton and Jenny Hollingworth are fantastic and create such buzzing, colourful and exceptional music. It is Pop but not like you have ever heard. Maybe there are few pressures living outside London and busy cities and artists are not as likely to be stifled and restricted. I feel the best music coming from London right now is Rap and Hip-Hop and, looking at somewhere like Norwich, there are different styles and genres being fused. I shall come to that a little bit later. What I wanted to discuss was artists based away from the major cities and how they are perceived. I stated (or speculated) Freya Roy might relocate but I feel there is no need. I do feel like there is this tendency, as I have talked about in the past, for artists to come to London or Manchester because they feel they are going to be ignored. Maybe that was the case a few years ago but the rise in digital blogs and websites means that there are networks and ears all over the place.

I do think the mainstream media needs to do more and have a look at the rich and stunning music being made all around the U.K. Freya Roy is someone who will definitely be in the minds of many pretty soon and I kind of like the fact she is in Norwich and not in London. That is not to say she is not welcome here: I feel her career and sound could be taken to heart by the people of the capital. What I mean is she has a different landscape and scene around her. I do feel like it is hard to shine in cities that are packed and, even though there are loads of great venues, there is so much competition that it can be daunting. Instead, being based in a city that is not quite as ram-packed might be a bonus. Consider the fact areas like Norwich are producing great new acts and they have a variety of venues to support those coming through. Maybe there are not that many classic acts we associate with Norwich but the new breed such as Freya Roy and Let’s Eat Grandma suggests there is plenty of unique talent to be discovered. I think we need to be a bit more ambitious with our tastes and look beyond the obvious. It is tricky to get a handle on all the great music around – one of the burdens of the modern age and streaming culture – but the East of England does not get as much love as it deserves. I can sense a change and, as I say, there are a lot of new blogs where writers can report from all over the U.K. and bring the world these awesome acts. Let’s have a look at Freya Roy and her last few years. I will talk about genres and the style she plays but I wanted to look at how she has come back into music and where she will go.

After a five-year hiatus from music, Freya Roy is stepping back into music with the crowd-funded album, AHLKE, and has a new track out. Roy has been honing her craft and working on her music through the years. Even though she actually has another single coming soon, I wanted to look at Midnight Train and what it is all about. As Freya Roy says herself; it has been a bit of an odd time in many ways:

“I was always creating new music but I felt that there was still more I could do to everything I made. I needed the time to experiment and develop my writing and thankfully being in the college-bubble enabled me to safely create and do just that. I decided to take down all my previous releases and start afresh as an artist. I was lucky enough to be tutored by Abstract Orchestra’s musical director, Rob Mitchell, and he gave me the space to really explore the hip-hop and contemporary R&B elements of my sound, whilst maintaining a strong focus on melody and jazz harmony. During the very beginning of this journey, I did, however, experience trauma to my wrist and had to take time out from studying, playing and everything in between. So for a good few years, I pretty much went silent on the music front and people thought I had given up on the idea. I am back on track now, but unfortunately, I have had to take a step away from the physical intensities of jazz guitar training, putting my energy into other creative spots such as my production and my label, FCR Music. It’s not until now that I have found a balance between all of these things, whilst still feeling creatively fulfilled, enabling myself to move towards getting this whole album project off the ground – something I didn’t think would be possible a few years ago. I really do think this whole process has been nurturing and has played a huge role in shaping and developing my sound and as an artist”. Those quotes are from her press release and, why I do not usually copy them into reviews, it was essential to tell her story and get word from her mouth directly.

Now that she is back, we can see the sort of music coming through and its fantastic blends. I am more used to reviewing genres like Pop and Alternative but it is great to discover something that has some Soul and Jazz elements. There is a sort of Pop breeze in Midnight Train but a sense of freedom and expression you do not get in Pop. Listening to Freya Roy sing and her voice is more nimble and breathy; it has such power and it reminds me of the great artists of Neo-Soul. You do not hear it too often in the mainstream and maybe that is a good reason why we should look at cities like Norwich and ask whether the best out there are from outside of London. I do love Jazz and Neo-Soul because there is that sublime balance of textures. It is hard to describe but I love the fact artists such as Freya Roy paint these incredible pictures and do so in such a dreamy and calming way. There is power to be found but the music has this relaxing effect and gets right into the bones. I do feel like a lot of Pop either has too much force and is over-produced or it lacks any real soul and depth. With Freya Roy, you get someone who can translate into the forefront of music and be a success but has this more diverse and appealing blend. I love what she is doing and cannot wait to hear her album. It is wonderful hearing this great artist growing and producing music this way. I am not sure what Roy’s influences are but I get a hint of the Neo-Soul legends but, really, it is her own voice that bursts through. I do wonder whether the mainstream is a bit rigid and we are not exposing genres like Neo-Soul. Perhaps this is what is commercial right now and Pop is what sells. I do think there is a lot more nuance and brilliance to be found in other areas of music. Freya Roy is an example of a young artist who can write songs that, lyrically, are quite similar to a lot of what is around already but deliver it in a very original and enticing way.

I shall move on from that subject because I will talk about it more when reviewing Midnight Train. There has been this hiatus and it is good to see Freya Roy back. She was definitely not wasting her time away and has been busy crafting and working on the next steps. She raised over a grand through crowd-finding and was one of twenty artists to receive support and round-two funding from the MOBO’s Help Musicians Fund. Although she is based in Norwich – she marks her current location, on social media, as Suffolk so might have moved since – she has spent time in Leeds’ thriving Jazz scene and got involved with what is happening in Yorkshire. She releases her album under the independent label, FCR Music, and it is one she founded in 2012. The idea of the label was to create awareness and highlight women and minorities. This is impressive to see and I would like to see more artists set up labels for this reason. Maybe there are some out there but Roy has just released, for International Woman’s Day, the documentary, FCR Music Presents: Women & the Creative Industry. It is impressive to see a young artist with that business mind and somebody who has set up this great label. It will help expose and promote great artists that might not otherwise get such a platform. It will be interesting to see how it progresses and whether it brings other artists onto the roster. The fact Roy’s upcoming album has been crowd-funded and received support brings me to that issue of finance. I think it is really tough in music and can be difficult getting something off of the ground. Consider the fact you might need to hire musicians and the studio; there is a lot of work that needs to be done and, before long, you have quite a big bill. I think many are being put off from recording albums because of the sheer cost and realities.

Roy releases the album in April and there is another single in the next couple of weeks – keep an eye out for that. I do feel like music is becoming more expensive, even though there is more technology and the potential to be D.I.Y. Even if you record at home, there are still costs involved and it is quite hard to record something quite cheaply. I have seen cases of crowd-funding and artists getting that boost and I think it is a wonderful thing. Some say artists should fund themselves and not rely on crowd-funding but I disagree. If people are happy to back an artist and help get an album to fruition then it is a very positive thing and can bring people together. It is clear Roy has backing and fans behind her and is getting nods from bigger names in the industry. She has worked hard on her music and, whether she is based now – whether she is in Suffolk, Norfolk or just down the road from me! – she has produced something truly special. We have Midnight Train out here now but lots is coming in the next month. I am excited to see where she can head and what her album will contain. She has learnt a lot from Jazz musicians and immersed herself in that scene. You can tell her musical upbringing was exceptional and I guess she would have been raised on some truly diverse artists. You can hear a curiosity in what she does and how her music connects with people. It is hard to stand out from the pack in modern music and it can be tricky remaining. That is just the reality of things. I have seen a lot of great artists fade but that will not be the case with Freya Roy. She has spent a long time working on AHLKE and I will be curious to see what the other tracks on the record sound like. Let us move onto Midnight Train and get to grips with its meanings and shades.

There is a lot of activity and energy in the opening moments of Midnight Train. We hear some percussion clatter – almost like a hollow tree being hit – and there is this great balance of sounds. Things are never too heavy and intense but we get this nice sense of dance and movement. I like how artists operate in Jazz and Neo-Soul because you get something truly different. There is a groove and locomotive thrill that opens the eyes and makes you curious where the song is head. The heroine comes to the microphone and talks about being awake in the middle of the night. One wonders what keeps her awake. Maybe there is this restlessness that is plaguing her mind but she is awake and it is too dark to see the time. Her heartbeat keeps her alive and awake and that is something that gets to me. Maybe there are anxieties around her mind and she is being troubled by something. Rather than a literal image of a train, I get the sense the heroine is wrestling with doubts or she has someone on her mind. Roy is backed by that hollow percussion sound and her beautiful voice paints images in the mind. I have heard a lot of great singers the past few months but there is something in Freya Roy that stands aside. She has a way of delivering words that gets under the skin. Again, it is hard to explain but I love her voice and how it makes one feel. Roy talks about something being one-hundred miles wide and I wonder if there is this image of a gulf or piece of geography. It is great there is this oblique nature where you are not quite sure if we are seeing a physical movement and the heroine on a train or whether she uses these images to talk about emotions and struggles. The midnight train is about the pass by and, whatever your perceptions, it is definitely an arresting song.

I was thinking more about emotional unrest and being kept awake by something troubling. There is this sense of being lost or needing answers but the midnight train in question might be answers and a sense of safety. The heroine, as she says, carries these colours of happiness and they are kept with her; she carries them with dignity and I get the feeling the midnight train is less an expression of doubt and just a general waking feeling. I would love to know the exact origins of the song but I hear a sense of heart and hope in her voice and that changes my perception. A beautiful and velvet-smooth incorporation of horns – apologies as I do not know the name of the trumpet player – adds this sort of dreamy and entrancing quality and adds new layers to the song. Many Pop songs might add processed beats and too much force but here we get a relaxed and very well-composed song. You have this rather sleepy feel but there is definitely passion and potency coming from Freya Roy’s voice. There is a solo from the brass; a clattering beat coming through and some soothing electronics. It is a rich blend and, coming in are some subtle guitar strings. It is a wonderful cocktail that adds as a pause and transition. As I hear the brilliant composition and all the colours entwine, I wonder whether this feeling that keeps her away is a sense that bad things are exiting and there is more positivity coming through. Things are passing by – that becomes a mantra – and you feel like there is this evolution from the darker days and struggles to something more hopeful. Maybe I have completely misread but one hears Midnight Train and, after some initial doubts, there is this uplift and movement. I love everything about the song but it is the way the composition and vocals mingle to create this sumptuous, evocative and exceptional song. The lyrics are brought to life fully and there is room for interpretation. I feel, if other songs on AHLKE are like Midnight Train, it will be an album you definitely do not want to miss out on! It is great to have Freya Roy back and I hope lots and lots of people get to see her perform live very soon. She is one of those artists who does things her own way and can create the sort of music nobody else is. Keep your eyes out for this very talented, exciting and fresh artist. I will be sure to follow her progress and see how far she can go. I know Freya Roy has a very bright future ahead of her.

Freya Roy is, as I have said a few times, going to launch the AHLKE and she will have tour dates as well. Keep an eye on her social media channels but she has dates confirmed in Leeds, Sheffield; Manchester and Suffolk and it will be a chance for people around the country to hear her music. I think the Leeds and Manchester dates, especially, will be cool but it is great see gets to take her new material on the road. She will be touring solo and with a band and it will be intriguing to see how the two different sets sound. To conclude the tour, Roy has a headline set at London’s Servant Jazz Quarters on 23rd May and it will be a big chance for possible labels and backers to see her in the flesh. It is definitely a very exciting and busy time – coming from a bit of a hiatus, I bet Freya Roy is pleased to be back and active! She has spent time crafting her album and I would recommend people try and catch her on the road if you can! I love her sound and it will be interesting to see the differences between her playing solo and what a band brings to the table. In any case, there are many reasons to back Roy and what she is doing right now. Here is a wonderful young artist who has her own label and is always looking to help other musicians. She has a very determined, ambitious and compassionate mind and that sort of blends into her music. So rich and rewarding is the listening experience that you will come back time and time again to get that sweet hit. I shall end things in a bit but keep a look out for new Freya Roy news and go and get her album when it comes out in April. She is hitting the road – so you might catch her there – and I wonder where she will head next. It is clear she is back with us and determined to make music on a more regular basis. Maybe there will be tour dates further afield or she might need some time to recharge before embarking on any new quests. Get behind this great artist and witness music that can get into the brain and...

TRANSPORT you somewhere wonderful indeed.

___________

Follow Freya Roy

Twitter:

https://twitter.com/freyaroy

Facebook:

https://www.facebook.com/freyaroymusic

Spotify:

https://open.spotify.com/artist/1s7c4MsW76giPOMWyxJqvY?si=1XYzlJp8S_OrREj6G56hSw

YouTube:

https://www.youtube.com/channel/UC5-cg5RahETrjGu-r8zjYCQ

Instagram:

https://www.instagram.com/freyaroy/

PHOTOS:

Chip Skingley

TRACK REVIEW: Dave - Screwface Capital

TRACK REVIEW:

 

Dave

Screwface Capital

9.6/10

The track, Screwface Capital, is available via:

https://www.youtube.com/watch?v=xyoNmOwJvyM

ORIGIN:

London, U.K.

GENRE:

Rap

The album, PSYCHODRAMA, is available via:

https://open.spotify.com/album/4GrFuXwRmEBJec22p58fsD?si=rEDh1rmuQ6iMwelBfUlwTg

RELEASE DATE:

8th March, 2019

__________

I do like my Saturday review...

because I get to head into mainstream territory – or artists with a bit more clout – and, on this occasion, review a style of music that I do not get to focus on a lot: Rap. I will talk about the main man Dave in a bit but, before I arrive at his feet, I want to look at British Rap and how it compares to the American style; how, in these fraught times, the most powerful albums of the moment are laying it all out there; London right now and why I am genuinely worried (and what music can do to help); whether there is true equality when it comes to race in the music industry – I will look ahead and see where Dave might head. I am stunned by the sheer quality and passion of 2019’s best music so far. We are only just in March but have already seen albums that could be crowned as the year’s best by the time we get to Christmas. Not only has there been this incredible output by female artists such as Julia Jacklin and Sharon Van Etten but there are these artists shaping up that, well, are taking Rap and Hip-Hop in new directions. Perhaps our two leading names right now, Little Simz and Dave, have both released potential 2019-defining records. I covered Little Simz recently and was blown away by her album, GREY Area. It is an amazing album filled with some of the finest lyrics and most powerful songs you will hear in a very long time! When we talk about women in music and their place, it is flabbergasts me there is not equality and better understand when you consider we have artists such as Little Simz. I have always been a little ho-hum regarding British Rap because, when it comes to power and substance, I remember when artists like The Street came out; when Dizzie Rascal ruled Grime and the invention in their music. Such young artists were producing, on their debut outings, music so rich and full of life they were leagues ahead of the competition.

I like Grime artists like Stormzy but I feel like the genre is not quite as arresting as it once was – at a time like now, we need some sort of response and rise. I feel, right now, British Hip-Hop and Rap are making a charge. I do not think we will ever have the same capacity and strength as the U.S. when it comes to Rap. Look at how they have ruled through the years and we often struggle to come up to their standards. I think Dave represents a new breed of Rap artists who are mixing sonic diversity and ambition with lyrics that cut to the core. Alexis Petridis, in his review of Dave’s album, PSYCHODRAMA, felt it was a bold and landmark accomplishment. I have listened to the album – and cannot do it full justice with a brief bit about each song – and I can get behind that assumption. What amazes me about rappers like Dave – and Little Simz for that matter – is how they can talk about such important and controversial subjects like race and have to shout against it. There is a more complex and eye-opening sound coming from these artists – I think British Rap has struggled a bit the past few years. Dave looks at racial identity and he, on his record, examines why people have a problem with black artists talking about their race; why there is institutionalised racism and what problems we need to address. He also tackles issue in his community and is aware that there is not only a problem with ignorance and race – we are seeing such hatred and division in estates and communities that we cannot control the surge of violence and offence. I think our sound is a little different to the U.S. when it comes to theme and composition. It is hard to identity but I think our Rap music cuts deeper and has greater nuance. Maybe I am bias but I amazed by how hard-grafting Rap artists in the U.K. are. Many self-release singles and put collaborators in the mix; they pound the promotional circuit and work endlessly to get their music to the masses. I guess many artists do that but I think Rap artists have to work harder to get their voices heard in a scene that is still dominated by generic Pop.

There are many reasons why Dave’s album is turning heads and seen as this revelatory thing. I think our nation, right now, is more tense that it has been in living memory. In terms of the political mess we find ourselves in, many wonder whether this country will ever be the same and what our place in the world is. Where is the U.K. going to be in a few weeks and months? What will become of the Brexit horror and how will this affect us in the long-term? There are some big questions to be answered and, alongside that, we are seeing a rise in knife-related deaths – I shall come to that later. I think the reason why 2019 is already shining brought is because there is an honesty and real sense of ambition. Whether it is the openhearted and emotionally-raw albums we have already heard from Julia Jacklin and the eclectic brilliance of Self Esteem; the best and brightest albums of this year have laid so much out there and not flinched away from being pretty raw. That might sound like something that would cause one to run and look elsewhere but I feel it is a reaction to the fast-forward, skip-a-track culture of modern society. We have all these amazing artists out there but so many people are handpicking tracks and not investing in records. Little Simz and Dave, as spokespeople for Britain and the biggest voices we have, are making sure people focus and are gripped. Dave can throw together quite bleak tracks and longer numbers and you do not want to turn away. Maybe, on paper, it sounds like a recipe for commercial disaster but his songs, like his best peers, do not shirk responsibility and are self-aware and hugely eye-opening. I mentioned, when reviewing Post-Punk bands like IDLES, how it is great bands can stray away from commercial and cliché themes to actually take the country to task.

There is still a risk and hesitancy in Pop when it comes to being brave and speaking about what life, beyond love, is actually like. The news presents, for the most part, the facts but it can be pretty grim watching. I look to music for escapism but I also want to see artists who are bold enough to talk about this country and what matters to us – and not hide like politicians do, mired in lies and subterfuge. Dave is one of these artists who can turn the spotlight on himself and be honest about his shortcomings but also is keen to purely and openly document a lot of things we hear about on the news; he does it in a way that is much more luminous, cinematic and hugely memorable. I have mentioned race and how Rap artists like Dave are tackling it. The racial spectrum is broader than ‘black’ and ‘white’ and many people are pretty uncomfortable when they hear a black artist discuss their identity and what it is to be black. How often do we hear such songs that take this approach and keep a cool head? Dave and his peers have faced discrimination and ignorance all their lives and, through music, they are challenging racial prejudice and a lack of understanding. The music that will inspire, last through the ages and stay in the heart is that which grabs your mind and gets into the soul. On PSYCHODRAMA, Dave gets under the skin because of how honesty and fearless he is. One of the other pleasing aspects of the album is how he manages to balance the serious and weighty songs with spoken passages and this sense of concept. Whether you see the concept as being about race and violence in the nation or something more personal, it is not a normal album: ten tracks, a few big hits and nothing much past that. PSYCHODRAMA is an album for modern times; for a Britain that needs to open it eyes and take action – leaders like Dave are challenging those who turn a blind eye and those who do too little.

There is a lot of soul-searching on the album and some less serious moments – Dave, on Screwface Capital (which is the track I will review soon) starts by boasting about his sexual prowess. The reason, actually, why I want to address that track and not something more political and potent is because it shows another side to an album: PSYCHODRAMA can mix traditional Rap and Hip-Hop codas (a sense of boast and sexual confidence) with its awareness of things like race, violence and society’s ills. One other reason why I think British Rap is at its peak right now is because it is reacting to the spate of knife deaths we are seeing right now. Every genre can talk about it but there is something about Rap that makes the words sound purer and more urgent. Think about this year and how many knife-related deaths we have seen. This report shows how knife crime has risen and why we need to take action. It seems like every day brings news of a young person being stabbed to death. What is the reason for these crimes? Is it gang-related and a sense of dislocation in communities? Are these deaths related to random violence and a sense of displacement or are they are a reaction to the way the country is divided and how many are not listened to. It is a complex brew and I cannot claim to have the answer. In many cases, I get the sense many of these attackers are struggling to find education and work and they are isolated. That is no excuse but our Government are not aware of the realities in poorer communities; areas where violence is a staple. The statistics make for grim reading and I fear there is no end in sight when it comes to these deaths. Knife crime is, of course, not just a black problem – many get the impression it is and do not read the facts. The after-effect of this assumption is a lot of stop-and-searches being carried out on black youths. It is a real mess right now and banning knives – or offering tough sentences for those carrying them – is not an easy thing to achieve.

I am worried about the country as a whole at the moment but I am especially concerned about London and what is happening in the capital. One can say there is more inter-gang rivalry and hatred but I do not think one can blame gangs and disenfranchised youngsters entirely. As we have seen recently, there are random attacks that take innocent lives – look at Jodie Chesney’s case and how, as she was relaxing with a friend in a park, she was stabbed in the back for no reason whatsoever. It is a bad time for the nation and, like gun crime in the U.S., it is hard to police and rationalise. This takes me back to artists in Rap and how, in a way, they are providing a bigger voice that many politicians. Dave does address knife crime in PSYSHODRAMA and, on the final track, Drama, he has this phone conversation lauding his success but the person we hear speaking is the rapper’s brother – he is calling from prison where he is serving a life sentence for his involvement in the murder of Sofyen Belamouadden in 2010. On tracks like this, the pain of losing a sibling in such a manner has caused emotional torment. Dave has been directly hit by knife violence and the personal aspect gives that track such weight and conviction. It is worrying times right now but I do feel that music is playing its part. Maybe it will not help reduce knife-related deaths but I think a lot of these youngsters who carry out such heinous attacks listen to artists like Dave and respect what they say. In many ways, the message put out on albums like PSYCHODRAMA act as a stark remind what knife crime can do to a family and how they can tear people apart. It is a horrible time but I am pleased we are seeing such immense and staggering albums from the likes of Dave. It is remarkable to see someone so young sound so assured and accomplished this early in his career.

 PHOTO CREDIT: Phil Fisk for The Observer

I will conclude in a bit but I have talked about race and misconceptions in society. Many people think as ‘black’ as being singular and narrow. There is, as I said, a racial spectrum and the nature of being black is complex. Artists need to address this and strike against those who judge them and overlook them. I think there is still a problem in music where black artists are not given as much attention as they should. We cannot ignore what artists here such as Dave and Little Simz are putting out; what Solange and Cardi B are doing in the U.S. Look at big festivals and it is only now where we are starting to see evolution regarding black artists being booked. I feel there is a way to go but many assume that the best music from black artists is restricted to certain genres. There is a lot of stereotyping and ignorance and it is important we have conversations and change perceptions. Dave tackles race and judgement but it should not be solely down to artists to do this: everyone has their part and I think we need to all be more responsible and aware. I wonder whether the big reviews PSYCHODRAMA is courting right now will translate to headline slots in the future and more focus. It might be too late for Dave to get a big Glastonbury slot but, as Stormzy is one of the headliners this year, surely Dave’s name must be in the hat for 2020?! I look around at festivals and still see too many white faces; there is this gender imbalance and I do feel that black artists are not getting their voices heard. These are changing times and, to me, the best and most important music being made right now is coming from British Rap. Artists like Dave and Little Simz are releasing albums so powerful and important. We cannot ignore their voices and, in a larger sense, we need to look at the way black artists are perceived and whether there is true parity – I do not think there is.

I wanted to highlight Screwface Capital because it seems like a bit of a departure to the rest of PSYCHODRAMA’s songs – in terms of themes and composition. The song opens with some gentle piano work and some background voices. I am not usually a fan of processed, machine-fed vocal effects but they work here. Dave comes to the microphone and, if he were backed by beats and heat after the tender beginning then it might sound a bit jarring and misguided. Instead, the vocal is definitely top of the mix and there is very little intrusion. It gives us the chance to concentrate on the lyrics and the brilliant delivery. Dave talks about wealth and a certain lifestyle that he has enjoyed. Maybe there is a lot of fact in the words but I sense there is a bit of fantasy mixed into the pot. We hear about eating out and having this great life. I feel a lot of the worst Rap can be quite lazy when it comes to language and wordplay but Dave’s penmanship and style is incredible. He does not need to aggressively deliver the words: you are captured by intelligence and originality of his thoughts. Dave’s location changes quicker than the gears on a Porsche Cayman – see what I mean about his wordplay?! – and I get the sense of this bold and confident young man revelling. The song switches between a sense of anxiety and a definite confidence. On other songs, Dave talks about crime and hatred; a need to find some common voice and stop the madness. Here, he is aware of sharks and dangers at the door; the way fear is never too far away but we get an insight into his personal boasts. Maybe it is a trope one more commonly attached to Rap: sexual prowess and a sense of braggadocio. Dave is never puerile and offensive when he talks of conquests. There is a naturalness to his words and, although wonders why the girl – his latest conquest – is still in his flat, I feel the slightly urgent and aggressive tone is less about coldness and more about nerves and fear.

