TRACK REVIEW: This Modern Hope - Kingdom

TRACK REVIEW:

 

This Modern Hope

 

 

Kingdom

 

9.5/10

 

Kingdom is taken from the forthcoming album, Horizon.

GENRE:

Alternative-Rock

ORIGIN:

London, U.K.

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UNLIKE yesterday's review subject - who was someone new…

to me - today, I am approached with a musician I have known for a little while now. This might be my last review of This Modern Hope for a little bit – will find it hard to say new things about the same act time again – but I was excited to hear the album, Horizon. It has been a long time in the making which brings me to the subject of that elusive album and artists offering something both abstract and direct; taking a look at London make solo artists and the understated importance of elegance and grace in music. If that all sounds like a fluffy bunch of wank – if you’ll pardon the technical terms – it is far from it. Whilst the track I am reviewing is not yet available for download: previously-released tracks from the record are over at This Modern Hope’s SoundCloud account. They give you an indication as to what is contained and the direction of the album. If you are unfamiliar with This Modern Hope then do not fear: I shall gently lead you in. I wanted to, first, take a look at the album format and the sheer work that goes into it. From recent Facebook posts, I know This Modern Hope’s Rob Payne has been busy pressing a vinyl/cover of the record ready for release. Decompartmentalising an L.P. can be a fun thing – to me anyway – seeing how it all goes together and the process involved. In the past, I have reviewed artists releasing their debut single; some on their n-th album – others sort of in the middle of new and experienced. With This Modern Hope, I have been able to follow an artist from the very start to the album stage. Previous singles have shown real character and personality: together on an album, none of that is lost at all. In fact, Horizon is as solid an effort as I’ve heard from any new artist in a long time. The tracks have similar skin and sound but never sound alike. The songs fuse and flow into one another and each expresses new emotions and tells different stories.

Like influences (of This Modern Hope) Elbow and Doves: you get raw emotion and honesty but lashings of cinema and strings. That is one thing I love about the record: whatever mood you are in, it caters for that. I wanted to bring up the album creation as it is something a lot of artists never get to experience. In a time where long-term success is unlikely and appropriate appreciation is merely alliteration: musicians are struggling to put an album together and get to that stage at all. With Payne, you have a man who has been in music for a while – previous part of The Bedroom Hour – and knows what it takes to succeed. He does not rush in with singles nor does he leave enormous gaps between releases. I will not go into every track on the album – rule number one of my blog: I do not do album reviews anymore – but I was honoured to hear Horizon and what it contained. Some of the singles I have already heard/reviewed but there was more new material to hear – I shall touch upon in the conclusion. The title track struck me because it is, as I see it, the standout on the album and leads proceedings. Rob Payne has taken a lot of time to release a few singles but ensures they are assembled within the album at perfect intervals. Not only that, but the record itself is a traditional and not-too-crowded ten-track; it has short and economical titles (whose mere name provokes intrigue) and its cover art, as I know will be the case, is going to be gripping and immersive. Payne has done everything by the book and shown how an album should be done. Keeping his follows abreast across social media – the vinyl’s ten tracks are uploading and nearly ready for release.

Payne created thirty tracks for the album but narrowed them to ten. Horizon is almost upon us and everything is starting to click into place. I have gone into the attributes and merits of Payne’s debut album but have not really touched on the difficulty of putting one together and the importance of making one. As I said up-top: not many musicians get to the stage of making an album. With This Modern Hope, the debut album is scary but well-deserved. It is a very competitive market and many artists fail to recognise the pace and demands of the industry. You do not have to be King Gizzard and the Lizard Wizard (an album a year it seems) or Royal Blood (their second SHOULD be out this year) – or Elbow for that matter (seven albums in twenty-five years I think). What I mean is you have to be smart about consistency and effort. If you are new to the scene, you need to put singles out as soon as you can – a taster of what you’re about; keep people interested and invested. With regards that album, do not be too hasty or hesitant. It has to be released when it is ready but cannot simply but just like everything else in music. That is the main reason for this point and explanation behind the survival rate in new music: too many young artists are replicating others and, no surprise, finding few people willing to embrace something overly-familiar. An album is a privilege and not a right so making one should be handled with the right amount of respect and attention. That is about that on this particular line of enquiry but I wanted to send that to any musicians out there: we need fantastic albums but one must be realistic about what it takes to make an album and what the public expects. Neatly leading onto my next point; This Modern Hope are gearing up to unveil that all-exciting debut record. Before I carry on; let me introduce Rob Payne’s project to you:

“This Modern Hope, the new solo project from West London musician and producer Rob Payne, is ready for takeoff and poised for success. Drawing on influences such as Death Cab For Cutie, Doves and his brother's record collection, This Modern Hope's sound is classic yet fresh, switching seamlessly from up-tempo, driving rock to stirring ballads, Rob's soulful voice floating effortlessly over the melodies as the beats flow. Lyrically deep and with a heady vocal intricacy, the songs come straight from the heart and leave a lasting impression that words can't describe. With a strong musical pedigree, masses of talent and a little help from some friends, This Modern Hope's tunes are ready to be heard”.