In many ways, Dave is trying to live a normal life and have fun but he knows that there is a dark beat and pulse that threatens to derail things. Whether that is violence outside his door or a sense of never being safe, Screwface Capital is more complex than one might assume. There is, as I say, little accompaniment and anger from the composition. A lot of Rap relies on beefy beats and drive but Dave lets his voice guide the song and, when talking about him and his friends being hassled and not feeling safe, it instantly switches from the bedroom to the streets. Because of the violence in the ends, there is debate and confrontation at the gates; his mates are fearful of going to the shops or hopping the bus because of what could await them. Dave sees a lot of violence and waste around him but he is turning these curses and losses into lessons and blessings. There is this cold realisation that things are bad but he is not walking down that path. Composition dips in and out. At one moment, you just hear Dave’s voice – which gives the song a stark focus and sobering tone – and then it swoops in. There is a real physical sense and tangible scent that transports you into the song. Dave is not resting and, more and more, his focus is on sex and conquest. Maybe this is to distract him from the horror around him but there is this signal we have a bold young man who is aware of his assets and is not exactly modest. It is good to see this against the starker and more frightening words. Dave has starved himself to make ends meet; he has kept his siblings safe and lived in Streatham – somewhere that features on other moments on PSYCHODRAMA. Many people do not know the realities of his life and have not gone through the same things.

Dave talks about his childhood and losing his dad young; his mum not being able to take the stress – there is this personal revelation against the sexual side. Words sombre and stark weave around boasts and this sense of confidence; almost without a signal of warning and pause for breath. Screwface Capital is an amazing track that sort of tails out in terms of lyrics and ends with a beautiful, calming refrain. It is almost like exhaustion and violence has got the better of him and he has no more words to say. The pace and flow of the song packs in a lot of words and you get this really vivid and packed story in a short time. I listen back to the song and new aspects come to life. Many might think of Screwface Capital as a track about sexual success and sowing seeds; others might look at it as a very raw and personal song. There is a bit of both in the song but it so much richer and deep than that. You almost get the life story of Dave and how he has seen family crumble and had to face violence in the streets – as well as pleasure between the sheets. It is a wonderfully diverse song that packs a punch and delivers potent messages. Other tracks on PSYCHODRAMA are more ambitious and big but this is a fantastic track that attracted my eye. I love the fact we get this ending coda that leaves the lyrics behind. Few can deny, after one listen of Screwface Capital, that Dave is one of the best rappers and lyricists we have right now. He never wastes a word and his language is incredible. You need to listen to his songs a few times through before everyone reveals itself but, when it does, the effect is profound indeed. If you have not discovered Dave or given his music a go then you really need to. In a sea of manufactured artists and meaningless words, here is an artist with a lot to say – and he makes sure every word strikes and hits its mark!

Dave is taking PSYCHODRAMA on the road and some dates are already sold-out. Check out his social media channels and, if you can, go and see him live. The album might sound incredible through your headphones but it steps up a whole new level when delivered from the stage. I concentrated on a single track because I do not feel it right to give a few words about each track without focusing in. PSYCHODRAMA has collected some incredible reviews so far and I would not be shocked if it was named the best album of 2019 later in the year. The eleven tracks are all essential and there are some truly ambitious and long numbers – Lesley (ft. Ruelle) is over eleven minutes. There are a few collaborations (including J Hus) but it is Dave’s vision and voice that shines hardest. This album is a true revelation and sign that Dave is on a golden path. I know many will catch him tour and it makes me wonder where he will head next. Dave has put out singles and E.P.s previous to PSYCHODRAMA but this is his debut album. There has been a lot of anticipation and build and Dave has exceeded expectations! There is a lot of pressure to top a successful album and deliver a quick turnaround but Dave will be busy touring and will not want to rush a sophomore record. He is one of the most important voices in British music right now and I cannot wait to see where he heads next. It is a big time for him and he has delivered an album that will stop many in their tracks. It is very much an album for modern Britain when it comes to its declarations, confessions and questions but, in many ways, it is a personal record that comes from Dave’s heart. I cannot do it mere justice with the words I have written so I would urge people to listen to it as soon as they can. It is a remarkable achievement from a singular talent. Many might be new to Dave – his rather Google-unfriendly and ordinary name does not do him justice! – but that will all change. It might be reckless to declare an album like PSYCHODRAMA as a possible album-of-the-year frontrunner but, like Little Simz’s GREY Area, you cannot deny the genius. In any case, London’s Dave is releasing the sort of music that will be...

TALKED about for years.

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Follow Dave

PHOTO CREDIT: Elliot Kennedy for CRACK

Official:

https://santandave.com/

Twitter:

https://twitter.com/Santandave1

Facebook:

https://www.facebook.com/santandave1/

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https://open.spotify.com/artist/6Ip8FS7vWT1uKkJSweANQK?si=G-dpqfiNRRO8xeWNoatfaA

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TRACK REVIEW: Stealth (ft. The Dap-Kings) - Black Heart

TRACK REVIEW:

 

Stealth (ft. The Dap-Kings)

Black Heart

9.5/10

The track, Black Heart, is available via:

https://open.spotify.com/track/5joZkgTCteYR5SWvSesUSQ?si=vTk4qxTlShOH0NVIn1PwrA

ORIGIN:

London, U.K.

GENRES:

Soul/Funk/Jazz

RELEASE DATE:

15th February, 2019

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THIS time around...

I get to look at some new themes and subjects to bring into this review. I wanted to start by speaking about Stealth himself but, then, look at collaborations and how the best ones stand aside. I will then talk about genres like Funk, Blues and Jazz and how they are under-used in music; artists embarking on a new chapter and able to be flexible with their material; supporting other artists and how online success can aid and boost a career – I will then look at Stealth and where he might head this year. It has been a busy last few years for the artist. In 2015, Stealth started carving his path into music with the E.P., Intro (he produced other work before then but Intro was the greater realisation of his vision and talent). That initial cut was influenced by artists such as Howlin’ Wolf and Hozier. I would not, as some have done, compare him with James Bay as that does him a disservice and I find Bay’s music incredibly boring and generic. The reason why his early work captivated was not because he was trying to be someone like James Bay; rather it was about the way he could project this powerful vocal and match things with edge and a forceful heartbeat. After the success of his early work, he started to turn heads and really got onto the live trail. People were talking about his shows in impassioned tones and he was receiving incredible reviews. There are artists today who have that deeper tone and style – such as Rag ‘n’ Bone Man and Hozier – but Stealth is a much more credible and talented artist. I often have a reason with people comparing newcomers to mainstream stars in order to give them some sort of credibility and boost. I find, if you listen to Stealth closely, he (I hope) is not trying to follow those artists and is looking at a much more original and less chart-based path. I think there is a lot of emphasis on support artists who are quite bland and uninteresting and, after Tom Walker won at the BRIT Awards recently, I do worry the industry is not looking hard enough for the next big thing.

Stealth has the ammunition and variety to stand well aside from the rather limited and mundane artists who seem to get a lot of focus. We often look at a slightly brooding male artist with a bit of cool and get this impression of who they should be and what they are like. Stealth is not someone who is going to fall into traps and you can lump in with the mainstream newcomers. Stealth is, as he will say, an insomniac with a flair for music. He takes inspiration from Jazz and Blues legends and funnels that influence into a big vocal performance and arresting style of music. There are dark tones in the music and a powerful voice but there is light and relief that can be found. I do feel there is a tendency, for modern artists, to go for something a bit personal and unsettled. I can understand why it is important to talk about your life but so much modern music pretty downbeat and lacks energy. I look for artists who can be personal and open but have a bit more power and flair. This is what you get with Stealth. He has built this promising career penning songs that have a real potency and power but there is a certain grace to be found. That might sound odd but I listen to his music and can hear so many different strands and colours. Rather than follow the lead of some of the less interesting artists currently playing, Stealth is a more eclectic, original and interesting artist. I do sometimes get worried regarding collaborations and, after some solo success, whether artists are making the right choice. I say this because I hear collaborations that are stuffed with people and things can get rather cluttered. There is a tendency for big artists to work with each other and it seldom leads to anything worthwhile or needed. It is a risk stepping alongside someone else but, when the chemistry is right, it sounds brilliant.

The reason I say this is because, on his Black Heart single, Stealth has united with The Dap-Kings. Many might associate The Dap-kings with the late Sharon Jones. Together, they created some of the finest music of the past few decades and we still mourn her loss. I think it is rare for popular artists to have a sort of backing band. It seems like a very odd thing where icons used to have extra vocalists and musicians. Smokey Robinson has his Miracles and, if you look back through music, there are examples of these big artists having this crew behind them. Now, we have Florence + the Machine but, like so many artists who hint at support, it is just a name and something intangible. I miss the days when you did get bigger vocal groups and the nature of being a solo artist was not literally performing on your own without any vocal support. Maybe it is me but a lot of the finer elements from music’s past have escaped. I do worry the solo realm is becoming less interesting and it is tougher for artists to make an impression. I am wandering off the course a bit because I wanted to talk about collaborations. Stealth has worked with other artists before but this is quite a big move. Performing with such a well-known and making it work is a hard thing to realise. Stealth has previously worked with Netsky and Metrik and this is very different for Stealth. I think this is the most appealing and striking collaboration from Stealth and it is great to see these two worlds come together. I hear a lot of collaborations in music and some of them work quite well and it is a good union. If the voices mesh well and you can get that rhythm clicking then it is great to hear. I feel so many of today’s collaborations are there to boost Spotify playlists and to stuff as many major artists together as possible. I cannot really think of a collaboration from the past few years that has truly struck my mind.

That might sound grim but, when it comes to Stealth and The Dap-Kings coming together, this is what I am talking about. They are a natural union and an interesting brew. Stealth has a more varied background regarding sounds and genres but you have the professionalism, history and assuredness of The Dap-Kings. It is hard to follow someone like Sharon Jones but Stealth is a different artist and someone who has his own voice. What we have is a great coming-together that has that distinct sound of The Dap-Kings with the powerful voice of Stealth. He recorded with them in New York and, in many ways, it must have been a dream come true. Even though Black Heart is not the most original song you’ll hear in terms of lyrical themes – the anticipation before a break-up – cliché is avoided with terrific vocal performances and great production. A lot of Sharon Jones & The Dap-Kings’ music was about heartache but I am finding so many artists talking about the same thing – maybe writing a song that is less about heartbreak and embraces happiness and something more joyous? That is a minor bug but it is no shock to hear an artist inspired by Jazz and Blues to open the heart and reveal a painful experience. The Dap-Kings worked with Amy Winehouse and Charles Bradley and have this experience working with these fantastic, if departed, artists. It can be hard making things click and having this sort of harmony. As I said, there have been some wasteful and average collaborations but it seems like Stealth and The Dap-Kings are in-step and perfect together. Let’s hope they work together again because their combined sounds are fantastic, rich and memorable. Black Heart is the sound of experienced artists aiming to create something wonderful and evocative and, for the most part, it is a big success. I wanted to move on and talk about genres that do not get enough exposure these days.

There are great Funk, Jazz and Blues radio shows where we can find the best of the genres but, listening to modern music, how often do we hear this sort of music? I feel like there is a tendency to promote Pop and we only often hear Funk and Jazz in the context of big hits – integrated rather than fully standing out on their own. By that, I mean we do not have the same Funk and Jazz legends as we did and I think these genres still fight for recognition. I am especially interested in Funk and Soul and wonder why more artists do not perform in these genres. The funkiness and uplift you can get is exhilarating and the mainstream could do well to bring more Funk to the fore. It can be hard predicting what people want to hear but I do feel like there is too much of the same thing being produced and, when you hear the mainstream best, it all sort of blends into one. Maybe Jazz will take a while to bed into the public consciousness and it will struggle to grab everyone – it is still a type of music that many turn their noses up at. I love a good bit of Funk and Jazz blended together and feel it can really lift the senses! I wonder whether artists are ignoring these genres because they are not steeped in its history and unsure how to pull it off. The Dap-Kings and Sharon Jones amazed the world with their insatiable and gripping music and, as we lose icons like Jones and Charles Bradley, music is becoming weaker and less interesting. I am not certain whether Stealth will remain in this territory but it is a style of music he excels in. Do we follow playlists and what tastemakers say too much and neglect music? I feel we do not really go deep enough and brilliant genres are overlooked.

Look through the back catalogue of Stealth and he has tackled many different styles and sounds. His potent and impactful voice is the common key but he is someone who is always experimenting and keen to try different things. I do hope we get to see a resurgence of Funk and Jazz because they are side-lined too much. We need to bring the fun and positivity back into music and, whilst Stealth’s latest single has some woes and pains, the general mood is more positive and fresh than you’d imagine. I often look at music for some sort of enrichment and lift and, largely, I am left disappointed. I do feel we are becoming more negative and less energised as people and music is reflecting that. We still have mainstream Pop and some sprite songs but I tend to find many of them lack soul and any sort of nuance. The reason why I want us to become more adventurous is because we can look back and see the artists who helped change music. How many people know about Sharon Jones & The Dap-Kings and their contemporaries? There is so much room to provide a modern interpretation of their music and add something thrilling to the mainstream. The core is so homogenised and is not stretching its imagination. I wonder why there is this sort of reluctance to revitalise genres fully and be more adventurous. I know there are artists who can get funky and utilise Jazz but it is a lot rarer than you’d think. Maybe Stealth will lead this charge and get other artists to follow his lead. I will move on but the most appealing songs I am discovering right now are those that break away from convention and have that beautiful, vintage edge. Listen to Stealth and The Dap-Kings getting together on Black Heart and you will definitely want more. Before I move onto the song itself, I shall talk a bit about Stealth and his rise to success.

He has been releasing music since about 2015 but I feel last year was when he really exploded and took a big step. The fact he has worked in different genres means his music is much broader and interesting. He has worked with Jamie Woon, Zella Day and Tigga Da Author during their U.K. tours and has performed overseas. Opportunities are coming and, the more he puts himself out there, the more accolades come his way. His music has been used on T.V. and he has done well on the iTunes charts. His songs have received support from the likes of BBC Radio 1, 2 and 6 (Music) and there is no stopping it. It is impressive when your music can reach a wide audience and make its way onto such broad stations. The flexibility he shows and the diverse nature of his music means he has this broad fanbase and popularity. Last year was a great one for him this year and, as I shall end on, it seems like this year could be bigger! I think many solo artists do get into a rut of performing on their own and do not really play alongside anyone else. They might be quite rigid regarding sounds and what they are speaking about and this can only lead to a slightly limited and predictable progression. If you have a sound that is solid and honed then that is fine but taking risks and being eclectic is a great thing. I love most types of music but I have found that there are few artists crossing genres and able to get their music to a range of demographics. Stealth is somebody who has always operated in a way that means his music gets out to the people and has no barriers. He is one of these rising artists that will keep on succeeding because he hooks up with other artists and writes songs that are genuinely interesting and new. I do wonder why more artists are not following his lead because, as he has shown, success can come your way and your music can get out to a huge amount of people. I am not one who features artists because of their streaming figures and all of that but, in the case of Stealth, you see the numbers and it is very impressive.

Black Heart begins with a strut and cool that is led by some funky-ass bass and great intention. I like how there is a bit of a fuzz and we get this very catchy and physical opening. Before a word comes in, we have this lovely introduction that adds its own weight and ground. I was excited to see where the composition led but, before I could get to that, Stealth came in and asked what is on the mind of the girl. This seems to be the beginning of the end for a relationship and one feels something has happened to cause this friction. Maybe things have run their course but this bond is going sour and the hero is asking for answers. You get a load of songs that talk about the same thing but very few have the blend of Funk background and quite testing, serious lyrics. It is a nice brew that works well and, with his voice firm and sensitive, Stealth lets his words out. With some cooing and backing from The Dap-Kings (and some incredible Jazz blasts) we have this song that rolls and strides with intention. Stealth, inspired by the composition and energy from The Dap-Kings, lets his voice strike and swagger. It is raw and exciting and definitely sucks you in. As things reach the end of the line and things are falling apart, the hero is seeing that black heart emerge and knows things are almost over. The background is great and we get nice horn blasts and rousing percussion. Vocal input is fairly sparse but adds a beautiful contrast to the deeper sound of Stealth. It is rare to hear a song that deals with a failing relationship have such energy and boldness. Even if the lyrics are tense and there is a bit of stress, you never sense that in the composition and performance. The chorus has this great mix of The Dap-Kings’ past work and Jazz-Rock bands like Steely Dan.

Our hero talks about a heart beating for someone new and one wonders whether it is him or the girl who is focusing on someone else. I get the impression his sweetheart has let him down but the hero is looking ahead. He wants to know why things have broken down but I get the sense this has been coming for some time and the break-up is no surprise. There is great catchiness and delight when you hear The Dap-Kings play and add to the mood. The darker words are elevated by this stunning and rousing coda. I love the composition and how it makes you feel. I do not hear many songs that incorporate horns and Jazz elements and, together with a Funk mandate, you get this deep and rousing song that brings a smile – even though the foreground is getting more tense and anxious. He compares himself to a cannibal being eaten alive and the girl being like this dirty waterfall. At one point, Stealth delivers a line and there is this call-and-response aspect. It is great to hear the song take this turn and it provides Black Heart with this extra level. At one point, when the music rises and the vocal gets bigger – as Stealth searches for clarity and tries to make sense of things – we get a glimpse of Stevie Wonder in the mix! The sheer force of Black Heart is impressive and I love how much is packed in. Our man is asking what has happened and he can see this once-loving heart is empty. Even if the central story and theme is nothing new, the images and wordplay gives new light to the trodden path of heartbreak and deceit. The song builds and then goes low to allow the bass to come in; the brass brings it back up and the percussion gives the songs its spine and discipline. The merry and dizzy blend gets into the head and you do wonder how the relationship worked out. It seems like this girl is a poisoned chalice and it would be foolish to go back to her. She seems to have her eye on someone else and Stealth was not given much of a chance. It might have been scary joining with The Dap-Kings and being able to make it work but the collaboration is wonderful. Stealth’s strong voice is given new potential and life by the band and they bring a lot of party and hope to a song that has a dark heart. It is amazing, in 2019, there are not more songs like Black Heart because the effect and reaction is amazing – after one listen you are stunned and want to go back! I shall end things here but urge everyone to check out the song and let it put you in a better mood. I hope things worked out with Stealth in the end but, having listened to a seriously funky song, you sort of know he will move on and find some peace.

He has already won hearts and minds and had his music shared on some of this country’s biggest radio stations. Having supported artists like Nothing But Thieves and Jamie Woon, that gig experience and new world has bled into his music. Stealth takes a little bit of everything and stirs it into this boiling pot. Stealth has a brand-new E.P. out later this year and big gigs. He is headed to SXSW and will play Parker Jazz Club, in Austin, on 14th March. It is an exciting year for Stealth and one where he can win the American audience. Black Heart is the latest step from him and one that will get him into new markets. Stealth is always looking to broaden his appeal and he has previously worked with Dance and Electronic names. Now, in Funk and Jazz, he can spike new minds and it makes for an interesting E.P. I wonder whether it will be this free-for-all in terms of sounds or whether there will be more focus. I welcome the possibility of having this work that ventures into different genres and takes in a lot. There is not enough of this happening in modern music and it needs to change. I feel like Stealth can go even further and add even more spark into the music. Black Heart has some wistfulness alongside the energy but I can detect an artist who has so much energy that is waiting to come out. Many have compared his voice to artists like Hozier but I think we need to start thinking about Stealth in more promising and better terms. Not that there is much wrong with the likes of Hozier and James Bay but, to me, they are quite boring and write songs that seem to be aimed at those who do not like to be challenged and want something really simple.

Stealth’s deeper voice might put one in mind of those acts but his music is much more interesting and he has greater promise. It is a hard time for male solo artists: female lone stars are providing more stunning music and they have an edge right now. The best male artists are those who break away from the mainstream sound and provide something much fresher and unique. Even though Stealth’s lyrical themes do not stray too far from love and relationships, he has a lot in his locker and should not be easily predicted. I will wrap things up now but keep an eye on the social media feeds of Stealth and see what he has coming up. I love the fact he has worked with The Dap-Kings and hope it is not this one-off thing. They fuse beautifully and there is a real sense of mutual respect there. Looking forward, there is a busy gig schedule for Stealth and he will be preparing for his E.P. later in the year. If you are a bit wary of embracing a song that seems a bit unusual and not like anything out there – as Black Heart has its own beat – then give it some time and let it do its work. If all collaborations can be this accomplished and fine then I will drop my reservations and welcome them in. These artists who cram loads of random names together and produce something pretty weak will do well to listen to Black Heart how how a collaboration should sound! Keep your eyes on Stealth as he is someone who will go a long way and continues to evolve. If people can shake off the easy comparisons – he might like them but I definitely do not – then he can genuinely appeal to a much broader sect and gain greater critical acclaim than those names. There is no denying his talent and the fact he is an artist with great potential. It is still fairly early on in his career but there are clear signs Stealth is about to drop a bomb. His beginnings were impressive and promising but, the more he produces, the more I feel the young man...

CAN go a very long way.

___________

Follow Stealth

Official:

http://www.stealthmusicuk.com/

Twitter:

https://twitter.com/stealthmusicUK

Facebook:

https://www.facebook.com/stealthmusicUK

Spotify:

https://open.spotify.com/album/1EctmhyIb6003mVg77wgUb?si=K4sHjj1JRDSEuifS6ETzjA

YouTube:

https://www.youtube.com/user/StealthOfficialMusic

Instagram:

https://www.instagram.com/stealthmusicuk/

SoundCloud:

https://soundcloud.com/stealthofficialmusic

TRACK REVIEW: Little Simz - Venom

TRACK REVIEW:

 

Little Simz

 PHOTO CREDIT: Jack Bridgland for CRACK 

Venom

9.8/10

The track, Venom, is available via:

https://open.spotify.com/track/3A0ITFj6kbb9CggwtPe55f?si=luy8XkdgRaSQphC_lbaVeA

ORIGIN:

London, U.K.

GENRES:

Hip-Hop/Rap

The album, GREY Area, is available via: https://open.spotify.com/album/4Wwm4xg2748zhYuzDRFTgY?si=tdqkd2uYQKOh37rrx-l-Wg

RELEASE DATE:

1st March, 2019

__________

I like this part of the weekend because...

it gives me the chance to review a bigger artist who I know I will have a lot to talk about. With her album, GREY Area out, I am interested in Little Simz and what she is putting into the world right now. I am focusing on a single track from the album – to allow me to go into detail regarding the track; this review would not give fair attention to all the tracks – but I wanted to talk about Little Simz in the context of British Hip-Hop/Rap and how the scene has changed; wordplay and how a dexterous lyrical approach is very rare these days. I also wanted to look at artists who are direct and are unafraid to document something important, darker and less commercial; what type of sound/artist will define 2019 and albums that are busy with sound and innovation – I want to end the piece by looking at Little Simz and where she might head. I have been a bit wary of British Hip-Hop and Rap the last few years. I put these genres together because they often overlap and it is hard to distinguish between them a lot of the time. In the case of Britain, I feel we have always lagged behind the U.S. – this is true when you look back a few decades. Consider the golden age of Hip-Hop – around 1986-1991 – and the magic that was emerging there. Tomorrow is the thirtieth anniversary of De La Soul’s debut album, 3 Feet High and Rising, and that arrived in a year that also saw Beastie Boys’ Paul’s Boutique come into the world. Those albums were less political and charged than a couple released the previous year: N.W.A. and Public Enemy delivering sermons and songs that stuck in the brain and have inspired generations. Music coming from Hip-Hop around that time was keen to talk about harder subjects like political corruption and the plight of the black American and, since then, the U.S. have spawned some truly great artists.

In this country, we do not really have the same pedigree. Maybe it is because of the subject matter and how our Hip-Hop artists write. We do not have the same experience of U.S. artists and there hasn’t been the same legacy. We do Grime pretty well but I am seeing a breed of new Hip-Hop artists emerging that are defining modern Britain. Maybe it will not be as extraordinary as the best we saw in America decades ago but Little Simz is leading the charge here. She, in a way, seems to have an element of the U.S. masters from the 1980s and 1990s but is adding fresh flow and personality. I think the British Hip-Hop scene will grow and expand but it has not really had a leader that can compel a revolution. I think Little Simz is the best Hip-Hop voice we have and able to challenge the very best in the U.S. right now. Look at U.S. artists like Kendrick Lamar and Cardi B and it has been a long way since we have mounted a credible opposition. Little Simz’s career has been blossoming and she has been growing with each album. I can make bold declarations because her latest album, GREY Area, has scored big reviews and is full of wonderful songs. I love her confidence and how there is not a weak moment to be found. A lot of Hip-Hop artists can be a little lacklustre at times or place the vocal above lyrics. It is not often you get this complete and near-perfect artist who ticks all the boxes and strides into their own league. When it comes to Little Simz, she is honest and herself on the page but she has her eyes open and is talking about what is happening around her. There is this varied and extraordinary sound that you cannot resist and holds so much power. I shall move onto a new subject but I wanted to talk about Little Simz’s role in modern Hip-Hop and how she is changing the game.

 PHOTO CREDIT: Jack Bridgland

I have mentioned lyrics and how some Hip-Hop artists are a little inferior. Hip-Hop is a genre that has always been noted for its amazing sense of wordplay and flow and, in the U.S., they have always done it better than us. Again, this might go back to history and the fact they can do certain genres better than we can – the U.K. is stronger when it comes to Folk and other genres. I do think a lot of conviction can be sourced from having lived in a tough situation or being surrounded by bad legacy. A lot of modern U.S. Hip-Hop artists are reacting to their neighbourhoods and what is happening around them. There are racial and economic struggles here but the experience is different in America compared to here. In the U.K., we have plenty of problems that can be addressed but I think Grime and Drill music is talking about it more. Hip-Hop, here, is not quite as sharp and broad as in the U.S. but I think Little Simz will start this resurgence and growth. The reason I say this is because of her wordplay and how she attacks music. There are two modes when it comes to Little Simz. She switches between these firm and confident raps that are bristling and cutting and then she has a more tender and revealing side that allows the tone to change and a different side to emerge. Sometimes, that switch can be felt in a single song and there is no predictable and premeditated template when it comes to her music. She has this energy and sense of unpredictable lust that makes her music so exciting. I love how she can name-drop artists like Jay-Z and put him in the same verse as William Shakespeare (Offence). There is cheekiness and humour that can combine with this confidence and real sense of self. Whether you call her a Rap artist or Hip-Hop innovator, it all leads to the same conclusion: Little Simz is one of the finest artists we have in the country at the moment.

A lot of the more potent and ‘real’ songs coming out right now are being made by Post-Punk bands. We have Drill and Grime music but I do not feel they get as much attention as they deserve. A lot of times, the music is confined to certain radio stations and it means the messages do not spread as far as they could. Maybe there is an intensity and sense of anger in the delivery that means many are put off or they only give it a brief listen. The most powerful and resonating tracks are those that can give power and potency but they are accessible and there is a degree of calm. Little Simz creates music that has these wonderful phrases and ideas wrapped together; music that brings different genres together and a broad palette that allows listens to investigate, wonder and get involved. If she were to create a more straight-ahead and brutal sound then her words would not be heard as much and they would lose their gravity. Little Simz can be accusatory and call out those who deserve it but a lot of her quality and appeal comes from the way she looks at herself and how far she has come. She is confident and unapologetic but she looks at music icons who died young and understands mortality is never far away and there is always a sense of the unpredictable around. These two mindsets create sensational music that has depth and soul but there is that youthful confidence and ambition. Not only do the lyrics strike and resonate but there are great hooks and compositional elements that elevate the words and brew their own wonder. There are few Rap/Hip-Hop artists who put as much care into the compositions but Little Simz shows great musicianship. Because of that, her music can appeal to those who are not usually fans of Rap/Hip-Hop and want something more accessible. That word might seem quite damp but accessibility is important today. The reason Hip-Hop gold of the past survived and created such heat was because of that mixture of powerful and striking words and music that had a richness and depth. Back then, there was a lot of sampling but modern artists like Little Simz are using cross-pollination and genre-splicing more. Because of that, I feel GREY Area will be one of these Hip-Hop records that gets talked about in decades to come.

 PHOTO CREDIT: @tamcader

I am always fascinated by the classic age of Hip-Hop in the U.S. and whether things have evolved from there. It is harder to sample music and create big albums like It Takes a Nation of Millions to Hold Us Back (Public Enemy) which is a shame. There is enough inspiration from political avenues so modern artists have a lot to work from. I feel Little Simz is a natural lead and voice because she has a confidence of who she is and how good she is. There is never any arrogance; more a sense she has come a long way and is not going to be cowed. Having felt a bit of isolation and strain living in London, she has taken some time to breathe and I think her current album is her most natural, ambitious and nuanced. The twenty-five-year-old Simbi Ajikawo amazed with her 2017 concept album, Stillness in Wonderland, and many asked how long it would be until she got the same mainstream credibility as many of her male peers. There is still this issue with gender-equality in music and how there are small and gradual changes – not as fast as one would like. Being a black woman in music is not an easy thing to handle and I feel we all need to do more. Little Simz is letting her music do the talking and she knows where she wants to head. The fact she is so confident and proud of what she is doing means people cannot ignore the music and there must be more opportunities at her feet. It cannot be long until she headlines festivals and, at the very least, she has to be seen as one of the best artists we have right now. Little Simz is someone who can talk about herself and her struggles but, like so many Rap/Hip-Hop artists, straying away from commercial avenues is important. I hear too many Pop records that take few risks and are following a formula. Listen to Little Simz and, on GREY Area, she talks about fallen idols and she sends out these barbs; she has a quick wit and has a hugely impressive flow. The combination is exceptional and the music busy and mind-blowing.      

I feel 2019 is already shaping up to a more interesting and diverse year than 2018. We had some great albums last year but I feel, more and more, modern music needs to change its tone and stray away from the commercial mainstream. New albums from Little Simz, Julia Jacklin and Solange have impressed because they are a lot more striking and mature than so much of the mainstream best. Each artist is open and revealing but they do not merely focus on themselves and their own problems. Artists that look at the outside world and tackle issues head-on are to be commended. In Little Simz, we have a young woman who knows she has a role in music and will do what it takes to get there. She understands her brilliance but there is always this sense that obstacles are around and the path is not always clear. That sense of understanding, intelligence and maturity is another reason why Little Simz can lead a Hip-Hop revolution and define 2019. This year is very young still but female artists are making more of a stand. Perhaps it is a reaction to the comparative lack of attention they get and how hard they have to struggle. I like to think the reason why female-made artists are stronger is because of greater emotional depth and a finer sense of innovation. The men are ambitious when it comes to music but there is something about female artists that makes them more daring and exciting; a mentality that pushes music beyond the ordinary and a lyrical style that is both personal yet universal. Maybe that is my personal opinion but there is something in it. I do think there need to be big changes made and the industry cannot deny great female artists much longer. Small steps are being made but there is a long way to go before we see any real improvement and parity.

Before I come to review Venom – from GREY Area – it is worth looking at the albums that have received huge reviews this year and, for the most part, they have been made by women. There are many reason why female-made music is stronger this year and I feel the industry needs to react. Festivals are still imbalanced and I get the feeling artists like Little Simz have always been confined to genre-specific festivals. Her music appeals to those who love Rap and Hip-Hop but it is broad and eclectic. She could make a great headliner at any festival and I hope she achieved that next year. If we want music to progress and inspire generations then we need to give spotlight to artists like Little Simz. She has released so much incredible music and I feel a lot of her inferior male peers are given chances ahead of her. I am genuinely excited about the new wave of British Hip-Hop/Rap artists and what they are saying right now. I still think the U.S. has a stronger scene right now but we are spawning so many hungry and exciting young voices. This will continue and I think, at the forefront, are women. Perhaps I have said enough but it is important to put these thoughts out there and not let them stand. The industry needs to do more and it needs to recognise how good artists like Little Simz are. She has created an album that could well walk away with album of the year prizes – it is hard to see too many records beating GREY Area this year! The reviews are celebratory and ecstatic and it is wonderful to see a British artist getting so much respect in a genre that, in my mind, has always been dominated by U.S. artists. Her new album boasts so many wonderful songs but, rather than give each a small review, I wanted to focus on one that I feel stands out and deserves greater affection: Venom is a natural standout and sensational moment from Little Simz.

It was hard selecting one song to highlight from GREY Area but I wanted to look at Venom because it lasted longest in my mind. It is the shortest track on the album but that does not mean it is the least significant. In fact, its opening is the most stirring and unusual. We have these haunting and Hitchcock-like strings that sting and spook with their creep. It is a strong and unexpected opening that definitely opens up your eyes and makes you wonder where the song is heading. Maybe it is appropriate that a song called Venom would start with such a stir. I feel a lot of Grime and Rap music can be a bit boring and samey because the musical dexterity is not there. It is all the same beats and electronics and it seems like the music is there merely to act as a guide for the vocal. When it comes to Little Simz, she understands the important role the composition plays and how much power can be exerted from an original and exciting sound. She manages to conquer when it comes to lyrics, music and delivery. There are not many artists who achieve that and, before a word has been delivered on Venom, you know you are listening to someone who is leagues ahead of the competition. After the uneasy and tense strings, Little Simz comes in with a fast and unexpected delivery. She is not standing still and the heavy sound that introduced the song makes way for this very focus and top-of-the-mix vocal. She looks at mental-health and suicidality – “Minds fucked even more than I realised” – and there is this black and tense situation. A lot of artists are tackling mental-health right now and Little Simz does so in a very direct and urgent way. She can see the turmoil around her and, soon, she turns to misogyny and the fact she is not given her dues. Using words like ‘ovaries’ and ‘pussy’ to describe the discrimination is fresh and will turn heads.

Little Simz is direct and wants people to listen. At a certain point, the vocal quickens and it is almost impossible to keep up with Little Simz. It is amazing how she manages to keep her breath and deliver the words without breaking concentration. The words tumble to give the song more tension and urgency. Little Simz is falling and going down and she is asking someone – maybe those who attack her – to follow her. She does not want to hear apologise and she is looking for answers. She is not sure whether she is going insane and what is happening right now. At every stage, there are these scenes of violence and threats. A lot of times, one wonders whether the fear is psychological or physical. Little Simz talks about having a gun pointed at her and this danger lurking around every corner. Having talked about mental-health, I wonder whether a lot of these images are part of her imagination or the realities of the streets are being laid out. The heroine sees struggle behind doors and people losing their minds; she is finding men willing to attack her and take advantage and, in life and music, misogyny raising its head. It is a song that will get everyone thinking and you need to listen to it several times just to get on top of everything said. Venom is the most exhilarating song on GREY Area and delivers so much in a short period of time. Those new to Little Simz might favour songs such as Selfish to get their feet wet but I think Venom is a stunning offering that everyone needs to hear right away! She has created this masterclass in delivery, lyrical power and musical dexterity. There is nobody out there like her right now and festival organisers everywhere should realise what a talent we have in our midst!

  PHOTO CREDIT: Jack Bridgland for CRACK 

She knows she is overlooked because she is a woman and she also understands how good she is. Little Simz spits and raps with such speed and directness. The words tumble out and, apart from the strings trying to keep pace in the background, it is Little Simz’s exceptional flow that captivates. She discusses bleak mental states and how she has never got that low – not one who will take herself out or let the world bury her. The venom coming from men and their oppression seems to weight the heaviest on her mind. After delivering this frantic and stunning passage, her voice cuts out and the song enters a new phase. Having heard lighter songs on GREY Area – such as Selfish (ft. Cleo Sol) – having this edgier and grittier sound is, in my mind, where she shines. The strings are replaced by a more booming drum (?) sound and the mood shifts once more. Whereas lesser artists might keep the same sound and show a lack of sophistication, Little Simz keeps the song snaking and, with each verse, brings in a new sound. She talks about things she has seen in the night: the dark crawl and the danger around; how it has affected her mind and why it would alarm other people. One of the biggest weapons in Little Simz’s arsenal is the fact she can be quite direct and bold with her language. There are expletives to be heard but they are never thrown in to cause shock at all. She is reflecting a true voice and is proving she is someone not be messed with. She talks about guys wanting blood and she is looking for the same. Whether she is being sexually harassed or there is violence on the street, the heroine is facing it down and warning she is not to be messed with. She chants the word ‘venom’ as a deeper voice also does the same – whether it is her voice processed or a man, I am not sure. The strings come back in and are less tense than in the introduction. I love how the violins add this sense of terror and gothic horror. It allows Venom to be a much more variegated and cinematic song than it would have been if it were just beats and electronics.

The juggernaut has been rolling and GREY Area has rolled out to the masses. The reviews have been four/five-star and I have not heard anything negative said about the album. It is rare when you hear an artist talked about in such fond terms with nobody offering even the slightest bit of constructive criticism. That is a sign you are doing something right and at the top of your game. Little Simz is far stronger than her male peers but she has also, on GREY Area, reconciled with a difficult past and you feel like she has addressed some issues that were troubling her. I get the sense of this young woman finding her feet and maybe feeling buried by the city and the people around her. She has not long entered the twenty-sixth year of her life and many could forgive her for having worries and fears. If the young artist feels strange at times, you would not really sense too much of that from her latest record. The sheer confidence and boldness throughout means you are always hooked and standing to attention. Her sound is not simply attack and pummel without range and emotional variation. She is someone who can switch between a more openhearted sound and rising and striking without too much notice. It is a heady brew and great mix that will appeal to the Hip-Hop/Rap elite and those who are new to the genres. It is hard to ignore Little Simz and I urge people to catch her perform. She is still giving interviews and busy spreading the word when it comes to her album. I know it is hectic but she seems to love every moment. It is wonderful hearing her talk about her music and how it came together. When she has chance to hit the road then I would recommend you watch the songs come to life on the stage. She is a fantastic live act and someone who can win every heart. I am not sure what her touring plans are like but look at her social media channels and she will keep you updated. There are few artists who are as sharp, lyrically, and have such a confident voice. It is exciting to think where Little Simz could head and what comes next for her. She is still so young and being this developed and assured this early, to some, could be a danger. In Little Simz’s case, I feel she can grow even stronger and her music can get even better – which is a scary thought when you think about it! We have one of the world’s best young artists performing in the U.K. right now and GREY Area is the album to beat this year. I do not think there will be anyone who can topple Little Simz’s masterpiece this year but, as others try, play the music and realise why many people are calling her...

A genius and innovator to watch.

___________

Follow Little Simz

  PHOTO CREDIT: Jack Bridgland for CRACK 

Official:

https://www.littlesimz.co/

Twitter:

https://twitter.com/LittleSimz

Facebook:

https://www.facebook.com/LittleSimz/

Spotify:

https://open.spotify.com/artist/6eXZu6O7nAUA5z6vLV8NKI?si=biE6zdthTWC07cNdcDCvwg

YouTube:

https://www.youtube.com/channel/UC89IYKXyf15qNezA7IuFG1A

Instagram:

https://www.instagram.com/littlesimz/

SoundCloud:

https://soundcloud.com/littlesimz

ALL OTHER PHOTOS:

Getty Images/Press

TRACK REVIEW: Leah Nobel - This Pain Will Be Useful

TRACK REVIEW:

 

Leah Nobel

This Pain Will Be Useful

9.4/10

The track, This Pain Will Be Useful, is available via:

https://www.youtube.com/watch?v=2KGZBUOtfM0

ORIGIN:

Nashville, U.S.A.

GENRE:

Folk

The album, Running in Borrowed Shoes, is available via: https://open.spotify.com/album/5Nc565BIGtWxkjs2nUCr3M?si=9NbfOXvmTSCFARe1RyAPZg

RELEASE DATE:

8th February, 2019

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MAYBE it is a bit mistimed on my part...

but I am heading to Nashville twice within the same weekend! Whilst I cannot cover the same ground I did with Country artist Maren Morris, I can provide a new spin regarding Leah Nobel. I wanted to talk about the city in general and its variation; bending styles and how her new music is among the most interesting about; concepts for albums and why hers is especially arresting; artists who progress and build from small foundations; diverse talent who can step into different realms and make it work – I will end by seeing where Nobel might head this year. It is rare I get to talk about Nashville so it is not too bad I am back there again. It is a part of the world that is producing some incredible music and we associate it heavily with Country. Whereas Detroit used to be the centre of American music once upon a time I think, more and more, Nashville is shaping up to take its crown. New York and Los Angeles are huge but I think there is something special happening in Nashville. There is a lot of great Country music there but, as with Leah Nobel, there are Folk blends to be found. I have never been to the city – as I explained yesterday – but I am attracted by the richness of the music there and the quality coming through. I always love discovering fresh sounds and Nashville is a lot broader than one would think. Many of its Country artists splice genres together – Nobel is someone who is keen to experiment and not stand still. What strikes me about Nashville is the sense of togetherness and community in Nashville. I associate bigger areas like New York with a certain facelessness and lack of spirit. There are small communities that work together but I see (New York) as daunting and a little disconnected. Is it easy for an artist there to find like-minded people and a group that will support them? Maybe so but it seems like Nashville is a lot more stocked with a warm bunch of people who will support musicians.

I think environment and background can really influence music and dictate what an artist sounds like. If you live in a very busy and packed place then you are going to feel that strain and stress. Maybe the music might have a bit of light but I tend to find there is a correlation between the nature of your backdrop and what you will produce. Nashville is a busy city but there is a lot of beauty and space to be discovered. I do think there is more attention given to New York and Los Angeles and we often overlook Nashville. It is a wonderful climate for music and, as we can hear with Leah Nobel, you cannot define Nashville by a single sound. I will move onto a new subject soon but I wanted to recommend people check out Nashville and the music coming from there at the moment. I do think there is a case to be made for Nashville becoming the centre of American music. I feel the Country music scene is growing and there is this raft of great artists who are mixing genres together and standing out from their peers. In years to come, I envisage the city will continue to recruit musicians and more people will move there. Nashville has some great venues already but more will come through and the most popular there already will survive and grow. I feel Country music needs to address its gender inequality but there are some powerful female artists striking hard. Leah Nobel is someone to keep an eye out for and follow. She has adopted a lot of the elements of Nashville but brings her own shades and personality to the music. I feel she can make a real impact on the city and inspire a new generation coming through. It is exciting discovering these keen artists that have a fresh and wonderful sound at their disposal. It is the way Nobel bends sounds together that thrills me the most.

I will talk about her album, Running in Borrowed Shoes, in a bit but, right now, I wanted to talk about her music and what it contains. There are Folk tinges and suggestions but it is hard to define her in terms of a single genre. Her distinct voice shines through and does not change that much but the music around her changes up and adapts. This is a great balance because we get a singularity but this altering climate. Nobel can put together Folk and Pop together with little bits of Country. It is a heady brew and blend that definitely stays with you. I love all the different elements of the music and how rich it is. This is, as I will explain, apt because Nobel is telling different stories and inhabiting different personas. What amazes me is how accomplished and natural everything sounds. There are too many artists who produce the same thing and they tend to repeat themselves all of the time. Those that offer us something more varied and interesting definitely stand out. Nobel has always worked this way but her latest album is her most expansive and interesting work yet. I love how the instrumentation is not second to the voice. There is a great balance between the voice and composition and one experiences something filmic and gripping in each song. I feel artists do tend to hone their sound too much and you listen to albums and often feel uninvolved. Maybe the songs are too similar and that creates a weariness and predictability. Going forward, I feel Nobel will keep on pressing and bringing new sounds into what she does. I am a fan of the way she works and, in a busy sea of female songwriters, her voice and talent is essential. Is it easy to blend sounds together and make things work? Can it be a risk if you are quite ambitious and varied?

There is something said to being safer and not throwing too much into the mix. I have seen artists who have taken things too far or lost focus. If you do that then it can be hard to come back. Similarly, there are dangers regarding having too narrow a sound and that can create its own problems. I think ambition is great in music but it needs to be teamed with focus and a sense of balance. Nobel manages to put her heart and soul into everything she does but the songs never seem too cluttered or random. Everything has that personality and Nobel sound but there are so many colours and contours that take you by surprise. I mentioned how Nashville is known for its Country music but there is a mentality in the city that wants artists to push things forward and be who they are. Maybe Berlin is the only other city that comes to mind when it comes to that approach. Maybe the German country is bolder regarding sound but both Berlin and Nashville cater to the open-minded and provide music of all different tastes and angles. I do think artists such as Leah Nobel will help bring more people to Nashville and urge new artists to be ambitious with their music. Running in Borrowed Shoes has to be eclectic but it would have been easy for Nobel to lose herself or fail. It is a big and impressive album but she holds everything together wonderfully. Many might be new to genres like Folk and be unsure whether to investigate Leah Nobel. I would say she is one of the more accessible artists and provides these songs that take in so much and appeal to everyone. It is her warm voice and distinct lyrical style that elevates the tones and compositions to dizzying heights. There are not that many artists who have the same skillset as her so, for that reason, I urge people to have a listen and explore her new record fully.

There is something wonderful about Running in Borrowed Shoes. One looks at the title and assumes it relates to a sense of empathy and having to identify with someone else. Rather than walking a mile in someone’s shoes, Nobel has conducted over one-hundred interviews and brought them to her music. I think this is a really great idea. The idea of a ‘concept’ album can make people shudder and recoil but, in many cases, the concept is quite loose or very interesting. I agree concept albums can be a nightmare but Nobel’s endeavour relates to real human beings and their stories. Nobody can object to that and we get these wonderful songs that are more real than anything out there. I do feel a lot of songwriters write about themselves a lot and that can actually drive people away. You tend to find the material is rather focused on love and heartbreak. Not only is this quite depressive but you never get a true sense of who an artist is. A life is about more than relationships and getting your heart broken. We get a fraction of a life represented in music; a side that is very deep and quite revealing. Maybe many feel talking about their upbringing or a specific event is quite limiting and tough but there is not enough variety and challenge in music. I want to listen to a young Pop artist who is tackling something unique or talking about a specific time in their life. Right now, we have this scene that is saturated with the same sort of sounds and themes. I am getting tired hearing the same songs that discuss love or cheating. It is meant to relate to a young demographic but, again, teens are not all about love and relations. They have rich lives and their stories are not being told right now. Leah Nobel’s album subjects might be a bit older, in general, than teenagers but she has drawn tales from all walks of life.

What Running in Borrowed Shoes does is act like this empathetic and open interview series that is translated into music. The singing is from Nobel but she manages to transform these tales into something that is her own. It is hard to turn personal stories into something that resonates musically but she has managed to do it. I do love the range of people she talked to and what come through. It is for that reason you cannot only listen to the one song and leave it at that. I wanted to look at This Pain Will Be Useful as there is a video out and it seems quite fresh. There are ten interesting stories on the album and every one of them has its own gravity and appeal. You might think an album that deals with human experiences and different people might seem to be a bit depressive or lack any sense of connection. Maybe it is hard to empathise with people you do not know and it might be challenging to understand their plight. It is strange to hear an album that is not about the songwriter’s own life but I think this approach will lead others to do something new. I will move on in a bit but I think Leah Nobel has created something that is inspiring and fascinating. These people we do not know get their tales heard and, given the fact she conducted so many interviews, one wonders whether another edition will come out. How often do real and normal people get their voices heard in modern music? There is so much attention around what music should be and how songwriters should compose. The mainstream might still be geared towards the commercial side of things – the same songs that address love and heartache – but there is room for manoeuvre on the outskirts. Leah Nobel is on an upward arc right now but, looking back, she started on modest foundations.

She is signed to Big Yellow Dog Music now but, looking back, she was raised in Arizona. Growing up in Phoenix, she would play open mic nights and acoustic shows in colleges. It seems extraordinary she has grown from this ambitious and keen songwriter to someone who is turning heads in Nashville. Every artist has to start with a slightly less-exciting life and career but Nobel has taken some big steps in a few years. I guess all of those open mic nights and smaller gigs helped when it came to songwriting and her career. You can hear the confidence in her material and, as a live performer, she has grown a lot. She is one of the most striking performers around and her written material and live sets blend. You can tell she picks up a lot from the road and sprinkles it into her songs. Since 2016, Nobel has come a long way. She had a diverse year in 2016. She created an Alt-Pop alter ego, HAEL, as a way to experiment with a beat-centric sound. That persona was featured in adverts and she had numerous T.V. placements – including Grey’s Anatomy. It was around the same time she began working on Running in Borrowed Shoes. I do like the fact Nobel was balancing this more Pop-themed act that was being heard in adverts and T.V. shows and working on an album that was very different. She has always been very busy but I do prefer the sound and flavour we get with the album. I do like Pop music but I think Running in Borrowed Shoes is a more interesting and promising project and one that will captivate so many people. Maybe she will be the first to admit she has achieved an awful lot since the earliest days. Not many artists take such a leap and create so much success for themselves. That is because Leah Nobel is one of those people that takes music by the horns and does not rest.