This is the same biography I mention every time I review This Modern Hope but the recipe is solid and unchanged. What I love about Horizon, and the tracks on it is the fact there is that blend of subtle grace and direct emotion. It is a hard combination to get right but This Modern Hope does. Previous songs – and album inclusions – like Ship on the Ocean and The Abyss – have dealt with stealthy and hard subjects but wrapped them in a cocoon of comfort and elegance. Rob Payne, as a former member of The Bedroom Hour, dealt with similar concoctions but never as overtly as he does here. This Modern Hope sees him more-or-less alone – other musicians going into the mix – but taking a different approach to the way he makes music. Horizon has hopefulness and optimism but has a more introverted side: investigating struggles and demons we all face; love’s cruelty and the way it can sucker us in. That seems like a cheap assessment whereas the reality is much grander and more sophisticated. I am not a musicologist or master of the Classical domain but know stunning compositions when I hear them. I mentioned bands like Elbow and Doves for good reason. The former has just released Little Fictions to huge acclaim. The Hallé Orchestra joined the northern band and helped provide their amazing music plenty of atmospheres, romance and stir. It is not a surprise Guy Garvey’s men have been so lauded: their mood is more optimistic and hopeful – compared with their usual realistic/dour countenance – and that orchestration really pushes it over the edge. A lot of musicians incorporate strings cheaply and needlessly. Payne does not whitewash the album with strings but picks his moments. In fact, there is electronic parable and all sorts of sounds that create that symphonic, orchestral power. In a music world that still seems obsessed with direct and energetic music – in chart terms at least – it is rewarding finding an act more mature and subtle. Those are qualities that run right through This Modern Hope’s album. For those needing a dose of honesty and emotion (in lyrical terms); you get that but there are oblique lines and a sense of fiction and mystery. From the music, you're offered stinging sounds and spirited percussion with a contrast of soft soothe and demure elements. The overall effect is one that is hard to describe: it is intoxicating and dizzying but comforting at the same time. I’ll move on from this point but wanted to congratulate This Modern Hope on an album that ticks all the boxes and compels a lot of repeated listens.

I’ll get down to the music itself pretty soon but wanted to look at male artists in London and who is out there. I maintain the fact female artists will define this year and we’ll see a lot more foreign influences come into British music. With the Brexit palaver and what is happening in the U.S., many are keen to ignore the ‘majority’ and welcome their international cousins. This will extend to America so expect to see a lot of U.S. artists being celebrated over here. Similarly, there will be less dominance from London and a more open and diverse British scene. In terms of the capital, I know it will be keeping busy and not missing a beat. Last year, we saw some great talent emanate from the city. With the BBC announcing their tips for this year; Walsall-based Jorja Smith and RAY BLK show the best of London music and that outside the capital. London will always exude influence and remain in the critical mindset. What I am seeing – with regards London music – is a move away from bands and male dominance; we are seeing more females come through and a wide range of genres present themselves. Once was the case, not that many years ago, where London was defined by Rock bands and male musicians – there was not the range and Eclecticism we are seeing today. Also, there was a time when fewer Urban/black artists were getting attention and praise. In 2017, I expect to see a city full of life and quality. I feel the bands of London are quieter than past years: solo artists are coming more to the fore; male artists not quite as prevalent as once were. This Modern Hope might not be Rob Payne alone but he is the central figure and creator. What separates him out, and leads me to believe he will be among the male artists of London making huge waves this year, is his set of abilities and professionalism; the effort he expends and the way he markets himself. That epic, commanding voice has opera qualities and tenderness and, as I keep mentioning him, reminds me of Guy Garvey. You get that same potency and power in every song. Payne has experience and has been gigging for years so has had the chance to hone his voice and experiment. It is, as the album will prove, at its peak and more nuanced and strong than ever. The music sounds like it stems from an artist with decades of experience whilst the production is rich and lush. With each moment, whether single or album, Payne puts his all into it. I predict Horizon will be one of the biggest underground albums of 2017 and already getting a lot of demand and speculation from blogs and fans. Make sure you keep your eyes peeled and wait for the album to come – it will be immense, for sure.