She is always looking to be different and create something that is unlike anything around. Maybe this is Nashville and the way it urges its artists to be more interesting but it is a blend of her upbringing, her morals and the sounds of Nashville. There are a lot of great female artists around that are not getting the credit they deserve. I am not sure whether Nobel has faced the same issue as Country singers on the radio there: being overlooked in favour of men and seen as a less appealing option. There are issues that need to be corrected but, in general, Nashville has this spirit and flair that inspires musicians to be better and reach further. From the bright-eyed singer from Arizona to the on-the-cusp-of-the-mainstream star right now, it has been a productive and fascinating last few years. I do wonder where she will head from here and what will come next – I shall cover that in the conclusion. I wanted to review Leah Nobel because it affords me the chance to step away from London but also look at an album that takes the listener somewhere special. I like this approach where a songwriter can talk to others and interview them; bring these stories into the music and create something available to all. You do wonder what happened to the people we hear about and what the actual interviews were like. I would be interested to know whether Nobel kept the recordings and they are available to hear. It is fascinating wondering how these conversations went down and why they inspired music. I have not had the time to review the entire album – as I do not review albums – but I have selected one of the ten tracks; the one I liked the most and is a great starting point. Make sure you investigate all the tracks and take the time to digest everything being delivered. Running in Borrowed Shoes is a rich and rewarding album that is very different to anything around. You will be hooked after one listen and it makes me wonder whether there are more stories as-yet-untold from Leah Nobel.

The opening notes of This Pain Will Be Useful are stern acoustic guitar strums that seem to represent a sense of hurt and urgency. Certainly, one feels this tangible force and drive that might be a lost memory or a current pain. I saw the song title and was instantly drawn to ideas around illness and a definite ache. Nobel has said how this pain can be useful; how a seed can grow from a dying tree and blossom into something. We do not hear who the character is – in terms of the inspiration – but it seems like there is tis rather inspiring message. The pain might be emotional or physical but there is never this sense that things are lost and it is useless. Instead, Nobel sings about pain being something constructive that can lead to be better things. We hear of the subject/Nobel liking a song in their lungs and you start to picture this distinct scene. I feel like we are hearing about a woman and someone who might be slightly older. Maybe I am off the mark but that is the sense I got listening to the lyrics. This Pain Will Be Useful keeps a steady pace in terms of the composition and vocal but that means it is easier to capture everything and understand what is being said. That striking guitar sound keeps a certain physicality and heart alive whilst Nobel sings in a very passionate yet soft way. I do wonder who inspired the song and whether their pain was a serious one or something they could recover from. In any case, the message is one of hope and not being defeated by something dark. It seems, whoever we are hearing about, they have been written off and not given a fair chance. They are defiant and determined to make something of themselves. They will rise and take something from that doubt and cynicism. The way Nobel sings it gives the story this very stirring yet compelling tone. She sounds completely committed to the song and like she is singing about herself.

Maybe things have been bad in the past but there is this renewed spirit and direction. Nobel lets her voice swoon and fly and you get a lovely sense of classic singers and a past era. The fact there is little compositional intrusion allows the vocal to shine and tell the story. I do like the pace of the song and the sense of swoon and sway. It gets into the blood and mind and relaxes you. It makes me wonder which person compelled thing song and where they are now. It is clear they have had to tackle a lack of respect and faith and have been maligned. Now, for some reason, there is a sense of inspiration and this new lease of life. This Pain Will Be Useful is a song that will resonate with many people and seem familiar. Many people will have gone through the same experiences and been written off. Instead of letting that pressure get to them, they would have taken a stride and proved people wrong. I get the impression of this older person who has struggled a lot but, at this later stage, managed to make something of themselves. The idea of pain being edifying and useful is one that is not offered explored through song. In terms of tone, there is a little bit of First Aid Kit and Lana Del Rey fused together: a dreaminess and softer voice that has so much grace and allure. We hear about bird singing and brighter skies coming through. I am not sure what has compelled this transformation and betterment but Nobel delivers her words with such conviction, it is almost like she is talking about herself. Nobel sings of songs being sung in cars and parking lots; men making house and all sorts of things. You project these images and scenes and, as I said, there is this cinematic aspect. By the end of the song, you do wonder who this is about and what became of them. I know Leah Nobel has explained some of the songs on Running in Borrowed Shoes and it would be good to know who the subject of This Pain Will Be Useful is. I had to listen back and get another perspective. On the second listen, I was focusing on certain words and trying to piece things together. It is hard to get a clear view of who the person in the song is but Leah Nobel inhabits it herself and makes us curious. Songs that make you dig deeper and wonder about their origins should be celebrated as it is very rare in the modern time. The album is full of these wonderful and interesting songs that all come from interviews and personal tales. I think a lot of modern artists should take this approach to creativity and actually go out and chat with different people. Leah Nobel has shown how deep and intriguing the finished results can be.

Knowing that she conducted so many interviews and met myriad people suggests there might be more to come from her in regards personal stories. Running in Borrowed Shoes is terrific and the fact there is just ten tracks means it is quite tight and focused. You get different blends and angles from each song and a chance to connect with real people – even if we do not know them personally. There has been a lot of love for the album and so many people have related to it. I feel you can only get so much from a record that talks of love and the perspective of a songwriter. It all starts to blend together and is not that different to anything else. Modern music is in danger of becoming this mass of similar-sounding songs that offer nothing new. I love the fact Leah Nobel has done something new and spent time collating interviews with people. It was a time-consuming project and one that would have involved a lot of passion and commitment. I think that is what puts off a lot of artists: the fact they might have to spend time working on something and it would not be instant. I like musicians who can take a different approach and know there is more to music than relationships and personal woes. By turning the lens outwards and bringing other people to the music, Nobel has crafted something that has this unique D.N.A. In years to come, when the subjects are not around, their stories will be preserved for generations to come. That must be rewarding and should inspire other songwriters to do something similar. I wonder whether Leah Nobel is touring soon and will bring these songs to the U.K. It might be expensive to come over here but I am sure there are loads of people who want to hear the songs live and find out more about her. She is a popular artist in the U.S. and I know there is huge demand there. This is good to know and I like the fact that this very special artist has produced something wonderfully original and interesting. Let’s hope this rubs off on other artists and they take guidance from Leah Nobel and...

TAKE the breath away.

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Follow Leah Nobel

Official:

https://www.leahnobel.com/

Twitter:

https://twitter.com/LeahNobel

Facebook:

https://www.facebook.com/leahnobelmusic/

Spotify:

https://open.spotify.com/artist/5WHKBKrvTBMPoQX3v3Bq8J?si=xaPF-XtxSfudVY9Jv9FHGw

YouTube:

https://www.youtube.com/user/leahNator21

Instagram:

https://www.instagram.com/leahnobel/

SoundCloud:

https://soundcloud.com/leahnobelmusic

PHOTOS:

Kelsey Cherry Photography

TRACK REVIEW: Maren Morris - The Bones

TRACK REVIEW:

 

Maren Morris

PHOTO CREDIT: Jamie Nelson/Courtesy of Sony Music Nashville

The Bones

9.5/10

The track, The Bones, is available via:

https://www.youtube.com/watch?v=oODllqrxrLQ

ORIGIN:

Nashville, U.S.A.

GENRE:

Country

RELEASE DATE:

22nd February, 2019

The album, Girl, is released on 8th March, 2019. Pre-order here

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THE advantage of doing a review of someone...

 PHOTO CREDIT: @papermagazine

who is pretty well-known is that you have a lot of information to go off of! I will speak about Maren Morris and her music in a bit but, before then, I wanted to address Country music and why we do not hear it so much here; why there is a gender imbalance in the U.S. and how radio is to blame; why Morris is someone who is capable of bringing Country to the masses; how we are all a bit reserved about music and not as adventurous as we should be; bringing a bit more kick and excitement into music – I will end by looking at Maren Morris and how she will develop this year. Many of us tend to avoid Country music because we feel it is quite cheesy and does not hold a lot of weight. Maybe we have the impression of artists like Billy Ray Cyrus and those sorts of acts. Even if you do not like performers such as Dolly Parton, you have to admit that she – and peers like Tammy Wynette – transformed the scene and have made a huge mark. Modern artists are not quite as limited as Country stars of the past. I do not overly-love what came before and feel there was a tendency towards the bleeding heart and twanging guitars. I like Country music that is more energised and optimistic and, as such, you have to tread carefully through the archives. There are, I admit, a lot of cheesy older artists who one might be wise to avoid but today there is a new breed adding something new to Country. I have a lot of respect for the Country legends but I think the genre is more accessible today. Artists such as Maren Morris are splicing together Pop and Country and creating these polished and memorable songs. Look at success stories like Kacey Musgraves – who recently scored big at the Grammys – and we cannot deny Country music today is a different affair. Despite the fact it is popular in the U.S., we do not have the same scene here.

There are Country acts in the U.K. but nothing like you get in America. Whereas U.S. Country fuses genres and is quite ambitious, I tend to find we are more limited here and our brand is not as potent. We think of Country and Nashville, Tennessee comes to mind. It is the Mecca of Country and provides so much history and inspiration. The city is teeming with great venues, players and beautiful visions and, as such, artists feel completely relaxed and influenced there. This supportive network of Country artists means the genre is growing and attracting new musicians by the day. The fact Country is more varied and accessible now is enticing some from Pop and, if anything, showing how much stronger Country is. I feel artists such as Kacey Musgraves and Maren Morris are able to create sharper, more nuanced songs that do not rely on processed vocals, the same beats and tired lyrical suggestions. In this country, we are inspired by Country for sure but I could not really name many successful Country artists. We do not have anywhere like Nashville here and it seems rather tragic in comparison. I could not even think what our equivalent would be and we do not have the same venues and labels that can support artists. Our Country scene is more underground and, whilst it has some interesting acts, is nothing like the U.S. I do wonder why and I think we still have this misconception about the genre. Many have impressions of cowboys and line dancing; something really awful and a type of music that is reserved to true fans. Maybe we need to embrace U.S. sounds and encourage more of our new musicians to embrace Country. We do Pop music very well but Country is still pushed to the outskirts. Many claim we have a great Country culture here but I would disagree. I do think we have a long way and need to change opinions regarding the genre. Maren Morris and her peers are showing what can come from Country and how good it can really be.

Although there is some great Country music in the U.S., there is a big problem regarding radio and playing female artists. The problem is that many Country stations do not play female artists back to back as they feel listeners would rebel and complain. The explanation is that male artists are more appealing and popular with the listenership. There have been calls to change this policy and play more female artists on Country stations. Last year, Rolling Stone provided some alarming stats:

“In radio’s top 50 for the week of Oct. 1, as compiled by industry newsletter Country Aircheck, only six songs are from women. Were it not for Maren Morris’ slow-rising “Rich” finally edging up to No. 9, the top 10 would be devoid of female artists entirely. Elsewhere Carly Pearce comes in at No. 13, followed by Sugarland (17), Kelsea Ballerini (28), Danielle Bradbery (a duet with Thomas Rhett at No. 46) and a just-released Carrie Underwood single (47)”.

Morris is one of the artists making up for a shortfall - but consider how musicians such as Kacey Musgraves and Carrie Underwood are succeeding and their tales are not being told. It is alarming seeing how ignorant Country stations are in the U.S. and why they constantly ignore female artists. There is no shortage of talent out there so one wonders why women are being overlooked. In the Rolling Stone article, more information came to light:

“RJ Curtis, longtime board member of Nashville’s Country Radio Broadcasters, counters, “It’s an easy thing to say, that women only want to hear hot-looking guys and not other women, but research people I’ve talked to say there’s no data that supports that.” He agrees that most stations won’t play two female artists in a row, but in his view, the reason is that they’re so scarce, programmers are forced to spread them around. “I know women would hate being referred to as inventory, but we don’t have enough female artist inventory coming down the pipeline, and I don’t think country radio is responsible for that,” Curtis says, defending radio against its bad rap in the ongoing controversy. He estimates that 20% to 25% of the adds at radio in a given week are women performers, “and if you go look at the artist rosters at country labels, it’s very proportionate.”

 PHOTO CREDIT: @papermagazine 

There is this vicious cycle where many labels are not signing women because they feel they will not get played. I feel like radio is the most influential source and is creating this issue. Many listeners prefer male artists and feel like females do not have much to say. Maybe this is born from an age-old sense of discrimination and narrowness. There have been some iconic Country female artists but the story is different today. There is talent to be found, for sure, but they are not being given a platform and a voice. The chart positions, as the article continues, is quite worrying:

But the percentage of women achieving half-decent chart positions is well below 20% — and Curtis faults some programmers for allowing records by female stars to stall out, like Ballerini’s underperforming “I Hate Love Songs,” which he was sure would be a smash. He thinks Morris also merits more play. “Maren had one of the biggest records of the year. Unfortunately, it was on Top 40 [‘The Middle,’ with Zedd and Grey]. Maren has had to struggle getting traction, and other formats are taking our artists. Now you have Kelsea making a [pop] record with the Chainsmokers, and I feel like country radio should take a look at that and go, wait a minute”.

We do need to change things because, as it stands, radio bosses and labels are stubborn and refusing to budge. There is an outcry and call for change but these calls are not being heeded at the moment. I wonder whether it is even possible to break the cycle and appeal to the bosses and D.J.s who continue to play men above women. Even the major success of artists like Maren Morris has not turned the tide. She, along with her great peers, is helping strike a conversation and raise more awareness. It seems the only way we will get change is if artists like Morris continue to grow and, before long, there will be no choice but to feature them more.

The article above mentioned Morris and how she is one of the most successful artists in Country. Her chart success and great music is striking a chord and bringing Country music to more people. In this interview Morris claimed she is not really a Pop star and is more Country. The fact is that Morris is fusing Pop with Country and maybe that is a reason why she is able to resonate and succeed. I am not suggesting the Country scene, at its purest, is for the die-hards and true fans but a lot of the more successful artists of the moment are uniting genres together. I do feel like Maren Morris has this determination and knowledge of the scene. She is savvy and smart; she has duetted with Alicia Keys and knows the business inside out. In fact, when Morris moved to Nashville and started writing songs for others, she got a note sent back – from a label or promoter – saying that the song was uniquely her. It was hard, maybe, for Morris to write for someone else because she had this singular talent and sense of who she was. Morris was listening to the radio and hearing male-focused songs talking about love in a very staid and cliché way. She was going to address love in its reality: concentrating on the ugly moments and the heartaches. Artists such as Taylor Swift moved from Country to mainstream Pop – one feels that might be a reaction to the radio stations not playing many Country women. Morris is comfortable playing Country and, whilst she does inject Pop into the brew, she looks up to her female peers and the icons of the past. She wants to change attitudes and the culture and I feel she can create a genuine revolution.

Think about the scene right now and there are so many interesting Country songs/albums around. I feel the women are producing more interesting and realistic music. Morris is one who likes to talk about love and relationships in a very personal and real way: many of her male peers are not being as honest or seem to following some rather dull rulebook. Not only is Morris’ determination and talent going to help make a difference but she knows the realities of the current scene. When speaking with Laura Snapes of The Guardian in 2017, Morris discussed the male-heavy ratio and how there is this bias:

“Country remains fairly dude-centric. In 2015, “bro country” reached its peak in a critical mass of male artists for whom a hot date entailed fishing and drinking “Bud” with a girl in tiny denim shorts, romancing her in the aisle of a convenience store, then adjourning to the back of his sweet truck. That summer, prominent radio consultant Keith Hill used a bizarre analogy when he advised stations to avoid playing female artists if they wanted to get ratings. Female artists were “just not the lettuce in our salad”, he said. “The lettuce is Luke Bryan and Blake Shelton, Keith Urban… The tomatoes of our salad are the females.” Inevitably labelled saladgate, “it threw a brighter spotlight on the fact that there are far more limited spots for women than men on country radio playlists,” says leading country critic Jewly Hight. “There’s only room for one woman artist of each ‘type’.”

It’s a dispiriting revelation, but Morris sees a silver lining. “As a woman in country, you’re sort of this rare diamond,” she mocks. Her boyfriend is also a writer-artist. “He’s starting out, and I think it might be harder for guys now because there’s so many of them. You listen to the radio and there’s 10 dudes and they all sound the same, but when the girl comes on, you probably know who it is because it’s so distinct. There are guy artists that instantly get No 1s because someone heard it on the radio and thought it was a bigger artist because they sound so alike”.

Morris is definitely someone who is bringing excitement and personality into music. I feel Nashville and Country music allows more freedom and sense of expression. So much mainstream Pop is guided by labels and market demand. I do wonder how much flexibility artists have and what they can write about. Listen to the way Maren Morris writes and you know she is doing it for herself. She is a success already so can command a sense of independence and trust. I am excited because, unlike so many modern artists, there is a real pop and memorability to be found in her music. One can listen to a track like The Bones and remember it instantly. Every track has a different skin but they are sound distinctly like Maren Morris. I think Pop has a real problem right now regarding its appeal and longevity. How many mainstream Pop songs stand in the mind and sound as good as they did in years past? I do not think there is the sense of ambition and originality there once was and many people are embracing other genres. One of the big problems is a rather processed and downbeat feel to Pop. Morris does write about love in a very earnest way and takes her voice down low but there is this sense of naturalness. She never sound overly-processed and can always bring something positive and exciting to the fold! I do hope Country stations understand that artists like Maren Morris are not going anywhere and they represent the future. Maybe Morris will move more into Pop territory in years to come but I think, right now, she is providing a huge voice to female artists here. Nashville is in her soul and a tattoo she is unwilling to move. She embraces her surroundings and has a definite goal for the future. If you have not heard Morris – and are a bit wary about Country music – then I would encourage you to seek her out and chart her rise.

 PHOTO CREDIT: Alec Kugler

Whether you spell the album Girl in upper-case or not (some do, some do not), there is no debating the sense of boldness and exclamation you can hear throughout. Morris has said how this album is lighter and less angry than her debut. Maybe she was working through transition and relationship pains then but, now, she is embracing something more hopeful. Despite there being a lot of excitement on her album, I wanted to focus on a song that starts off a bit calmer and more emotional. The heroine talks about being in the “home stretch” of a bad run and she can see the end. The song starts with a delicate fleck of electric guitar; a riparian trickle that beckons images of home, the calm scenery and something quite tender. Morris delivers her words with syncopation and takes breaths between each line. She portrays a sense of passion and emotion that makes the song sound instantly real and pure. The chorus is undeniably the work of a modern Country artist like Morris. Maybe not as electric as something from Kacey Musgraves’ Golden Hour; The Bones’ chorus has that hook, kick and instantly sense of memorability. If the bones are good then nothing else matters. Things can go wrong – including, as she sings, “the glass could shatter” – but it does not matter. There is this motif as the heart being a home. Morris sings about the paint peeling and glass breaking. So long as the ‘bones’ – maybe the structure or foundations – are strong then she can withstand anything. One gets the impression these images reflect hard times and outside forces – the paint peeling maybe acting as a metaphor for there being arguments and harder nights. Morris sings with such passion and skill that every word and line stands out and settles in the mind. Morris is an artist with her own spirit but she makes sure her lyrics are accessible and can be translated easily. The idea of using weather as a metaphor is nothing that new.

Look back through music’s past and we hear of storms acting like break-ups; the rain being tears and the winds blowing like changing fate and circumstance. Morris, here, knows she and her man can tackle any storm and the house will not topple over against the wind and the storm – so long as the bones are good. Morris is backed by simple beats and the main focus is her voice. Many artists crowd music with electronics and too much production. Here, we get something that is fairly polished but has a sense of space and flexibility. Morris is free to interpret and stretch her emotional range; take her voice where the song goes and change her dynamic when the mood calls for it. There is a sense of structure and stability about the song that makes it such an instant and familiar thing. The Bones is one of the tracks on Girl that might not get the attention it warrants but I felt it needed some focus. What I love about it is the sense of calm and control in Morris’ tones matched against lyrics that promulgate strong weather and a couple who have messed things up. This relationship has swayed and been threatened but they are still standing. Written with Jimmy Robbins and Laura Veltz, Morris packs a lot of big imagery into the song. After the storms threatening their house, wolves have been at the door baying for blood. Whether a threat from other lovers or outside climates challenging this love, there has been this strength that has vanquished the mightiest of foes. There are moments of sensuality and we get some multi-tracked vocals; the chorus strikes and keeps coming back up – this indelible pleasure that is the mainstay and mandate of the song. Morris and her companion are tackling every negative and obstacle and are keen to survive. It is rare to see a love song that has that positive stride and happier façade. Not as bright as some other songs that will appear on Girl, The Bones is a more rich and mature track that does not wag its figure or call another girl out: instead, the anonymous pains and problems are tossed away and there is this steely focus from Morris. I am not sure who her sweetheart is – and whether she is talking about a sexual situation or a friendship – but you get the sense these two have seen a lot and faced some bad times. Whatever happens, so long as their heart and determination (the bones) are strong then nothing else can defeat them. This is a theme that runs through her album: determination and strength against challenging waters. Whether that is sexism or personal pressures, Morris is always open, honest and brave with her music. In a very mixed and divided time, this is just what we need to embrace!

Her album, Girl, is out on 8th March and it is the second album from the Texas-born star. She has progressed since her 2016 debut, Hero, and added new elements to her music. The title of her album, in a way, comes from the observation that a lot of Country songs have the word ‘girl’ in them. In many cases, it is a man talking about a woman and doing so in a very ordinary way. Morris noticed this and wanted to buck the trend. She is a girl – or woman – and wanted to write about girls. There is so much of this spirit and sense of progression in the album. She is currently touring right now and it is a busy time for Morris. When journalists were reviewing her debut, Hero, they noticed how canny and strong the songs were. Regardless of genre, there was fun and hooks to spare; a sense of boldness and an artist who had already found her feet. I have no doubt Girl will get the same sort of love and, judging songs like The Bones, it is going to be a spectacular thing. The record has fourteen tracks and there are some interesting titles in the fold – Gold Love and To Hell & Back stand out! The success of Morris and award s nods to artists like Kacey Musgraves should tell people Country music is really strong right now and women have a crucial role. Listen to the fusions and incredible songs from Maren Morris and Kacey Musgraves and these are two women taking music by the scruff of the neck. There are many more women in Country right now – such as Miranda Lambert and Carrie Underwood – who are, in my opinion, stronger than their male peers. I feel the tide can turn but those who are responsible for making changes are holding back.

Radio stations in the U.S. are still favouring men and we do not really have a solid enough Country scene here to offer some support and needed backup. Maybe it will take longer for equality to occur and it is artists such as Maren Morris who will make this a reality. Ensure you get a copy of Girl when it is released soon as it is not what you’d expect from a typical Country album. Many of us still have cliché impressions and think Country is a rather corny genre. There is so much variation and brilliance to be found and, if you are not a big fan of mainstream Pop but like Pop in general, then new Country music is for you! In a recent interview with Billboard, she was asked about the new album and writing with Greg Kurstin (who has worked for the likes of Beck):

“This album is really about self-acceptance and partner acceptance. The first half of the album is very self-reflective, and it's more about me. Then the second half of the record transitions into me being the counterpart to somebody else. I didn’t have any love songs on Hero, so there are a lot more on this one, and I think that’s been a really beautiful side to being a touring musician: You never see the person, you miss them all the time, and he’s a musician as well, so we’re constantly writing with each other or about each other. A lot of these songs reflect that. He actually wrote a couple of songs on this album with me. I feel like I’ve grown up more in the years since I released that album. And this is the timestamp of that”.

As timestamps go, Girl is a pretty impressive one and I would not be surprised if the album was placed quite high in the albums of the year lists come December. We need to be more aware of Country music and the great female artists who are doing something genuinely exciting and different. Maren Morris is leading her peers and sending out a message to Country music stations: there is nowhere to hide; recognise us now! I hope these calls are heeded and, rather late, women in Country get the respect and attention...

 PHOTO CREDIT: Austin Hargrave

THAT should have come years ago!

___________

Follow Maren Morris

 PHOTO CREDIT: @papermagazine

Official:

https://www.marenmorris.com/

Twitter:

https://twitter.com/marenmorris

Facebook:

https://www.facebook.com/marenmorris/

Spotify:

https://open.spotify.com/artist/6WY7D3jk8zTrHtmkqqo5GI?si=AjB0-qyfTwSCU-tj4yBqog

YouTube:

https://www.youtube.com/channel/UCDw6bxq6sJOBxcexivmmObA

Instagram:

https://www.instagram.com/marenmorris/

TRACK REVIEW: Gold Complex - Homegirl

TRACK REVIEW:

 

Gold Complex

Homegirl

9.5/10

The track, Homegirl, is available via:

https://open.spotify.com/track/44I3RJr477lVCsXilT1Iat?si=xvMbs_zATgeuoZ0XCyrzZQ

ORIGIN:

Toronto, Canada

GENRES:

Pop/R&B/Rock/Soul

RELEASE DATE:

8th February, 2019

__________

THE way I am doing things with reviews now...

is that I am focusing on one popular/well-known artist to start with at the weekend and then looking at someone new the next time around, on Sunday. The reason I am doing that is because, to be truthful, there is not a lot of distinction between the requests I get. I get ones like this that are distinct and give me new angles to explore but too many are very samey and there is nothing much to be said. Having to repeat myself every week can get very boring and frustrating so I find it is easier if I go after a bigger artist who I know will provide me with some fresh aspects. Today, as I look around, I get to look at Gold Complex. To be fair, I will be repeating myself a bit with regards some of the topics raised but they have some elements that are different from everything else I have featured lately. I will talk about recommendations for the band and strengthening their social media core; a bit about Canada and Toronto when it comes to music; fusing different worlds and getting something exceptional at the end; vocal harmony groups and larger acts – I will end by looking at Gold Complex and where they might head. I have featured the band before – back in 2016 – but can’t recall what I said and whether it was an interview or not. It was a long time ago so I am not being too harsh on myself but there has been quite a bit of time since then for the guys to build and put new stuff into the world. They have been very busy and developing their sound as they go. I think they are in a really strong position right now and they will only continue to grow bigger and more confident. The guys have a great sound and sensation and they are doing their very best to promote that and ensure they keep the material coming – and that it is of a very good quality.

I think they could definitely have a few more shots out there. I say this with every act – or most of them – but there is this scope for visual expansion. Gold Complex is an octet and, as such, they have various different angles they can take regarding photos. If they want to do all group shots then that is cool but they can split into smaller groups and try some concepts. I think they have some very good photos out there but a few extra ones on their pages – with different concepts – would be great. The reason I say this is because, when you have groups, they tend to do very similar photos and it can be a bit samey. The boys have a great bond so having some individual shots or some different concepts would be good. They are popular in Canada but I think there is a big market waiting for them in the U.K. Maybe it is hard to get the music heard here unless there are regular performances but hitting up the U.K.’s best stations and putting their music this way would get new fans their way. I know they have fans in the U.K. but I think there are a lot of new ears waiting to discover them. If they can get some radio stations here to play their music then they can get some gigs here and I think there would be big demand. Maybe they have a bit of a base here but there is a big opportunity here. I will move on to a new subject but I know Gold Complex take good care of their social media and always trying to get their music to fresh faces. I am not surprised they have such an interesting sound because, when I think about invention and originality, I am taken back to Canada. It has been a while since I ventured there and got to review a great Canadian act. Toronto, especially, is an area that always seems to produce results.

Most of my recent investigations have concerned U.K. and U.S. artists so I am glad I get to go back to Canada and have another look. Most of my Canadian-based reviews seem to focus on Toronto but I have looked at Montréal and Quebec. I think many of us overlook Canada when it comes to music and assume it will be inferior compared to America. I think there are vast differences between the nations. There seems to be more commercial pressure in the U.S. and fewer underground artists taking risks. That might sound incorrect but I think there is more boldness and bravery when it comes to Canadian music. Canada does have its mainstream and Pop core cut I think its new artists are fusing sounds more and providing something fresher and more exciting. Toronto has produced great bands such as Broken Social Scene and Crystal Castles and there are no signs the city is slowing down at all. When I interview people from Toronto, they always tell me there is a friendliness and sense of community that musicians are drawn to. There are great venues to be found and plenty of opportunities for artists to see different acts and get inspired. Having a core and solid live scene means local artists can cut their teeth and get that recognition. From there, they have the chance to move up and attract ears from other parts of Canada. Many Toronto natives are being retained and feeling no need to live anywhere else. Maybe it is the community and togetherness that keeps musicians where they are. I think it is the combination of history, great live venues and eclectic music that makes it such a fantastic place to be. As more people are looking away from London and seeking out other cities to inhabit, I think Toronto is a possibility for many – if you do not mind especially chilly winters! I do think Canada, as a whole, gets overlooked and has to fight too hard for focus.

Maybe that will change in time but, if you look at cities like Toronto, there is ample gold. I have not been there myself but I know there is a hugely eclectic scene forming. Canadian acts, unlike some other big nations, are still very keen on older technologies like cassettes – with many artists releasing music on this format and keeping it alive. What I do find (regarding Canada) is that there is this genuine sense of ambition and dare that means the music is rarely boring and formulaic. Toronto is at the forefront of this inventive streak but Canada is definitely a nation to watch! I am not sure why this is but Canadian artists are bolder regarding splicing sounds and adding new ingredients to the pot. Look at previous Gold Complex songs like Driver – the song I was going to review but, as time has passed, I felt it better to review their newest track – and you can hear it is not like anything else really. This is not unusual at all: Canadian artists are known for their skill and intelligence when it comes to original expressions. Sure, there are some mainstream and Pop-heavy acts that do not stray far from the norm but I think Canada boasts so many interesting and curious souls. It does make me wonder whether there is a channel whereby journalists in the U.K. and U.S. can connect easily. I think we tend to concentrate too much on the U.S. and U.K. and Canada does not get as much of a look in. I love the way Canadian artists work and think the rest of the world needs to take notice! I shall move on and talk about something else but do some research and see what tremendous diversity there is in the country. Canada, I feel, is right at the forefront and should be respected accordingly. Let’s think about Gold Complex and how they approach their music; mixing together sounds and ideas that create this harmonious and evocative whole.

Every one of the songs from Gold Complex has a sense of funk and drive. You always get energy and a degree of freedom that gets you moving and makes you smile. Even when the guys are thinking about something more emotional and personal, that does not mean the music has to suffer. That is what I am talking about when it comes to their music: even when they are getting serious, they like to have fun and create something quite alluring. In terms of their music, you get this horn parts and blasts of sound; you have the harmonies that run riot and an immense amount of power. Gold Complex mix genres but, largely, one experiences a bit of Funk, Soul and R&B. Maybe there is some Pop in the mixture but I think Gold Complex are stronger than that. They have been seen, by some, as similar to Red Hot Chili Peppers in the way they melt these genres and the energy they project. Think about harmony-rich bands of the past like All-4-One and Boyz II Men and it has been a long time since we have seen anything like that. Whilst Gold Complex are slightly different to those American bands, the vocal strengths are very similar. I was thinking about larger bands and why they do not really exist right now. Bands as a whole are becoming less popular so the days of having these larger bands must seem strange. I do remember, back in the 1980s and 1990s, enjoying the all-male/all-female crews who could have so many members and had so much vocal firepower at their disposal. I would like to see this come back because, when you think of bands, the voice is not top of the agenda. In fact, when it comes to the sounds being produced, there are still more Rock and Alternative bands around than anything else. Gold Complex intrigue me because they have this tight bond but they can go in any direction they please.

I love what they are throwing out right now. It is so different to anything else and it is the way they can splice genres together that gives them such a fulsome and rich blend. Maybe I am being nostalgic but I loved the days of Boyz II Men and the fact bands did not necessarily need to focus on instruments to elicit response. I hope Gold Complex keep playing together in the way they are because there are few groups like them right now. It makes me wonder how the eight members of Gold Complex got together and started life. It is interesting to envisage how eight guys all started recording and when they realised they sounded great together. There is a danger, when it comes to male bands like this, they can descend into cheese territory and be a bit like a boyband. I have nothing against that type of group but it is not something I am interested in. Gold Complex are more like the respected and quality groups you had decades ago that could combine this many bodies and not seem unwieldy at all. Have a listen to the vocals on display when Gold Complex get going. Look at the genres they put together and how they sound. It is hard to compare them with anyone else and think of any like-minded groups. There must be others out there but is rare to see an eight-piece group playing and making music like this. I think, in time, there will be more bands like Gold Complex coming along. Think about the effect the vocals have and what the music does to you. This inspiring and colourful blend definitely makes you feel better and there is that clash of the modern and classic. One gets touches of the older-days male groups but you get something very much of this time. It is probably worth moving on and thinking about the latest track from Gold Complex, Homegirl. It is another exceptional and assured cut from the Canadian troupe.

Homegirl sort of comes up in two different stages. To start, we have this slightly Jazz-like calm that provides gentle percussive elements. There is this kind of sensual and calming mood that draws the listener in and gives you a distinct viewpoint. There is romance to be found and this rather calming aura. I was imagining a passionate scene or a quiet room. They may sound unconnected but one definitely gets a feeling of relax and release, even though the opening moments are quite calm and undramatic. Then there is a kick as the percussion steps up and the horns come through. It is not an explosion but more of a rousing little rise that takes the song up a gear and changes your mindset. I do like the way the introduction sort of builds and the fact you cannot really predict where it might head next. Underpinning the song is this sophisticated and smooth composition that jigs and jumps. One feels a definite energy and kick but the focus is on a sexiness and caramel smooth. It is a gorgeous sound and one that, to me, fuses Jazz and R&B. I like the horns and the way they add to the mood. When the hero comes to the microphone, he talks about this new girl being interesting and bold. She is not like anyone he has met before and, within a few weeks of their courtship, she is calling him ‘baby’. The vocal has a soulful and passionate tone and it is a great accompaniment to the composition. In many ways, there is this fusion of the older R&B groups and something modern-day. The track never gets into the modern boyband situation where the lyrics are quite cliché and the song holds little weight. Instead, the chorus has this accessible nature and sound but one definitely gets vibes of the better days – when you had these vocal groups that produced luscious and scintillating songs.

The chorus talks about this new girl sort of being converted. Maybe the lovers are tentative at first but, soon enough, they are fused and a lot closer. The hero wants her to be his homegirl and hang with him. Maybe there has been past relationships that have not worked out too well but here, it seems, there is more hope. I feel this girl is someone who naturally clicks with the hero and there is this excitement. The chorus flecks and sparks with a serious bounce. You find yourself nodding along to its alacrity and catchiness. Although I have mentioned other sounds and eras, I do not think it is easy to compare Gold Complex with anyone else. There is almost a Michael Jackson-like feel (his Off the Wall period) to the song that is pleasing. I have been looking around for songs that have that 1980s Pop and Soul but have modern production values. Gold Complex are always great when it comes to big choruses and this is no different. I do love the constant sense of movement and delight that the song offers. I am thinking about the heroine and wondering what she looks like. The entire group add their elements and create this fulsome and vibrant mood. One might say an eight-piece band would struggle to remain focused and provide any real depth. How many people will sing and how many will be playing instruments? In the case of this track, there is a focused lead vocal but some great backing; the composition allows new light and elements to come in and Homegirl is this nuanced and fascinating song. The lead vocal looks at this girl and how chilled she is. There is no need for any sort of probation period and seeing how things go. It seems, right away, she is on the same level and someone that is perfect. The guys are paying testament to her and I wonder whether this woman is less a romantic fixture or someone who is just hanging with the guys.  Maybe, strangely, there is a bit of a Fall Out Boy tone in the lead vocal but I love the different tones and flavours the group provide.

I love the track and how it keeps on stepping and jumping. There are not many songs that have a constant energy and make you feel a lot better. The horns are great and they give this idea of vibing and chemistry. If the foreground and vocal suggests something more Pop-based, the composition and lyrics hint at R&B and Rock. It is a nice blend and concoction that rewards repeated listens. I have heard the song a few times and get something new from each experience. The chorus remains this huge and catchy thing but I was thinking about the central figure and who she is. On one level, I think there is a slight romantic yearning and desire. She seems to be pretty cool and someone that is naturally in step with the guys/hero. On the other hand, she seems like a really interesting person that Gold Complex feel is similar to them. Many will have their own interpretation of what the song is about but few can resist the intensity and pleasure of the mood. I am keen to experience music that makes me feel better and, in the modern scene, that is becoming harder. Homegirl is a fantastic song that bodes well for the album. I wonder where it will sit in the pack and whether many of the other songs will have the same sort of flair. I do hope so and, knowing Gold Complex’s work, they are unlikely to put too many piano ballads in there! If you have not heard Gold Complex before then this is a great song to begin with. It is easy to appreciate but there is so much going on that will intrigue. I do wonder who the lead figure is and whether she is based on someone real. It appears there are some deep feelings going on and this heroine seems too good to be true. Homegirl is an original spin and take on romance and friendship. It is another fantastic offering from Gold Complex – a group that continues to evolve and strengthen with everything they do. The chorus has that classic sense of giddiness and memorability and I am a big fan of songs that work this way. Because of that, you will want to return and experience that joy over and over. I shall end the review section here but I have been blown away by the energy and instant appeal of Homegirl. It is an incredible cut and makes great use of all the members of Gold Complex. There are few groups that can create such a sensation and feel but Gold Complex are assured and astonishing in everything they do. Homegirl is a perfect song to bring the heat and sun; brilliantly smooth and romantic or, if you just need to dance and unwind, then this is the track for you! I have very high hopes for the Canadian group and feel they are a lot stronger than most of their peers right now...

Gold Complex are going to be pretty busy in the coming months. They have the new single out and, on 22nd February, they release their debut album, New Soul. The guys released an E.P. back in 2015 and, since then, have unveiled a couple of singles. In fact, the group were a little quiet between 2015 and 2018 and I did wonder whether they would release anything else. Perhaps they needed more time to get the songs right but it is a relief Gold Complex have come back and they have been working on that album. There is a lot of pressure for artists to release music all of the time and remain visible. I know, given the complexities and layers you hear on a Gold Complex song, there needs to be focus and patience. They are naturally harmonised and bonded but one does not experience something simple and throwaway with Gold Complex. Instead, there is this music that gets into the brain and makes all the senses tingle. The vocals are exceptional but the compositions are equally fabulous. It takes a while to make sure that is right so one can forgive a slight gap between releases. Keep an eye on the social media channels of Gold Complex and make sure you snap up their debut record. The group have been around a while now and have made a name for themselves in Canada. There is still a long way to go and new areas to conquer. I do wonder whether they will get to the U.K. and we will hear them over here. Given the fact they are turning heads in Canada, it cannot be that long until we get to see them over here. I am not sure what their plans are regarding an international tour but they might be focusing on Canada at the moment. That would be understandable but, if they do get the chance to travel, there are people and venues over here that would be very interested.

I will end the review very soon but I wanted to recommend people check out Gold Complex. It has been a while since I’ve been able to talk about a new act in a different way. I get a lot of similar requests and it can be tricky finding fresh words to say – and the sounds do not always stay in the mind. The band has those incredible vocals and harmonies but I do love the fact they switch between R&B, Rock and Pop. Some might say they have a commercial sound but that would suggest they are mainstream and chart-bound. I think Gold Complex are stronger than that and they remind me more of the classic R&B bands of the 1990s. However you view them, it is clear this year will be a successful one for the group. I intimated they might want to get a few more photos online. I think they have a great chemistry and visual side. It would be good to see that displayed more perhaps. If you have not experienced Gold Complex then Homegirl is a good place to start. It is one of their strongest offerings yet and shows, with every release, they are strengthening and discovering new levels. I wonder how the band will grow and where they head next. There will be Canadian dates and demands and I am sure there will be requests from the U.S. too. I shall not get too ahead off myself but it would be good to think Gold Complex will come over this way. There are so many groups out there and there is definitely something different about Gold Complex. I love the sounds they put together and the effect their music has. Let me end things here but I am pleased Gold Complex have new music out and I look forward to seeing where they go now. I am always excited when a genuinely inventive and original proposition comes my way and I just know the Canadian eight-piece will go a very long way. Congratulations to the guys on a brilliant single and the best of luck for the future. The New Soul L.P. will do great business and see their stock rise. If you get a chance to see the group live and up-close, make sure you do. That is likely to be an experience...

FEW people will forget.

___________

Follow Gold Complex

Official:

https://www.goldcomplexband.com/

Twitter:

https://twitter.com/GoldComplexBand

Facebook:

https://www.facebook.com/goldcomplexband/

Spotify:

https://open.spotify.com/artist/6A8rJAyRfdpX1wO33Qig8w

YouTube:

https://www.youtube.com/channel/UCPbJ3gooAF3yXnp_tkDLXuQ

Instagram:

https://www.instagram.com/goldcomplexband/

TRACK REVIEW: Lizzo - Cuz I Love You

TRACK REVIEW:

 

Lizzo

Cuz I Love You

9.7/10

The track, Cuz I Love You, is available via:

https://open.spotify.com/track/1R1NwL3p27XZC9n5xpP8LE?si=68_EDDV8QIS2q9OxcEJB2Q

ORIGIN:

Minnesota, U.S.A.

GENRE:

Pop

RELEASE DATE:

14th February, 2019

__________

THE reason I have selected Lizzo...

and not gone for someone less-well-known is because, well, the requests I am getting are all very similar and there is not a lot to differentiate the artists. That might sound cruel but there is more variation and choice outside of the underground. I can pick a track I really want to go after and know there is a lot of new stuff to talk about. In the case of Lizzo, I want to talk about female artists who have spark and can be considered headline, leading acts; those that raise important issues and powerful messages through their songwriting; adding a sense of fun and vitality back into Pop music; whether newer acts like Lizzo can complete and equal the icons of the past – I will end with a little but about why Lizzo stands aside and how she is unique. For now, I wanted to chat about Lizzo because she is someone who always gives her all to the music! Look through her previous albums and you can hear someone who has come a long way but, right from the start, she was producing these bangers that got into the head and made the body pop. She is one of these artists who wants to have fun and show some sass but deliver a potent message at the same time. Lizzobangers arrived in 2013 and instantly set out her stall: a record packed with big songs that had confidence and her special D.N.A. I love that album and instantly bonded with it. I think we look out at the mainstream and assume artists there must be good and memorable because they have made it that far. What I find is that there is this division between those who are genuinely great and worthy and many who have an overly-commercial and tired sound – appealing because their audience do not really have the imagination to look elsewhere. It is necessary to look through those at the top of music and listen closely.

 PHOTO CREDIT: @gaytimesmag

Lizzo is an artist who has been playing for a little while now but is growing and adding new elements to her sound. I think she is special when it comes to the fizzing and body-moving jams that have ounces of confidence and energy. There are not that many artists in Pop who have positivity in their bones and continue to stamp out these classics. The past few months has seen Lizzo cut these great gems that are instantly addictive and exciting. I think music needs more artists like Lizzo and we need to embrace this type of music. Listen to everything else out there and can one truly say there is anyone else like Lizzo around? Cuz I Love You is not as fiery as some of her other songs but it has so much working away and is a brilliant thing. I only discovered Lizzo a few years after her debut in 2013 and am glad I did. I wanted to highlight her today because, whilst she is popular and known, there are some who do not know her music. If you are unfamiliar with Lizzo and wonder whether she is worth exploration then I would say her main assets are the energy, the big hooks and the lyrics. She has a fantastic voice but her words stand out and truly shine. I wonder whether many consider Lizzo too new to be a festival headliner. She has been going a little bit now so I am not sure why festivals are not lining up. You want these artists who can get people moving and have some great songs in their locker. Lizzo fits the criteria and I can easily see her on a headline stage getting the crowds whipped up and singing along. Lizzo’s songs have that anthemic quality and will endure for many years to come. I think, maybe next year, we will see Lizzo headlining and it is about time really – as she already has proven herself and should be getting those bookings.

I think it is rare to see artists around that have genuine spark and physicality. So much modern Pop is quite muted and does not have the same spirit as it did back in the 1980s and 1990s. I mention this point a lot but I see no reason why Pop has sort of turned in on itself and gone a bit soft. It is still good but does not have the same attack as the classics. Lizzo is part of the new generation who knows how important it is to have movement and something fun in the music. I wanted to talk about Lizzo because of her energy and memorability but I love what she talks about and how she approaches things. In the press, she has chatted about body confidence and how proud she is of her curves. I feel there is a bit of hesitancy from some quarters to raise these kinds of issues but Lizzo is proud of her body and it is brought into her music. I do love how Lizzo speaks her mind and she is not afraid to be bold and controversial. She is a very real person and talks about sex and love in a fresh way. Songs like Juice are filled with great lines and expressions that you would not get from any other artist. Lizzo has brought body issues and confidence into her music and discussed gender inequality; she has spoken about big themes and is not afraid to tackle them. We need more artists who are actually using music and the press as a way of getting big messages out there and doing something different. Think about most of the popular artists around and do they honestly have something about them that stands aside?! Maybe they have a slight edge but Lizzo seems to be in her own field. One discovers this very fine and accomplished artist but the woman behind the songs is remarkably open, funny and interesting. This all leads to a complete package and, going back to my headliner point...why isn’t Lizzo on top of festival bills?!

I am not saying others neglect important topics when they write songs but Lizzo, regarding body and sex appeal, is shining a light and, as a larger woman, is inspiring many others. There is this notion and ideal that female artists need to be super-slim to be seen as popular, attractive and commercial. If they were to stray from this mould then that could see them outcast and they are not exactly what you want to see on the cover of magazines. I feel this mindset has eased through the years but there is still, on magazines and in videos, this desired type and look that has always been in music. Maybe female artists will always be marketed based on their looks but I’d like to think artists such as Lizzo are making changes and helping to turn the tide. I think so many people are afraid of getting into music because they feel they are not the right size or look. Most mainstream female artists are of a certain size and shape and I think many have been denied an access to the top because they do not conform. Lizzo is someone who is never going to change – and why should she! – and, instead, is delivering these big songs that show all her curves and truths. In the media, Lizzo is keen to break misconceptions and tackle those who think women should look a certain way. She has spoken about sexism and L.G.B.T.Q.I.A. concerns and, at various moments, addressed sex and love in a very fresh and personal way. There are few out there who have as much personality and appeal as Lizzo. I wanted to focus on her because of how inspiring she is and how that will continue. I will move to another subject now but think about all the big artists around and can you say there is anyone as standout and grand as Lizzo? It is hard to think of anyone and, for that reason, she deserves all the attention and acclaim in the world.

I have already mentioned it before but I think Pop music has somewhat got gloomy and a bit ordinary. That is not common to everyone but most of the scene has changed radically through the decades. There are some great Pop artists who have proper swagger and big tunes but most modern stuff is quite personal, unmemorable and safe. I do wonder why artists are not really spreading their wings and why there has to be this sound. By that, can you really compare the best Pop music of the 1960s-1990s and feel this is still being done today? It is not hard to produce great music that has energy and catchiness but most are choosing not to play this way. I hope there is a shift and we get to see Pop music return to its roots. At the very least, I think other artists should look at Lizzo and see the affect she is having. Her songs get into the blood and they are so much fun! That is what we need right now and, more and more, artists are choosing to be too personal and lack that killer punch. It might just be a phase but I think the mainstream has been in a bit of a state for the past decade at the very least. We do not have the same quality as we did in the 2000s and it does concern me. I will raise this point later this weekend but I have not lost hope Pop will bring some of the fun back! Lizzo is definitely having a great time in music and not willing to change who she is to fit in. I do feel there is a lot of pressure for artists to sound the same or not wander too far from the garden path. It is quite sad this is the case but I feel there will be an evolution. Lizzo is a remarkable case of an artist bringing something fresh to the table and providing incredible album after the next.

I will end this piece by talking about her upcoming album but I love how consistent Lizzo is and what she has already produced. There is more to Lizzo than fun and energy but that is a big part of what makes her stand aside. I do love how much energy and force there is in when you listen to her music but Lizzo has a way with words that gets into the brain. There are few tropes and clichés when you hear a Lizzo song! Whether it is the wit and humour or the way Lizzo can fuse unique phrases and create something very alluring...nobody else is doing what Lizzo is. I feel she is someone who will provoke change and shows what can be when you tear up the rules. It makes me wonder, more and more, why there is not more volume in Pop right now. I mean, there are some fantastic tracks and artists but I think so much more could be done. It all comes back to fun and bringing a sense of movement into the mainstream. Maybe it is me being all hung up on the past but I am excited by Lizzo and think she has a real light. Everything she produces sounds amazing and it cannot be long before she is headlining Glastonbury and playing the biggest festivals around. There is a real opportunity right now for musicians to help make a change and inspire the masses. I am seeing more and more acts talk about deeper issues such as political divide and mental-health – this is very positive and encouraging to see. I think this has been long overdue but I feel you can discuss something weighty and potent and still have fun whilst doing so. Lizzo does and I do think this can be reciprocated by her peers. Can this fine American artist, in years to come, reach the giddy heights of ‘icon’ status?!

 PHOTO CREDIT: Linda Nylind for The Guardian

I have talked about the fading icons and why there are not many in modern music right now. By this term, I mean those who reinvent themselves and endure for decades; they have these changing looks and go through changes. I think Lizzo’s career is too young for me to make those sort of bold predictions but I do feel she has the ammunition to become an icon.  If you look at how she has consistently produced great songs that stick in the head and stood you to attention. Lizzo has always been real and true to herself and never compromised what makes her her. She is an inspiring role model and someone who has the same sort of integrity, sass and confidence as Madonna. Maybe Lizzo’s stylistic reinventions are not that big and expressive but she ticks so many boxes. I look around music now and there are some artists who might be around and compelling listeners in decades to come. It is harder to stand out now than it was back then and so much music is disposal and samey. I think, more and more, the days of the icon are numbered and we will never see someone like Prince or Michael Jackson again. That is not to say we will not see someone remain for years and make a big impact on the next generation. Perhaps the terminology has changed and the definition (of an idol) is narrower. To me, Lizzo has all the hallmarks of a future-legend and she has already proven herself. Everything seems to be falling into place and it is only a matter of time before Lizzo is considered a modern-day icon. I am not sure whether that is a contradiction in terms but I think Lizzo stands away from everyone else and is a very promising artist. Maybe I should move onto her latest track, Cuz I Love You, as it sort of brings all of my points together and shows what I am talking about.

There is something almost classic about Lizzo’s latest track. The last thing I – and many other people – heard from her was Juice. That has a very distinct sound and sort of captures you with its colour, catchy chorus and swagger. Listen to Cuz I Love You and the start has Lizzo singing unaccompanied. She is belting out this rather romantic and powerful lyric and then, without much notice, we get this very impassioned and bold compositional explosion. There are horns, percussion and strings that crash like waves and take you by surprise. I love the way the song starts somewhat calm and uncluttered and allows Lizzo to announce the song. It is a great way to kick it off and the heroine talks about being in love. Maybe it has not happened before and, as she attests, it is quite a feeling. I spoke about Lizzo’s songs being very different and it is hard to compare this one with any others. So many artists repeat what they do but here is something that is unlike any other Lizzo song! The words, like all of her songs, have a unique aspect and paint a picture. Here, as the biggest blast calms and she is accompanied by a skipping piano, Lizzo talks about, once, visiting the liquor store and drinking. Maybe there were reckless and wild days and she was in a different place. She seems to have found love now but, before, life was a bit different and she was rolling with a different crowd. This is Lizzo still having a blast and fun but showing a more sensitive and revealing side. The song almost sounds like a classical Soul or Jazz offering. Produced by X Ambassadors, there is this nice shift between the huge and spirited composition – that acts like a heartbeat and provides drama – and Lizzo’s voice. It is not often Lizzo gets to have her voice standout out front and being so emotional.

What one discovers is how strong her voice is. This has always been the case but this latest offering allows her to go in a different direction. There is so much power and emotion when she talks about crying over her love and being affected. Maybe the lyrics are not as distinct as some of her other songs but, when you are talking about the strength of relationships and a new passion, there is a sense of limitation I guess. Cuz I Love You switches between the Jazz-like belt and the faster-paced and more characterful expressions. Lizzo talks about standing in the rain and getting her hair all wet; maybe having to wait for the man and doing all of this. I do love how Lizzo cuts and strikes some moments and can turn into this hugely soulful singer the next. It seems like the heroine has found this new lease but has had to make some changes in her life. It seems like this romance has been blossoming but not always smooth. Lizzo talks about this person being hidden away and on the down-low but now, after some realisation, she wants to put them on a plane and take them to her shows. I am not sure whether there was some friction before or whether her sweetheart was a bit troublesome. In any case, things have got to this stage and Lizzo is realising she has feelings. She did not know she cared so much and, when the chorus comes back, she lets all the feelings out. I do love, as I keep saying, how the song switches and the potency of the chorus. You try and compare it to another song – the chorus does have that classic sound – and fall in love with the vocals. In many Lizzo songs, she is singing quite fast-paced and you never get to hear her singing in a more direct and impassioned manner.

The addition of the horns and percussion gives plenty of stamp and rouse and perfectly backs her vocal. The heroine has struggled to make a connection before and not found it easy to be in love. There are moments when Lizzo hits really high notes and extends her range all over the place! When belting out and really letting her voice open, you get hints of Aretha Franklin and some of the most powerful singers ever. Cuz I Love You is such a hugely powerful record and you wonder whether it could extend for another minute or so. One gets hooked on that switch between the fast and edgier verses and this very different chorus. One will listen to the song the first time and it is quite hard to take everything in and get to grips. You are amazed and blown away so go back and listen a few more times. There are a few writers on this track – including Maroon 5’s Adam Levine – but it is Lizzo’s amazing and towering central performance that makes the song so masterful. It is impossible to listen to the song and not be moved and amazed. I believe the title cut is the opening track for Cuz I Love You – although don’t quote me on that! – and, if that is true, it will be one of the most impressive lead-off tracks in recent memory! The fact Lizzo, between this song and Juice, has shown so much variety and quality means very few will be able to refute her brilliance. Ensure you dive into he brilliant waters of Cuz I Love You and discover this wonderful song. You will need a few listens for the track to truly sink in and work its magic because, as I found, the first listen is so intense and you are not prepared for what comes! Lizzo has shown she is one of the most flexible, impressive and original artists around and this is why I think she will be around for many decades more.

Cuz I Love You is out on 19th April and is the third studio album from Lizzo. It is her first album in four years and the singles released so far are amazing. There is a bit of speculation regarding the tracks that will appear on the album and what it will sound like. Juice gave us a taste of what we might expect and now, with the title offering in the world, there is another piece of the puzzle. I am excited to see what is coming and what Cuz I Love You will sound like. There are various writers and producers who work with Lizzo but I do not think that gets in the way of her music and personality. You can be a great artist and leader and have others working on the music. Lizzo has always worked this way and, at the end of the day, it is her voice that stands out. She is the most important and dynamic part of the mix and the person who makes the music come alive! Maybe it is too reductive and simplistic calling Lizzo’s music ‘Pop’. It has so many different aspects to it and is very different to everything else around. I do love how Lizzo keeps her social media updated and she is always communication with fans and letting us into her world. It gives a great impression of who she is and what makes her tick. There are a lot of big artists who are quite reserved and insular and, whilst that is cool, you never get a real sense of who they are. Maybe music is meant to provide the real commentary but Lizzo knows, in this day and age, you need to be more active on social media and that fan relationship is very important. I will end things pretty soon but I have been looking around music and asking whether people performing today will be remembered in decades to come.

It is very hard to tell but you can think of a few who definitely will be. I think Lizzo will continue to produce albums and she will headline festivals before long. Like powerful female artists such as Beyoncé, Alicia Keys and Aretha Franklin – that might sound random but they have some shared aspects – Lizzo has a unique sound and personality that goes into everything she does; a real confidence and need to be true in interviews; an urge to change music and make a difference in the world. With Lizzo, you have someone who is a bit cheeky and fun and that adds to the sense of wonder and infectiousness. It has been great breaking from my unusual routine and writing about a bigger artist. I do miss that side of things but the main reason I wanted to do this was to bring Lizzo to more people. She has big fan numbers but so many of her followers are female. I do not think her music is reserved to women and, in fact, it is much more eclectic, broad and open than anything out there. When all is said and done, Lizzo wants to bring fun to the party and she likes to shake it! Keep an ear out when it comes to tour dates and see if she is heading your way. I know there will be promotion around the release of her upcoming album and a chance to catch her very soon. Cuz I Love You is a wonderful track and brings new elements into Lizzo’s music. She is always growing and getting more confident as a performer. I think this will continue and, before too long, she will be one of the biggest artists on the planet. It is the way Lizzo brings all her energy and life to every song that makes them stick in the brain and remain in the heart. If you have not experienced the wonder and vitality of Lizzo then make sure you rectify this. Cuz I Love You is a brilliant track to start with and lays out all of Lizzo’s assets and qualities. It has been great reviewing the song and, when the album comes out in April, I will be...

PHOTO CREDIT: Atlantic Records

REVIEWING that too!

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Follow Lizzo

Official:

https://www.lizzomusic.com/cuziloveyou/?ref=Typed/Bookmarked

Twitter:

https://twitter.com/lizzo

Facebook:

https://www.facebook.com/LizzoMusic/

Spotify:

https://open.spotify.com/artist/56oDRnqbIiwx4mymNEv7dS

SoundCloud:

https://soundcloud.com/lizzomusic

YouTube:

https://www.youtube.com/user/Lizz0plusLarvaInk

Instagram:

https://www.instagram.com/lizzobeeating/

PHOTOS (unless credited otherwise):

Getty Images

TRACK REVIEW: Swears - Subliminal

TRACK REVIEW:

 

Swears

PHOTO CREDIT: Izak Jackson 

Subliminal

9.3/10

The track, Subliminal, is available via:

https://open.spotify.com/track/0pfo9NlC7qcOgWQngKVaiD?si=hYbj3KG0RbOyPsQetFankw

ORIGIN:

Middlesbrough, U.K.

GENRES:

Indie-Punk/Grunge

RELEASE DATE:

8th February, 2019

__________

I am going to have to repeat myself here a bit...

because, whilst it is not a slight on Swears themselves, they have a lot in common with other bands I have featured from the North East. Whilst the sound is sort of the same and there is not really a unique angle – in terms of their story and  how they got together; what their music combines etc. – that is inevitable in a market that is growing and very busy right now. I shall get to the good bits in a second but it occurs, looking at them, that they take good images. There are some cool photos on their social media right now but I would suggest the boys gets a few more included. They have some great live shots that have been taken at various shows but not too many of them together in a portrait. It would be good to see them come through because, whilst their images suggest they are a great live act, a few composed shots might add a new dynamic to their personality. The guys keep their social media updated and informed so, as a fan, you are always being kept in the loop regarding what is going on and how they are moving. That is important in this market because I get so many requests from people who are either not on Twitter – an essential platform for every act – or they do not update it very often. It is hard enough to stand aside from the pack so you’d think people would take advantage of every option out there. For a band or artist, social media offers fans around the world and I never get the logical behind people forsaking Twitter. Even if you do not use it that often and it does not bring too many people in, it is useful to have and there are ways to attract more followers. Swears are organised and, when it comes to their social media platforms, they are visible and passionate.

This might sound like a small point but, as I have said numerous times, it is vital. Music is as much about the visual aspect of things as it is the music. If the guys can supplement their online spread with some more photos then it would stand them out even more. I would also like to know what sort of music they are attracted to. As I say, I have reviewed a few bands from the same part of the world and, given this review is so extensive, need some special angles to come from. You listen to their music and know that there is a lot of depth and work that goes into it. The band is tight and you can feel that, behind the scenes, they have a great relationship. Bringing something of that to the page would be awesome and give them another layer. I am not too bothered when it comes to biography because most people will look away from that and go straight for the songs. I guess that is the most important part of the process and, so long as you get the music right, then the rest will sort of take care of itself. This is true but Swears have a great sound and I think they could give themselves an easy boost. I should park that on the side for now but, as I said, I might need to repeat myself because of the situation and location of the band. When it comes to me reviewing Subliminal, I will be able to give a unique expression but, right now, I will need to move onto another subject. Before I do, it is worth exploring Swears’ social media and information because they definitely want to reach as many people as possible and stand out. Joel Clayton, Craig Hughes and brothers George and Stephanos Louca have been going since 2017 and made some big steps since then. I love the singles they have already released and they seem to be growing stronger with each one.

I will talk about the new track soon enough but I wanted to cover the North East and why it is often overlooked. I have, as I said, talked about music from Newcastle and Middlesbrough and why these are areas we need to talk about more. I think London does get a bit too much attention but how many bands do you get from there? I feel London is better when it comes to solo artists but other parts of the nation seem to do the band thing better. I think the North has always been stronger when it comes to bands and we need to embrace them more. There are a lot of great solo acts around but I can feel bands starting to make more of an impression. When it comes to bands, I find myself attracted to those playing in areas like Brighton and Manchester. Swears are up in Middlesbrough and, whilst it is not as busy as other cities, there are some great venues around. I have assessed a few bands from that way and I am always left satisfied and educated. I find bands like Swears are less concerned with copying other bands or producing sounds they think will fill stadiums or get into the charts. I will discuss the sound Swears make because, with every band that comes through, it is hard to stand apart. There has always been that North-South divide when it comes to music. Things are getting better but I do worry many artists are relocating down this way because they cannot get the same attention where they are. Swears have a great local reputation and I feel like they have ambitions to perform as far and wide as possible. They are clearly happy where they are but how much of the national music media casts their eyes as far as the North? It is a bit of a concern and I think it is something that needs to be challenged and solved.

PHOTO CREDIT: Piron Aston Music Photography

Swears have been around for a bit now and they know the business pretty well. Their great live sets and solid songs have won them praise and attention but this is a very competitive industry. It may seem like a cliché but I feel you get more personality and energy from bands in the North of England. Look back at the bands from this area that have endured and inspired – such as Oasis and Arctic Monkeys – and there is something about them that lasts in the memory. So many of the new bands from the North are carrying on this mantle and setting themselves aside. Swears instantly seem to jump from the speakers and their music remains in the mind. I am not sure whether there is a direct connection between location and music but I think there is something in it. If Swears were based in London, I feel their music might sound a bit generic or they would change what they do. Where they are now, they have a bit more freedom and are writing in a way that is true to them. I do feel like there is little focus given further north of London and there is so much treasure to be discovered. I think there are more and more bands coming out at the moment so it can be tricky having that unique selling point or distinct flavour. Swears, in terms of sound, are similar to a few bands but it is the combination of qualities and the way they write that gives them a little boost. I do wonder whether the general sound bands are producing has changed through the decades. Look back from the 1960s and the Pop that dominated; the fact Punk came out in the late-1970s and we had Britpop and Alternative by the 1990s. Every decade fostered its own movement and, a lot of the time, there was an emphasis on energy and spirit. I am not suggesting bands have lost that now but there are fewer out there who are producing something quite intense and rousing. Many bands now are sort of mixing genres and there is something lacking. There are some mighty bands around but so many of them come off as quite routing and uninspired. It is a hard balance to get right.

PHOTO CREDIT: Izak Jackson 

The guys of Swears seem more prepared and, as I said earlier, I would be eager to know which acts inspired them. I do not feel like it gives too much away mentioning that and, for people like me, it is interesting seeing where they came from and who they grew up around. I shall mention their sound when I come to the song review but, in a general sense, there has been something missing from the industry. There was a time when you got a lot of fuzzy bands who produced something quite lo-fi and snarling. Maybe it was more prevalent when Grunge ruled but I have seen it continue. I think the band market has less pull than it did and so many new options are stepping far away from that gritty and gravelled sound. It is a shame because, when done right, it can be electric and hugely memorable. A lot of bands have tried their own version of Grunge and Alternative and it can fall flat. There is something about the connection between the Swears members that makes their music pop and explode. Maybe it is their influences and the music they love but I think they have detected a gap in the market and are primed for success. I would love to see more bands follow their lead. We all have plenty of choice when it comes to sounds and genres but there are not that many bands that are doing what Swears are. Maybe it is a thing of the North but that is another reason why critics and people need to train their eyes that way. One of the reasons there might have been a dip regarding fuzzier sounds is because it is not that commercial. The market has shifted and it has changed a lot. The most popular sounds in the mainstream are sort of Pop-based and you would struggle to name that many bands that are getting as much attention as the best solo artists.

PHOTO CREDIT: Izak Jackson 

In sonic terms, there seems to be this leaning towards Pop but I feel that will start to change in a few years. If you look at how things have changed through the past few decades, I feel we are about to see a break away from the Pop rulers and a bit more eclectic landscape. I am not suggesting hard and hitting bands like Swears will instantly conquer and replace the current order but there is a yearning in the air that is calling for movement. I feel people want to discover music that has depth a sense of heart. There are Pop artists who have soul and can provide something real but there are too many that are quite shallow and commercial. Maybe Swears felt this pining when they started life but I feel they will start to grow and become more popular as there is this drive for evolution. It would be strange to think Swears will just remain where they are and play the local circuit. They are an ambitious band and their music is getting some serious heat. It is the sheer force of their movements and how they suck you into songs that gets to me. So many bands make you work hard and they are not always as appealing as you’d hope. The second you start to play Swears, you are in their world and are moved. That is not an easy thing to pull off so kudos to them. I think it is their sound and chemistry that sets them apart because, as I intimated, they have very similar aspects to other bands out there. The reason they stand above so many other groups is the way they play and how instant their music is. Even though more artists are looking at gnarling sounds and something fuzzy, Swears have this additional magic and level that gets into the brain and stays there for a while.

 PHOTO CREDIT: Andy Lochrie

I think live sets and a reputation on the circuit is a good way of spreading the message. Streaming numbers are important but there is nothing like seeing an artist play and then sharing the good word. Swears have been played on BBC radio and they have gained a lot of praise because of their incredible sets. It is clear Swears are one of the best bands on the Teesside circuit and that is not something to be taking lightly! There are some great bands up there all bustling for attention and looking for fans. I think Swears’ ability and natural strength on the stage is another reason why they get into the mind. I find so many artists are impressive in the studio but they do not translate that well onto the stage. Maybe that is a reason why some live venues are closing. If there are not that many great artists pulling people in then venues can struggle. The Teesside scene is thriving at the moment and that is because there are so many tremendous local acts. Swears’ new single, Subliminal, was recorded at Prospect Studios but it does have that live sound.  I do hope the media shows more love for Swears and they get the chance to have their music played on bigger stations down here. I am not sure whether they have been included on BBC Radio 6 Music before but it seems like they’d pick up a lot of new fans there. This might be territory for them to explore but Swears are clearly on the rise. I will end by looking at their 2019 and what might come next but, when thinking of their new single, the title sort of tells the tale. Subliminal is about the media and how their negativity can infiltrate our minds. It is about their pervasive negativity and sense of propaganda that can skew our thoughts and do damage. It seems like an appropriate and always-timely thing to write about. The way the messages are projected and delivered means every words stands out and you find yourself coming back for more.

There is something Punk-like and anthemic as Subliminal opens up. There is that meaty riff and gravelled sound but I love the chanted vocals that sort of mix the Punk of the 1970s and 1980s with something modern. It is a great start to the song and you are already invested. There is a sense that the chanting and vocals represents the chatter of the media and its inanity. The hero talks about carrying out wishes and not being able to put up with this. Maybe it is a reaction to the way the press project these views and try to poison the people. The composition is great but I feel like it does crowd the vocal at times. Maybe it is the way the lines are delivered but some lyrics do sort of fade down or they are not as decipherable as they should be. Most are clear but there are occasions when you miss a few of the words and the music gets a bit too heavy. That is not a big problem because, to be fair, look at Punk and Grunge of the past and that was a common problem. One gets the sense the hero is fed up with the way the press is campaigning on their own terms and they are spreading lies. I feel like there is a more general look at the media and the way there is not a lot of truth. This might extend to social media but I get the sense the printed press are under the boot. What I like is the sheer force and commitment of the band. Things never get too loud and aggressive but one cannot say Subliminal is a soft and calm thing! Maybe there is a little nod to the Foo Fighters at times – which is not a bad thing – but Swears very  much do their own thing. They talk about different layers to the dayshift and that sense of fatigue comes back through. A lot of the lyrics are clearly a shot against the media and the way they operate but there are some oblique elements that make me wonder.

Everyone will have their own visions regarding some lines but you detect a definite anger and need for change. When the chorus swings back in, you are ready to sing along because it has that instant and huge sound. Subliminal is under two-and-a-half minutes and it is impressive to see a band do that. A lot of artists like to take a bit more time but Swears manage to pack so much into that time. Their short and sharp mandate is a rally against the press and the way we are all sort of being brainwashed. One detects personal dissatisfaction and a desire for improvement. The band is very tight throughout and you can tell they have worked very hard on the song. It has that great live sensation so I can imagine it will go down very well with the crowds. You have that catchy chorus – so people will be singing along – but the verses pack a big punch. I do feel there are very few bands who can produce something economical and focused that lingers in the mind, Swears have achieved this and they leave a lot of questions unanswered. I get the aspects regarding subversion and subliminal messages but I get the feeling there are other aspects at work and other concerns. Maybe that is me reaching but one feels like the lyrics are not only attacking the media but looking inwards. Every listener will go in their own direction but I definitely wondered whether the lead had some concerns and personal struggles he was trying to get out in the song. In any case, Subliminal is a song that will last in the memory and make its impression. I will wrap things up in a bit but I hope more people listen to the song and get something from it. Swears have grown between releases and they seem to get bigger with every track. This is promising as they look ahead and think about new material.

I do wonder whether they have an E.P. in mind as Subliminal could perfectly open it. I mentioned how bands like IDLES and Foals are making an impact because of what they are talking about and you can add Swears to that list. I maintain there is something special about bands in the North and the way they perform. Maybe it is something to do with their local environment and sounds around them or it might just be a natural thing. In any case, this song shows we all need to spend a bit more time investigating folk like Swears. I love how each band member gets a chance to shine on the song. The percussion is able to strut and stand out whereas you get a moment when the grumbling and groaning bass takes the lead. It is not just about the frontman and making sure his voice is the dominant force. The song is about connection and chemistry and, essentially, being different. It is refreshing hearing a band that allows the music to shine and gives each musician a moment in the sun. The lyrics will remain long after the song has ended and I think their importance will not diminish anytime soon – which is sort of tragic. I have talked for long enough – so I shall move on – but congratulations to Swears who have created an instant and incredible song that proves they are one of the most exciting new bands coming through in the North of England. I look forward to seeing where they head next and whether subsequent material follows the same path as Subliminal. A raw and incredible song from a band that are in a league of their own. Do yourself a favour and follow this fantastic Middlesbrough band.

 PHOTO CREDIT: Izak Jackson

I have talked about a lot about general aspects around Swears and how they fit into the market. I think they will have a very successful 2019 and continue to pick up plaudits. They will have gigs in the Teesside area and check out their social media feeds for all the latest news. I wonder whether they will play in the southern counties and if they have plans to perform in London. I would like to see them play but I feel like there is a whole world for them down here. I maintain they need to remain where they are and should not feel the need to relocate. Their reputation is building and that will only continue as they put out more music. If they can add a bit more to their social media pages and maybe put up a few live videos onto their accounts then that might give people an impression of who they are as a band. Swears have featured on Amazon Prime so there is footage out there of them playing. I wonder whether they might produce an E.P. this year and launch that into the world. I am excited to see where they can go and what they can achieve. There are more bands coming along but I think solo acts still take most of the acclaim. Maybe it will take a bit longer for the balance to shift but I feel more and more bands are making their voices heard.

What strikes me is how few can project that fuzzy and intense sound and make it stick. There are a lot of people trying it and I genuinely feel that there is another Grunge-like movement in the offing. Swears are definitely one of the more assured and talented bands around. They have this exceptional bond and energy. This all comes through in their music but they are so much more than force and aimless riffs. There are bands that trade in the hollow but Swears have a lot of depth and they are joining bands like Foals and IDLES regarding subject matter and its importance. There is an appetite for truth in music and I feel, as the political situation in this country shows no signs of shifting, it means Swears can keep on growing and getting more acclaim. I will leave things there but I would recommend people do investigation regarding Swears and start from the beginning. If you can see them live then make sure you do but it cannot be too long until the guys are playing around the country. There is a hunger to see them in the flesh and I hope that is realised. I shall leave things here and it has been great listening to Subliminal. I hope I have done the band justice but, as I mentioned, there are a lot of aspects that are similar to other bands I have encountered – including where they are based and the fact they are an all-male band playing on the heavier side. That said, there is plenty to separate Swears from everyone else and that all can be found in the music. Get your ears around their latest gem and discover why they are picking up so many great reviews. I know Swears are local and growing at the moment but it will not be long until...

 PHOTO CREDIT: Piron Aston Music Photography

THEIR name is better known.

___________

Follow Swears

 PHOTO CREDIT: Izak Jackson 

Twitter:

https://twitter.com/SWEARSband

SoundCloud:

https://soundcloud.com/swearsband

Facebook:

https://www.facebook.com/swearsbanduk/

Spotify:

https://open.spotify.com/artist/4tVQA9JDzBrnv62qYhyuTh?si=XLVRR7mCTwuXrDRSP3UcCA

YouTube:

https://www.youtube.com/channel/UCzTjLk1g9XqpuSSN8ps9uJA

Instagram:

https://www.instagram.com/swearsband/

TRACK REVIEW: Orchards - Age of You

TRACK REVIEW:

 

Orchards

PHOTO CREDIT: Jessie Morgan  

Age of You

9.5/10

The track, Age of You, is available via:

https://www.youtube.com/watch?v=HdQkaTwqYFs

ORIGIN:

Brighton, U.K.

GENRE:

Pop

RELEASE DATE:

29th November, 2019

__________

THIS year will see me do things a bit differently...

PHOTO CREDIT: Jessie Morgan  

as I am getting a lot of requests from solo artists who are a bit under the radar. It is okay because, naturally, people will contact you and ask if you can feature them. The reason I am making changes is because I am getting a lot of solo artists coming through and it can be a bit samey. In that respect, I am going for bigger names; those that are a bit more recognisable and have more of a standing. It has come to a point where I am getting lots of requests and they are not really interesting me and providing any sense of ambition. My mind is turning to bands more and, whilst I will apply the same rules to them very soon, I am keen to include more in my blog. Sam Rushton, Dan Fane; Will Lee-Lewis and Lucy Evers form Orchards and they are a crew that spike my interest. My rules regarding status and follower numbers will include everyone very soon but I think it is interesting to see a group like Orchards grow and see what they have become. It is early days for them at the moment but there is a passion there. Before I come to look at their current single, I want to talk about a few subjects. I will look at Brighton and the scene that inspires originality in artists; why bands and female-led bands are growing; simplicity and originality regarding songs and videos; why bands are starting to take more of a stand and have more promise to them; touring and how getting that gig experience can make a big impact. I miss Brighton a lot and do not get a chance to visit much. I haven’t been since Christmas Eve and always love heading down there. I love the people and vibe down there and always gravitate towards the vibe. It is a very colourful and friendly part of the world and you always get relaxed and feel better when around the people.

The reason I mention Brighton is because the band are based down there and it is a great spot for talent. Whilst one or two of Brighton’s big venues have closed the past few years, it is an area that is thriving and worth a closer look. The atmosphere and feel of the place inspires something different and fresh. The people are a lot different to, say, London and you are put in a good mood when walking the streets. That may not seem important when it comes to music but I think there is something in the air that compels musicians. Of course, if you are more relaxed and happier then that will translate into great sounds but I think there is something else at play. The fact artists are more relaxed and it is a less busy and packed place means they are free to wander and not so stressed. Brighton has a lot of great shops and bars; a great pier and beach and there is a tonne of stuff that compels the imagination. Other areas of the U.K. are great but there is nowhere quite like Brighton. Maybe it does not have the same opportunities and stature as London and Manchester but Brighton’s music is brilliant. There are a lot of female-fronted bands coming from here and I will talk about that later. It might be a stretch to suggest the sound of Brighton is vastly different to that of London but one gets a different tone. I am bit late to the party regarding Orchard’s new single, Age of You, because I got the request last year but it was hard working out timing and getting everything together. I am not reviewing any song in the past soon – singles released a few weeks or months ago, say – but I will make an exception here. The band will be planning new material so, in a way, Age of You is still quite fresh and worth exploring.

Orchards had a busy 2018 and achieved quite a lot. I will end by looking at their touring schedule and the fact they are pretty busy this year. I wanted to address female-led bands because they seem to be on the rise. There have always been female-fronted bands and some of the greatest from the 1990s, - including Skunk Anansie and Republica – have inspired a lot of groups today. I think there was a period when there was a lot of male bands and they tended to dominate. It might be the case they are the ones still getting booked for festival headline slots but the new wave of female-fronted bands should redress that. One of my biggest annoyances is the fact festivals still go with the all-male band and the same predictable sort. It can be annoying and does not reflect the changes in modern music. By that, I mean there is more depth and variety to be found. Female bands are more evident and mixed-gender bands provide a nice tonal shift. I am not slagging off all male bands but I think they can be quite limited and there is something lacking regarding sound and vocals. I do prefer a female voice and, when you have one leading a band, it can provide greater thrills and emotion. I feel all-male bands do not have the same depth and chemistry and bands with a female member. That might sound general and flawed but I think female-fronted bands are really exciting. Brighton has quite a few female-led bands (including Yonaka) and I love to promote them. Maybe festivals will get their act together and realise, when it comes to bands, there is much more pleasure and colour to be discovered in female-led bands. I am not sure why there are a lot of female-led bands coming through but I think it is something to do with the lack of variation and surprise you get from a lot of male bands. You have different voices in the group and, with a female voice at the front, it can add something you would not get from a male band.

It is interesting seeing how the band market is changing but, in many ways, it still has to compete against the solo hegemony. It has been the case, for many years, solo artists are ruling and they seem to take more of the pie. I wonder whether bands will get the same attention as them very soon or whether this pattern and landscape will remain for years to come. I think, if bands are to take more of a stand, then we need to look at moving away from the all-male variety. It might sound harsh to write them all of but I think they can be quite limited in terms of sound. When it comes to the male bands I am approached by, they tend to be Alternative or Rock bands. You might get the odd different one here and there but they tend to be a bit heavier. That is okay but you do tend to get a bit bored after a while. Unless you are IDLES are a band like that, you are not likely to make a big an impact as a band that has a bit more range and endeavour at their disposal. It is the Pop element that Orchards add that I love. I also love how bands like Yonaka can add something fiery and intense but, because it is delivered by a female voice, it provides something very different to what is out there. Not only does one get a more interesting vocal performance but you have a new lyrical perspective. Lucy Evers leads the boys but she does not dominate and steal too much of the focus. Instead, she puts her incredible voice at the front but you can hear the connection and intuition. I like how Orchards have this close bond and there is this original sound. I do hope festivals will book more female-led bands and, in years to come, they will get to headline. The same can be said for female bands too: a more interesting and fresh alternative to the sort of male bands that are headlining festivals right now.

Orchards have already released their E.P., Losers/Lovers, and it gained some big reviews. Age of You is about making promises and not quite being able to fulfil them. Lucy Evers has said it is a therapeutic song but quite hard in an emotional sense. The track is about having chances to be the best version of you but knowing there is something missing. There are still too many tracks about love and heartbreak and I think many artists are lacking when it comes to ambition. Think about the average human and how complex they are. They have so many sides to them and I do wonder why so many get caught up with relationships and focusing on them. We all go through so many different situations and very few of them are actually documented in music. I do love music that talks about matters of the heart but how inspiring is that for the average person? If you have not been in love or going through that sort of thing that is more academic than anything. I think music is most potent when it reaches the largest amount of people and has that familiarity to it. If you are not in a relationship then it can be hard to get behind songs that talk about splits and strains. I do think a track that talks about not being at your best is more common and we can all relate to that. We have all been in the position when we try and give everything to someone/life and still feel like we are lacking. Rather than provide a rather tense song that is quite depressing, the Brighton band do offer some hope and it will teach you some lessons. It is quite emotional and hard-hitting in places but I like its overall sound and we can all take something away. How many artists are writing songs that connect with everyone and go beyond the average and ordinary? Not only can a simple yet effective song resonate and endure but the same can be said for videos.

 IMAGE CREDIT: Joe Keys

Orchards had Stewart Gardiner direct the video for Age of You and they collaborated with their fans. The band wanted to keep things quite simple in terms of the lightning and set and not have something too cluttered. They reached out to their Instagram followers and, on certain lines, photos from them filled the blanks. Rather than the director compose the band in a scenario, they used these snaps to sort of respond to questions posed in the song. It is a nice way of involving the fans and quite a fresh twist. I think too many music videos try and tell a story and they do not feel personal or seem a little ambitious. It can be hard getting the video right and making it hit but there are ways to make it stand out. Given the rise of social media, I like the fact Orchards incorporated Instagram but the video itself has a lot of great elements and moments. It is a stunning video but a fairly simple one. I like music and videos that can make an impression based on something quite easy. Orchards manage to pack a punch with their song but do not need to use complex language and expressions. The song is cleverly written and sharp and it digs deep. One can feel it is very personal but everyone can relate to it. The video could have gone in the wrong direction and been rather wasted but the band and director have crafted something superb. You look at the video and remember the sights and scenes. I do wonder whether artists are taking advantage when it comes to videos and trying to craft something unique. It is costly to make a video but that does not mean you have to skimp on memorability. Orchards and Gardiner have produced something fantastic and charming. It almost juxtaposes some of the more serious aspects of the song itself and helps heighten the words. I can tell the band enjoyed the video and it perfectly visualises their track.

 PHOTO CREDIT: Dan Chase

I intimated bands will struggle to match solo artists and not get the same credit. Whilst I think there is too much focus on solo artists and that seems to be what is popular right now, I feel bands can make a break. There are some great solo artists in the market right now and the work they are creating is stunning. Whilst one can relate to solo artists and love their music, I do think bands provide something more emphatic and fulsome. When seeing a band live, there is something different compared to seeing a solo act. Bands used to rule and have the biggest say but things started to chance at the beginning of the last decade. Maybe it was a natural evolution but I think bands now are struggling to get mainstream attention. I think one of the reasons why bands have struggled is the fact they have been sticking with generic themes and sounds. Solo artists can provide more depth and flexibility and groups have not been able to match them. I am seeing the older order die out and those groups that are all heavy riffs, generic songs and the same old feel. In their place is a more ambitious and original line-up that has that knowledge of what the market wants. There are predictable bands out there still but there are many more that have something real to say. Whether it is the emotional struggles they face or the state of the world right now, it is a lot more than simple riffs and the same sound. Genres are being fused together and, with more female-fronted bands around, there is ample choice for festivals and fans alike. Bands are becoming more varied and I like the options out there. One can find an Electro-Pop group and there are some great Pop-Punk options. Depending on what you are into, you are likely to find a band that can fit the bill. I do think this choice has been missing and it is good to see a host of bright bands who can inspire the next generation.

 PHOTO CREDIT: Jack Smethers

Maybe bands will not completely bring us back to the 1980s and 1990s but there is nothing to suggest we will see less of an imbalance. I think the best live performance is from a band and there is something thrilling watch a group interact on stage. Solo artists are great but it can be quite hard to project the same sense of urgency, energy and colour you get from a band. Orchards are a group that showcase what is out there and how the market is changing. They have Pop and Rock elements working away but their lyrics are as personal and arresting as any solo artist. It is the chemistry in the group and the way each member adds to the pot that gets to me. You get that sense of togetherness and I feel Orchards are the match of any solo act out there. I do feel like male bands have struggled to adapt and too many are not saying anything new. That can lead people to solo artists; the band market starts to shrink and it can be sad to see. I feel this new breed are a lot more conscious of what the public wants and why solo artists are taking a big slice of the pie. Perhaps it will take a few years before we start to see real change but I can see bands taking a stand and getting more focus. Orchards are a brilliant group that have a long future and they seem rock-solid. I like the way they do things and the sounds they produce. The more bands that come through, the harder it can be to be distinct and stand aside. One of the dangers of bands swelling is the fact you get soundalikes and there is repetition. That is natural but there are plenty of bands who are on their own page and have their own scent. Let me come to the song, Age of You, and express why it is so good.

Age of You opens really well and springs right into life. It skips and has a crisp sound that instantly gets you invested but does not sound like anyone else. It is quite a catchy opening that has plenty of energy but there is depth to be found too. Although a few words do get lost – either buried by the composition or delivered quite fast – the lyrics talk about the heroine talking to herself and asking some big questions. It appears she has being trying her best and being the best version of who she can be but that has not been enough. She has thrown fireworks and maybe struggled a bit in relationships. Rather than beat herself up and blame others, this is this sense she has room to grow and is aware of problems that have arisen. Even though the odd lyrics does get lost and fades a bit, the heroine’s voice strikes out and she is looking back at opportunities lost. She talks about relationships past and wonders whether the right decision was made. Would things have been different if the bond was still intact and would it have made her happier? It is always hard to look back and wonder whether you have made the right call; if you did what was necessary or was a little rash. It seems like the decisions made were right and seemed natural but there are questions being asked. I like the fact the song has this quite energised and sprite tone but it is never too heavy. One would feel an emotional and personal song would be quite gloomy but the band ensure things are kept light and appealing. A lot of choices are being investigated and whether the decisions made are right. I do wonder how our lives would be different if we had stayed in relationships or taken a different path. Our heroine is wondering whether things would be better if she had done things different and maybe stayed with someone.

 PHOTO CREDIT: Helen Messenger

I think these are natural doubts and she cannot be too hard on herself. We all go through times when we look back and question our minds. There is something quite interesting about the vocal. In terms of sound, it is like nobody else but there are some familiar strands around the edges. It is a powerful and rousing delivery and one that brings the words to life. I like how the band connects and the interplay. The music is wonderful and often stands aside and strikes. There is a lot being said in the composition and it beautifully blends with the vocals. The lyrics talk about being the best version of you and thinking about yourself. I wonder whether the heroine was looking at herself and wondering whether she could have made things better or is taking a new leaf in 2019. She has been through some hard times and made mistakes but I think she is looking forward rather than back. Maybe there have been some hard decisions made but she is in a place now where she can evaluate and move forward. I’d like to think she’s happy now and excited about the next moves. I know Orchards, on Age of You, want to write about something missing and someone not being there. Maybe it is based on some single experience or relationship or it might be about a general feeling something is missing. You can look back and decide what is missing and moments lost but looking ahead and making a better version of you is a more positive thing. I feel the band are looking to embrace this sense of fulfilment and making improvements. Our lead has been through some bad moments and might regret some decisions but she is keen to move forward and build as a person. The lyrics are quite tough and revealing but there is a lot of positivity people can take away. We have all been in that mindset where we think we have missed out or are a bit incomplete. Orchards project this song that has a sense of optimism and cheer but that does not mean the song is slight and ineffective. The deliver and lyrics are powerful and memorable and the combination of these two elements is extraordinary. A terrific and impactful song from a promising young band that are growing stronger and stronger. Age of You is a cracking song that we can all relate to and take something away from.

Orchards embark on their first headline tour I March and April and tickets are available. Ensure you see them live because they are fantastic and a brilliant proposition. The band has a great 2018 and I think one of the reasons they are so strong is because they have toured a lot. There are some great venues down in Brighton and local bars to cut your teeth. The great thing about Brighton is that attracts a good mix of people and the artists are more eclectic. Maybe it is to do with the sea air and the people but the music seems more organic and nuanced. I like how Brighton artists do things and it is an area we all need to look at more closely. Orchards performed at festivals last year and got some great gig experience. I think this has translated into their music and has opened them up creatively. Not only do they sound sharp on record but their songwriting has broadened. Losers/Lovers has a great sense of range and I think Orchards have become more ambitious the more they have toured. They have played to a lot of people and had a chance to experiment with music. They have seen a lot of other acts play alongside them and all of this has been brought into the studio. Their play is excellent and you can hear the tightness and confidence. I feel a band with less gig experience might not sound as strong in the studio. They might be too reliant on their influences and not quite as electric as other acts. Those who have been on the road and had the chance to test their songs and work on them in front of the people have that unique perspective. They can get that instant reaction and people can respond. If they like a song then the band does not need to change much but, if a track does not get the big reception hoped, they can chop and change a bit before bringing it to a producer. Orchards have been out to the people and, through various gigs, seen that response. Check out their social media pages because they have gigs coming in March and April and make sure you go see them. I will leave things now but I am glad I have got the chance to review Orchards and bring them to new people. 2018 was a big one for them but 2019 is also going to be huge. Not only does the band have a headline tour but they will be thinking about new material and their next step. Given the strength of Age of You (and Losers/Lovers), I cannot wait to see...

PHOTO CREDIT: Jessie Morgan

WHERE they heads next.

___________

Follow Orchards

 PHOTO CREDIT: Jessie Morgan  

Twitter:

https://twitter.com/orchardslive

Facebook:

https://www.facebook.com/orchardslive

Spotify:

https://open.spotify.com/artist/4XWU6kWmuSBJJ1QL0BV3NZ?si=p1bhn7aaRQCNZEDqlhMSDQ

SoundCloud:

https://soundcloud.com/orchardslive

YouTube:

https://www.youtube.com/channel/UCC-8fed89VyZJqhSWxDKpHA

Instagram:

https://www.instagram.com/orchardslive/

Bandcamp:

https://orchardslive.bandcamp.com/

TRACK REVIEW: Jamie Hutchings - December Park

TRACK REVIEW:

 

Jamie Hutchings

December Park

9.4/10

The track, December Park, is available via:

https://www.youtube.com/watch?v=c9jqxkg7gUk

ORIGIN:

Sydney, Australia

The album, Bedsit, is available via:

https://open.spotify.com/album/3o8NU61qgyOOEzV3UVXLid?si=LUXV2IxJRGqXYS16AyYj_A

GENRES:

Singer-Songwriter/Indie

RELEASE DATE:

2nd March, 2018

__________

I am in need of a distraction at the moment...

as my email account has been hacked and, rather annoyingly, there are a lot of emails and contacts on there that I cannot retrieve. That may be by the by but, as usual, I need some sort of calm and settle from music. It is a bit of a chilly time out there so I am looking for something to settle the blood. I will talk about Jamie Hutchings’ December Park in a bit but, before then, I wanted to address a few things. Although his album, Bedsit, has been out for a little while and there has not been a new single since the early part of last year, Hutchings has been working hard in Australia and trying to get some traction for the record in the U.K. and Europe. I will discuss that later too but, for now, wanted to look at unusual and rare settings for writing music; Australian artists and a part of the world I do not get to investigate that often; record that, whilst in a tone I am not a huge fan of, seem to be very personal and might have their own escapist quality. I also want to address artists who mature and move through different stages/ranks to get that experience; a bit on breaking from somewhere like Australia to the U.K. and a little on when Jamie Hutchings might head. Most records tend to be written somewhere quite conventional and conducive to calm. There are albums that are penned in the studio or somewhere a bit unusual but most artists favour something a bit more settled and unusual. They might write at home or go on holiday somewhere to get the creative juices flowing. I often wonder whether there is a link between location – when it comes to writing – and how a record sounds. It is interesting to see why certain artists choose the locations they do and how that translates in the final product. For Hutchings, he went to the Outback. That might sound quite bleak but it seems like it has led to something very personal and revelatory.

I have seen artists retreat from the busy city and go somewhere quite sparse and nomadic. Think about Bon Iver and when he recorded For Emma, Forever Ago. He was in a woodland cabin and sort of shut everything away; reflecting on personal heartache and coming to terms with change. In many cases, Hutchings has replicated that process and he has taken a similar approach. I wonder whether the woods or Outback is more detached and which creates the best sound. I do wonder whether more artists should take an approach like this and get away from all the technology. I think Hutchings needed to shut away any noise and really get down to the nub of things. I think it can be a bit extreme going away and being that distant but it can focus the mind and lead to some fantastic songwriting. I will move to another point very soon but it is fascinating to me. I think there is this wisdom that suggests you need to record at home or a studio and that is the way to do things. In a lot of instances, finding your own version of unique and peaceful can add something to the music. There was the emotional reason behind Hutchings going to the Outback and choosing to record like that and it seems to have brought the best from him. I am curious whether he got much time to walk around outside and find inspiration there. He was in this sort of converted shed/barn and, with a sixteen-track recorder and six microphones, recorded Bedsit with a few musical friends. It is amazing to think it came together like that and such a location led to this brilliant music. I think there is a natural correlation between your setting and sound but I hope Hutchings finds some peace and is in a finer mood on the next record. The Outback is a great area but one would not want to record there all the time you’d think.

I mention Australia and the Outback and it has been a while since I have been to that part of the world. A lot of my reviews and interviews look at musicians from the U.K. and U.S. and it is good to be in Australia. I love the music from there and how artists work. Historically, Australia has produced some of the finest artists ever and I think they should not be overlooked. Given the distance between Australia and nations like America and Britain, I do think the artists over there get ignored and it can be hard for them to get focus. That is a shame because there are some fantastic artists working in Australia. I think the standard of living and the varied landscapes have a lot to do with the music variation and quality. One often thinks of Australia and relates to this rather calm and measured demeanour. It is true the Australians, for the most part, are pretty chilled but that would suggest the music is all like that. In fact, music coming from Australia is as wild, eclectic and passionate as any in the world. With incredible cities like Sydney, Melbourne and Hobart producing their own scenes and some fantastic locations, I feel Australia is a nation that many should look towards. Think of all the past treasures that have come from the nation: everyone from Nick Cave to Sia and it is clear there is a lot of brilliance to be found. I think it is harder for artists to get worldwide acclaim in the country and, when it comes to touring, it often involves a hefty flight. There are fewer finer countries to tour in than Australia but, if you want to go to different nations, it can be a hard and tiring process. I think one of the reasons I love Australian music so much is the fact it tends to stray from what we consider to be normal and mainstream here. There is a mainstream there but a lot more artists moving to their own beat and stepping away from the conventional.

I will address another point soon but I think Jamie Hutchings perfectly displays what it is about Australian artists I love. He has recorded in this very grand yet underpopulated part of the country and did that because he wanted to get the best from the music; cut off from the distractions of a city and go somewhere he felt comfortable in. I do like the fact that he is a respected musician in Australia and I hope his music gets to make a big impact over here. There are great reviews out for Bedsit so I am confident it will not be long until the man is touring here and has that demand. It will be a long trek but we do not often get to see Australian musicians tour and I think that is a shame. If one dips deeper into the nation and discovers the music out there then they will find one of the most interesting and innovative scenes around. I mentioned different cities and it is true there is a vast contrast when you move from state to state. I guess there is here in the U.K. but Australia, to me, seems to be even more exciting and varied. Great Australian newcomers like Camp Cope, Jade Imagine; Moaning Lisa and Orion are starting to turn heads and show what they are made of. It is hard for people in the U.K. and U.S. to get a good impression of the nation unless radio stations play artists from Australia. I will look away from Australia but I would recommend people do some research and dig deep. Make sure you listen to Jamie Hutchings because he is one of the finest and most respected artists from the nation. I am excited he has an album out right now and there is that interesting recording process. Although a lot of the themes addressed will resonate, I think Bedsit is this personal and very precious collection of songs that, in many ways, sounds like a man unburdened and opening his soul.

I have rallied against artists who are quite downbeat and often wonder where all the fun has gone. I am not saying we all need to abandon the rather unhappy or personal songs but the music industry seems to lack a sense of excitement and optimism right now. I am not sure why that is but one assumes the personal is easier to explain and explore and it is something people can relate to. I agree with that but do wonder how many realise music should be escapist and we need to find some pleasure and optimism among it all. That is another issue because Hutchings could not have written a record like Bedsit and added too much fizz. I guess there are artists, new and older, who can give you something rousing but Hutchings has produced a record that is stirring and frank. He has opened up his heart and mind and brought the listener in. The title of his album seems to be very apt. Hutchings found himself living in this single-roomed house and it was a bit of a change for him. I am not sure whether he was living with someone else before then and had to move but it seems like there was transition and that change. One can get a sense of the narrow and insular on the album and maybe the images of living in a bedsit are a world away from the scenes of the Outback. In many ways, there is that related sense of loneliness and a chance, in different ways, to reflect and be with yourself. Bedsit is a very personal record as you’d expect and you get that live sound to it. One can imagine this rural space with very few luxuries where the musicians were all together and recording quite fast. I think there is this assumption music is at its finest when there is time to dwell and you have technology at your feet. Some of the best records ever have involved very little comfort and this rather natural and naked sound.

That is not to suggest Bedsit lacks richness and depth. In fact, the album has humour and great stories; the musicianship is great and the production balances between the live flavour and something a little bigger. I prefer my music a little bolder and optimistic but I think this is something Jamie Hutchings had to get out and explore. If a songwriter is going through a tough time and their world is changing, it is their duty to reflect that and put it out in music. I feel many will be able to relate to what he has gone through and how life has shifted. I do find myself wondering whether Hutchings is looking at lands altering and modern life smashing down what stood before; if it is about love and losing someone close; a feeling of being displaced and trying to come to terms with that – maybe a combination of all of them. Many who know the geographical sounds of Australia attest to the fact Bedsit feels very Sydney in its tones. Hutchings is from there so it is understandable he would have that sort of feel. I am interested whether there is a distinct smell and tone to Sydney and whether that differs greatly to Melbourne. Others have noted references to dreams and nature on Bedsit. We have an album that talks about the heart and home but it also spreads its wings and says a lot. Everyone will be able to take something from the album and feel represented. I like the fact the record is quite stark and bleak in places because it is quite brave being that naked. Many artists sort of skirt around the darker topics and going too deep but Hutchings knew he had to go that way. There is plenty of light to be found in the cracks and the variation of Bedsit is wonderful.

Jamie Hutchings might be familiar to those who know the band Bluebottle Kiss. They were quite a big name in the 1990s but maybe you need to be more familiar with the work coming from Australia during that time. The band was underground but they were much-loved and produced some fantastic material over time. Hutchings is one of those musicians who is not confined in terms of bands and sounds and he has performed as part of Infinity Broke. They are a percussion-heavy unit and working alongside songwriter Peter Fenton as part of The Tall Grass. I am not familiar with the ins and outs of those acts but it is impressive to see the fact Hutchings can step into different moulds and has that variation. It is the fact Hutchings is a seasoned live performer and has worked with different bands that leads to such great music. He has that knowledge and can bring the confidence to his latest album. Many artists take a while to cut their teeth and that inexperience can show in the studio. I think it is a shame Hutchings does not get a chance to perform more in the U.K. and U.S. but he has done before. There is a hope that, once Bedsit does good business here, that sort of possibility will be realised. I am new to Jamie Hutchings so I am sort of piecing everything together and getting to grips. I have listened to his entire latest album but I am also looking back at what came before. It is a great collection of work and I think more people need to check Hutchings out. I do think that experience he has had with different bands has worked in his favour and given him the confidence to be bolder as a songwriter. When it comes to the live performance, one can see this very natural and accomplished musician and you’ll get a very varied and interesting set. Let’s hope he gets a chance to bring it to the U.K. soon.

The aim, I guess, is to get Hutchings to other parts of the world because, as I have explained, it is hard for Australian artists to really shine and get focus further afield. I hold hope the media will change its ways and pay more mind to musicians in Australia but I guess it can be hard. The rigours of touring here and finding the money is always a challenge and something that needs to be considered. I do hope Hutchings gets over here because we need more internationality in music. Australia is producing some brilliant artists and I think they could find some great venues and support in Britain and America. It is hard to break any nation but Hutchings has a solid reputation. He is already loved in Australia but there are some who do not know him over here. Bedsit is picking up reviews but I guess it is tough to truly get the music to the people unless there are tour dates. I do hope more stations and people here play the music and there is great awareness. We need to start looking beyond obvious cities and nations because, when we truly open the eyes, we discover incredible and unexpected treats. I shall come to a song from Bedsit I wanted to review because, when you listen too, you’ll find that it is a fascinating and memorable moment. It is time to move on because a lot has been said about Jamie Hutchings and his latest album. I have explored a few sides to it and what makes it stand out but I suggest people either stream it or purchase it and listen to it alone. It is one of those albums you can get lost in. I am picking up new aspects from different songs and it is a wonderful collection. I wanted to focus on December Park because it has a video alongside and it is one of the finest tracks Hutchings has produced. It seems to embody everything about Bedsit and it definitely stays in the mind.

The opening of December Park is very natural and intimate. We hear the record start and you get sounds from the studio space opening things up. It is quite subtle but, rather than this brash and huge production, one gets to discover little noises and elements that you’d normally not experience. The guitar coda that leads from that is intensely beautiful and incredibly immersive. You are lost in this heavenly and intimate sound that gets into the mind and swims. I am not sure who Hutchings sources as inspiration but you can hear some greats of the guitar in his performance. It is a sensational opening and, before too long, you are engrossed in the track. I was already wondering what it was about and whether December Park was based on a real place or a state of mind. Maybe there is a combination of both because we see Hutchings walking through dark streets and getting tangled up. I guess there is that sense of mental dislocation and isolation; a need to find some safe space and comfort. The vocals match the music in terms of the production and sound. It has this quite bare tone but there is ample beauty and fullness to be discovered. Hutchings’ voice is not too high in the mix and it fuses nicely with the guitar. The guitar gets firmer and larger as the hero asks about someone and where they are now. A storm is coming and it seems like there is a bit of mystery. It is clear there is another party involved in the song but it is quite hard deciphering the true story. I do like the fact there is mystery and every listener can come up with their own interpretation. There are some wonderful lines expressed that makes you curious who this other party is. Maybe they are a former love but it seems like memories are flooding through.

Hutchings does not know whether the other is alive at all and what they are up to. He even projects this image of a badger in a ticket booth – an example of his original imagination – and you picture all these different elements and visions. Rather than portray rather ordinary and predictable words, Hutchings fuses in the unusual and unexpected. Many songwriters could learn from him when it comes to their own material. As the hero walks through the park, he ponders how easy it would be for him to be an apparition and spirit. Maybe the other person in the song was a former lover but they are somewhere else right now. It is not clear whether there has been this natural split but it seems like where Hutchings is now holds all sorts of bad images and memories. The way Hutchings reveals the words and opens his heart is spellbinding. I cannot compare his voice to anyone else and it has this very potent quality. The composition is not too heavy but there is this energy and sense of gravitas that adds to the vocal. I love the song and everyone will have their own interpretation. One of the best things about December Park is the imagery and how powerful the words are. I love the detail in the track and the unusual verses; the way the words entwine and how they seem to project this dreamy perspective. It is very personal and meaningful but everyone can find something that relates to them and their experiences. This other person has disappeared and there are questions around that. As the guitar campaigns and continues to strike, the hero lets his voice wander and wonder.

The hero/heroine being spoken of is coming back weary and lost. Maybe Hutchings is talking about himself and his sense of isolation but one feels there is a relationship or friend being ascribed. Little elements of Crowded House do come in here and there and I like the fact December Park has a mix of the relatable and original. It is a wonderful track that will get you thinking and perfectly documents what Bedsit is all about. Even though it is nearly four minutes in length, you will come back to the song and try to understand it. I have my own views and conclusions but others might go in another direction. I do love the vocal but think the guitar work is exceptional too. One gets this rather bare-boned sound but it works perfectly on this song. If anyone wants to discover a songwriter who can pour their heart out but does so in an imaginative and evocative manner then they need to listen to a song like December Park. I will follow Jamie Hutchings and his music because I think he is a rare talent and someone who can go a long way. He already has gone a long way but many people might not know him over here. I think that can all change when it comes to Bedsit and getting more attention in the U.K. and Europe. It is understandable why Hutchings is a celebrated name in Australia and has that big fanbase. There are very few who have that balance and mixture of intimate and personal alongside the imaginative and open. I think more songwriters should follow this course because, we can hear, the results are incredible.

Jamie Hutchings is touring around New South Wales, Australia from March and it will be good to see how the people respond. He is touring alongside Darren Cross – two of the most respected names in Australian music – and there are some great dates. Most of us will not get a chance to see them there but let’s hope Hutchings is afforded the chance to head this way later in the year. I love what is explored through Bedsit and it is one of those albums that will inspire so many others. It is a stark and bare album but one that has plenty of life and colour. Many might be offput by the fact it is very personal but I think everyone can get something from it. Make sure you spend some time with the album because, when you close the rest of the world away and focus, it is a wonderful thing. I am glad I have discovered Jamie Hutchings and will follow to see where he goes next. He has enjoyed a long and fruitful career and it is entering a new phase. I do wonder whether Bedsit represents a more single and lonely time for him. It appears things have changed and I do like the way he is handling it. Rather than get angry and hide away, he has released this record that brings listeners into his world and explains what he is going through. There are many beautiful moments on the album but I love December Park because it seems to incorporate all the aspects and contours that makes Bedsit shine. Let us end things here and I would implore, going forward, everyone to have a listen and discover a great artist. If it does well in the U.K. and Europe then there might be that chance for touring and further exposure. I hope that comes to pass because, after only one listen, Bedsit is an album that...

HAS won me over.

___________

Follow Jamie Hutchings

Official:

http://www.jamiehutchings.com/

Twitter:

https://twitter.com/jamiehutchings

Facebook:

https://www.facebook.com/JamieHutchingsMusic/

Spotify:

https://open.spotify.com/artist/1Nplx8nvAdnE06lyqFdKxG?si=lmeicXYBTZ-obbDyW6gWZg

YouTube:

https://www.youtube.com/channel/UCcIl1cOtuuqBcWsSX2nBh5g

Bandcamp:

https://jamiehutchings.bandcamp.com/

TRACK REVIEW: The NonStick Pans - Man up, Man!

TRACK REVIEW:

 

The NonStick Pans

Man up, Man!

9.3/10

The track, Man up, Man!, is available via:

https://www.youtube.com/watch?v=RMtYPLKTSSo

ORIGIN:

Blackpool, U.K.

The album, Nineteen Sixty Four, is available via:

https://open.spotify.com/album/0YGu3vwxGbcKqsxbJvfNfV?si=04U4DhGzRUqGmhIGFCmgOA

GENRES:

Alternative Rock/Power-Pop

RELEASE DATE:

11th December, 2018

__________

THERE is a lot to recommend...

when it comes to The NonStick Pans but, perhaps, lettering is not one of them. That sounds odd but I think it is for artistic affect. The ‘NonStick’ combined as one word (without a hyphen); the title of the new track being spelled ‘up’ instead of ‘Up’ and the album being ‘Nineteen Sixty Four’ - without any hyphens. A lot of artists do this with their song titles and names. Billie Eilish is renowned for putting her song titles in lower-case lettering but, in a packed industry, it sort of stands out I guess. I was not going to expand on it – it was an observation and I wondered whether artists did do it for an artistic affect. In any case, I will focus on the more positive sides of the music. I want to address artists who put their everything into the mix and create a real labour of love. I will also look at those inspired by the sounds of the 1960s and particular acts. I will bring in sounds in general but also look back at the North and ask whether it is here we are finding the most intriguing songwriters today. I will then go on to look at new artists and getting noticed in the modern scene – completing by thinking where The NonStick Pans might head. I do not review entire albums – only the singles – so cannot give you my impressions regarding the rest of the material on the record. I recommend you listen to the whole of Nineteen Sixty Four because, in many ways, its title sort of gives you an impression of the sound and quality. This was the year when The Beatles produced A Hard Day’s Night and Beatles for Sale and there was a great Pop sound coming through. I think The NonStick Pans’ creator has taken to heart this great Pop core and combined it with something very much of his own. There are few artists who put their all into the music and you can hear that incredible effort.

I listen to the music on the album and can hear all the effort and love that has gone into it. It seems strange for me to mention quality in music and passion but how many artists do put this much attention and detail into their work? I think there are a lot who really hone and put passion into their music and it can be a really hard slog. That sounds a bit dark but, to get ahead and produce something exceptional, you need to really expend a lot of time and energy. It is clear The NonStick Pans – not sure I will ever get used to that name! – has been away and really worked on the songs to make sure they shine and have that balance of the old and new. I do think there is a lot of pressure when it comes to getting music out there and putting something into the market quickly. I worry that artists have this pressure to put out music fast so they do not get overlooked. As such, I am discovering a lot of music that sounds fairly forgettable and it can be frustrating. Those who take the time out and really work on something fresh do risk losing some traction regarding pace and attention but I think it is the right approach. It will be a while before The NonStick Pans gets to the bigger festivals but that achievement will happen because of the strong material and the fact it sounds so solid. I can imagine him doing some of the Folk festivals or maybe ascending to one of the biggest gigs in years to come. The rich vocal harmonies and tight songs come from someone who has really stood back and ensured the material is as strong as it can be. I love the songs and feel the album, Nineteen Sixty Four, is really solid. One gets something very fresh yet professional when listening to The NonStick Pans’ music. That is rewarding to hear and something a lot of musicians should take to heart.

I think I am drawn to the music because it has that inspiration from the 1960s. You get the harmonies and sunshine from The Beach Boys and there is the melodic sensibility of The Beatles. I think a lot of artists look back when it comes to inspiration and there is nothing wrong with that. So long as you are contributing something new to the older mix and not replicating the artists then that is okay. What we get with a song like Man up, Man! is a modern-sounding theme and storyline but there are those scents of the 1960s. On other songs, one gets a more evocative and potent semblance of the decade and a real love of the time. I do wonder how many young artists coming through will actually take inspiration from the 1960s and whether it is a relevant time. So many parents now are of an age where they did not listen to music from then – or were born in the 1970s and 1980s – and they do not pass that down to their children. I got exposed to music of the 1960s as my parents were born the decade before and this was the music they grew up around. How many parents now look back at the 1960s as opposed, say, the 1990s?! Maybe there are a few who are that bold but it is good to see an artist as young as The NonStick Pans forsake the 1990s – so many are following and working in that decade right now – and go back to that golden age. It is quite lofty following the sounds of The Beatles and The Beach Boys and one might have certain expectations. In this case, you get the shimmering and California-rich harmonies but you also get the northern sensibilities of The Beatles and that sort of blend – not something we hear often in modern music! I think many fear looking at the 1960s because they assume it is quite limited or it is hard to follow those big acts. I think there is so much gold from that time that, if done right, can lead to some sensational music.

What one gets with The NonStick Pans is a nod to that time and a way of writing that does add optimism and light into the blend. Too many modern songwriters are quite moribund and hopeless when it comes to joy and I feel we need to bring the thrill back. I am not suggesting Nineteen Sixty Four is all joy – there are moments of anger, fear and darker mood – but one does feel buoyed and elevated by the music. I often look at the 1960s and think it is that happy time when there was genuine optimism around. Maybe things have changed but I look at modern music and do not think there is as much hope as there should be. I think a reason why people avoid the 1960s is because the music of the time was defined by a certain tightness and catchiness. Bands like The Beatles cut their teeth crafting these three-minutes wonders and bringing something instantly memorable to the plate. Maybe The Beatles and The Beach Boys started getting more experimental after a time but think about their earlier work and it is all about these really tight tracks. I listen to The NonStick Pans and songs do not run on and outstay their welcome. It is refreshing hearing a songwriter who can write a great song and does not feel the need to go past the five-minute mark. Because of that, you get these fairly brief songs that pack a lot in. I do love the sense of energy that runs through and a distinct accent. Too many people, when replicating 1960s sounds, tend to Americanise their accent or mimic other artists. You can tell our hero has not done that and keeps his true voice strong. I have been looking away from the North quite a bit and focusing on London to an extent. It is good to have the chance to go back to an area of the world that is producing sensational music.

The NonStick Pans is based in Blackpool and, aside from Jethro Tull, there have not been that many big artists from that part of the world. Lancashire in general is a productive and epic spot for music and I can see why artists are not willing to leave there. When I am faced with a northern artist, I often wonder whether they will move to London but, in a lot of cases, they stay put. I think this is good because it shows there is an audience there and venues willing to put them up. Down here, we have a lot of venues closing and it is becoming very packed. It is harder to get attention and I do wonder whether we have reached a saturation point in London. I feel there is still too little attention paid to northern artists by the big websites and papers. Think about the great bands like The Beatles and one would think they alone have done enough to ensure the North does not get overlooked. Today, there might be fewer legends here than there was in decades past but I am seeing a great new crop grow. I do like the fact there is more personality and variation in the northern sounds. I feel artists have less stress on their shoulders and write more honestly. Maybe that is because of economic divides or it might be the natural personalities of the people. Whatever the reason, I love music from the North and it definitely deserves more acclaim and focus. Let’s look at somewhere like London and whether it is possible to distinguish artists here. There are countless great acts here but how easy is it to find them and stand them aside? Because of the pace and crowded nature of the city, I do wonder whether a lot of acts are getting buried and overlooked. Compare that to somewhere like Blackpool and it is a lot easier to unroot the very best. Maybe The NonStick Pans will locate to Liverpool or Manchester in the future because I think there are more venues and labels that could catch his eye.

I think Liverpool especially is a city that is coming back with force and attracting a lot of young musicians. It is the history and heritage of the place that beckons them in and, as a result, leads to fantastic music. Why do we tend to ignore the North and concentrate too heavily on London? Maybe some of us are bolder but it seems to be a media thing. I am discovering so many great northern acts emerging and wonder whether they are being exposed. There is a definite split in terms of voice and narrative when one compares the South and North. I love the more humorous, natural and varied sounds of the North because you get all these extra elements. One gets charm and humour mixed with something deeper and more serious. It is hard to define but I think northern artists approach music differently and put more of themselves into the songs. Listen to The NonStick Pans’ love of 1960s music and that fuses brilliantly with his natural surroundings. One gets a blend of the modern and of-the-moment with that dreamy and wistful nod to the 1960s. There is also a great mixture of Britpop-era sounds that, perhaps, is a time he dimly recalls. Many artists are inspired by the 1990s but I wonder whether they find it hard to match the sense of energy and hope that came from Britpop. Instead, many are looking at Grunge and the American Alternative scene from that time. Maybe it is not exclusively a northern thing but I love that mixture of decades and what comes out in an album such as Nineteen Sixty Four. Take a listen to the whole album and one gets so many great stories and combinations. I wanted to feature a few other songs in this review but I feel I will only give them a slight nod. I have picked Man up, Man! because it is especially strong and a song that has received a lot of attention. I shall come to that in a bit.

It is hard to stand out nowadays and I do wonder what life is like for a new artist. A lot of the time, there is so much to consider and quite a task ahead! Think about all the social media factors and the fact you need all these different accounts. By the time you have them going, you need to promote yourself and, with each new track, there is this cycle and pressure. One needs to keep the focus strong but also ensure other factors are considered. By that, there needs to be regular updates on social media and one will always be pressured to gig. Most artists love to perform but, alongside gigging, you need to look ahead to yet more material and ensuring you are ahead of the competition. It is hard for every artist but I think those coming through right now have it hardest. That might sound scary for The NonStick Pans but think about all the work that must have gone into an album like Nineteen Sixty Four. The songs need to be memorable and fresh and the quality has to be there through every stage. When the album is done, it needs to be promoted and the music needs to get the attention of the public and radio stations. The NonStick Pans also needs to push the music on social media and get as much press as possible. It is exhausting promoting the work, let alone being successful and ensuring enough people are invested. It is impressive when one comes across someone like The NonStick Pans because you have this very professional and assured artist. So few artists have good social media numbers and pages but his are impressive and always growing. The music is solid and the visual aspect is very pleasing. Given the fact the 1960s-inspired sounds have led to these great images from The NonStick Pans, I wonder whether even more photos could be provided with this sort of aesthetic – I love the shots that are out there that sort of shows the hero as a Scott Walker-type figure.

I think, if an artist does not rush and takes time, they can get everything right. There is this pressure to get stuff into the ether and so much competition around. Many get stressed because they always have to get their music out there – I think this is quite dangerous. It can be stressful putting together music and succeeding today but I think originality and a unique sound can do a lot of the work. That might sound tricky considering the number of artists around but it is not impossible. The NonStick Pans has this brew of the 1960s and 1990s and joined that to this rather striking and personal tone. As such, one gets a little nod of familiarity but there is this chemistry that nobody else has. I feel so many modern songs are quite dour and lack any sense of happiness. People want to discover music that can make them feel better and is not always so downbeat. Musicians today need to think about why we listen to music and the power it holds. If everything is too ‘real’ then that provides little escape and can actually create something negative. Those who manage to be personal and honest but ensure there is light and colour in their sounds will get ahead a lot quicker than those who are all bleak and too insular. It is a promising and big start from The NonStick Pans and I feel he can success and grow if he remains true to his core and sound. The 1960s-scented material is fantastic and there are few other artists out there who sound quite like him. I should get onto the new material of The NonStick Pans and a song that mixes the classical sounds of The Beatles with something quite today-focused and vital. It is a song that conveys a very important message but enriches you with its colours and energy.

I am always interested in how a song starts and what approach an artist will take. Do you go in quite urgent and try and grab them in the first few seconds – like The Beatles did so effortlessly – or does one build the mood and not give too much away at the top? In the case of Man up, Man! there is this rather instant and alluring start. The drum sort of roils and rollicks and you get this burst of energy and Pop magic before a word is spoken. It is a nice and unexpected introduction that gets you involved straight away and represents what The NonStick Pans is all about. The hero talks about someone who is the “king of the world” but is unable to jump for joy right now. Although I have mentioned bands like The Beach Boys the vocals, in fact, have a little touch of singers Paul Heaton and Paddy McAloon. I am not sure how familiar with them The NonStick Pans is but one gets this soulful richness in the voice. It seems like this is this rage building up (in the subject) but this is being replaced by joy. The song’s title might sound like something that is being avoided in modern music: that ‘man up’ sentiment and just getting over something. Here, it is used in a humorous and conversation way and there is never a sense the hero is trying to undermine a subject or create tension. In fact, the vocal is consistently light and breezy but has so much texture and heart. One definitely hears the influence of the 1960s because of the general energy and skip of the track. It is impossible to listen and not be moved by the music. The composition is fairly sparse but the sturdy percussion gives plenty of kick and guidance. It is the vocal and the alacrity of The NonStick Pans that creates the biggest draw. It seems like the song’s hero is someone who has been through a lot and, in some ways, needs to do some growing.

Maybe the title – Man up, Man! – is more a call for maturity than balls. In some ways, the song commentates on the way we approach feelings and our emotions. Are men pressured into being quite angry and distant and not letting their true emotions out? Is toxic masculinity and ignorance still too present and dominant? One can approach the song from different angles and it is interesting picking things apart. Perhaps this is a song that addresses a particular subject and the way they have approached life but there is that wider vision. I love how, in spite of everything, the man keeps the song cheery and delightful. There is a sheer infectiousness and sense of rouse that gets the words to life and puts them in the brain. It seems like, the more the song goes on, the more it applies to the general population. I get the feeling The NonStick Pans is looking at the way men are expecting to have this mask and what that is doing to the mental-health of many. Is it time we sort of broke from that parable and encouraged more openness? I think there are a few songs that carry a similar message but very few in such an uplifting way. Maybe the tone and sound is ironic in a way: the rather happy delivery is a way of hiding something more troubling and serious. Listen to the rest of Nineteen Sixty Four to know there are plenty of other happy moments but, in this context, the sound carries particular punch and weight! The chorus is instantly memorable and I do love the way new instrumental elements come in near the end. We get a blast of horns and there is this growing mood. The lead vocal is consistently strong and soulful and it adds so much to the song. You are invested all the way through and wonder if there is this particular man in mind. The hero talks about someone who has bottled things up and might not be in the best headspace right now. In a larger sense, there is this wider message that looks at masculinity and whether we are telling men to hide things and not let their emotions out. By the time Man up, Man! comes to an end there is so much to look back on and ponder. The song itself is great and has this perfect energy and fusion. I kept coming back to it because you get this release and explosion. It is a wonderful song but one that carries weight and a serious lyric. Many will have their own interpretations regarding the truth and story and I hope that I have gone some way to explaining it. Make sure you investigate and get behind the wonderful tune. It is the perfect example of what The NonStick Pans is all about and what defines his sound. Let’s hope there are many more albums from the man!

I think this year will be a big one for The NonStick Pans. I am not sure whether he has any tour dates coming up and what is in the diary. I would love to see a U.K. tour and a collection of small dates that brings the Nineteen Sixty Four album to the people. I stated he is based in Blackpool and asked whether he might move at some point. There are some great venues where he is but, actually, he is not too far from Manchester and Liverpool and it is not such a trek getting that way. Maybe London is more of a trek but there are a lot of venues that would put him up and give him some stage time. I love the record and feel the song titles alone are worth exploring! Somehow Girl, Jennifer String and Ignota are favourites of mine and you listen to the song just to see whether the inspiration behind those titles is revealed! I think it is great the album is out there – it was released last year – and there is a chance to release a few singles/videos from it. That will give The NonStick Pans a chance to bring to life some of the bets cuts and get the music to new audiences. He is active on social media and building a small fanbase at the moment. That will increase when more airplay comes and he tours a bit wider. I know there is that demand already and the incredible songwriter has been noticed by critics. I love how the music has that effortless blend of natural tones and the familiar sounds of The Beach Boys and The Beatles. That means those who grew up in the 1960s will find much to love but one does get a smash of the 1990s and, in every moment, sounds of the here and now. The strong songwriting is evident and the songs get into the head without much struggle. I predict The NonStick Pans will go far and it will not be long until he is...

TAKING these songs all around the country.

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