What I love about This Modern Hope, and want to bring up before I come to look at the music itself, is the importance of grace and quality this year. We have just crawled through a year as hard and challenging as any we have faced – in terms of tragedies and political issues. Music is here to help make 2017 a lot more secure and uplifting year than the one just passed. For that reason, musicians have to step up their game and provide the public something wonderful and new. Rob Payne’s This Modern Hope have their influences but cannot be readily compared with anyone else. Sure, you get the orchestral/experimental vibes of Doves and Elbow and a bit of Death Cab for Cutie; a little bit of him and her, as it were. Essentially, This Modern Hope is a fresh and original proposition whose name is rather apt considering the year just gone. I always look for musicians that can convey honesty and themselves without cliché and insincerity. Also, I like those who mix compositions with some Rock and Indie and throw in something more Classical-based and shimmering. Why am I so hooked on this side of things? Well, I mentioned how there was a lack of originality in music – if I didn’t then I meant to! – and that does not apply to everyone. I am finding too many artists sounding the same and trying to fit into a chart mould- what they think is commercial and will sell. Whilst that is a prudent way of getting fans in and instant success; it is a poor way of ensuring longevity and a viable career. Those who succeed and remain are those who mix the familiar with unexpected. That is what This Modern Hope do with aplomb. Of course, it is Payne’s brainchild but his band of musicians help give the music that evocative edge and huge scale. This runs riot throughout the debut album and something I will return to.

In this section, I normally look at an artist’s past and how they have progressed on their current release. With This Modern Hope, you have an album that contains previous singles. In essence, it is a record that combines the old and new. If you loved The Storm and The Abyss you will not be disappointed. Previous songs are in there but the majority of Horizon’s songs are brand-new. I love how the older and new sit together: there are no gaps or weak moments; it all sits together naturally and perfectly. That is a hard thing to do. Sometimes, when you have the singles released; the album can seem weak by comparison – all the best songs have already been shown. In the case of This Modern Hope’s album; you have songs that hit you straight away whereas others spread their wings a bit further down the tracks. The entire album is solid and nuanced and contains so many great moments. Knowing Payne, I know he will be excited to see what others think and how critics will react. I feel Horizon will be taken to heart by many and urge This Modern Hope to record more albums down the line. That will be exciting to see. I hope there are more E.P.s and albums in mind as, with the group/Payne, you have talent in abundance. The songwriting is impressive and consistent while the performances are solid throughout. Keep your mind focused on This Modern Hope for 2017 and just what is coming next. I predict big things and a move from unsigned heroes to near-the-mainstream-kings. There is that opportunity to get songs played on radio and gain more exposure – I hope This Modern Hope take full advantage.

Despite the fact it is one of the shortest tracks on the album: I was keen to look at Kingdom and the way in which it kicks the album off. It is the lead-off and first thing one will hear so has a lot of pressure on its shoulders. The song starts off waking to the warmth of the dawn. There are a few seconds of silence before light and breezy strings come through. The guitar has energy and intention but is never too forceful or overwrought. A keen and agile melody presents itself and perfectly opens the album. Before long, the track opens up and sees racing, hissing drums comes in. The guitars start with an arpeggio that has romance and tenderness but some mystery underneath. You start to imagine all sorts of scenes and possibilities: immersed in the movement and dance of the guitars; it is engaging and entwined; it draws you in and implores the listener to imagine and dream. Percussion comes to give the track kick and spirit. It takes your mind in another direction. Without a word being sung, the song starts to stretch its arms and awaken. I mentioned a morning/dawn idea because that is the impression one gets from the composition. With a name like Kingdom, you either think of this nation (United Kingdom) or surveying the landscape. As the composition continues and those beats remain tense and mobile; you are helpless and feel yourself swimming inside the song. With previous This Modern Hope songs, I have stated how the composition creates all manner of ideas and visions. Songs you can get lost in are a rare breed so should be promoted. Kingdom ensures Horizon begins with a huge amount of quality but does not throw everything into the mix too soon. In terms of genres, you get a mix of Alternative-Rock, Indie and Hip-Hop. In fact, there are shades of Trip-Hop when you consider the beats. Other tracks across Horizon have their heart in the 1990s and other decades, but here, there is a blend of modern Indie/Rock and Massive Attack-like vibes. Despite the fact it is largely instrumental, I wanted to review the track as it is one of the most atmospheric and promising I have heard from This Modern Hope.

I would have understood the temptation to open the album with a previous track but it is brave opening with something new. Kingdom promises so many different ideas and that is the beauty: every listener gets their own interpretation and projects their own film. As the song continues to unfold and move, the sense of beauty and widescreen potential does not abate. “This is my kingdom” Payne exclaims as the music threatens to swallow everything. The album itself contains a mix of composition-heavy songs where the voice is in the background and others where the voice is at the forefront. Here, you hear this ghostly spirit in the mix trying to get his words out. Payne voice is always huge, impressive and commanding and that is the case here. There is a sense of vulnerability but you wonder what the emotions are being expressed. The writing is on the wall it is said, and our hero sends out that declaration – this is his life and kingdom. Whether we are looking at a young man sending out a message and stating his intentions in music – being heralded and not being overlooked – or someone who is taking a stand in life I am not so sure. What you do get is an incredibly evocative and unusual vocal that brilliant opens the album. It gets the listener invested and intrigued as to what is coming next. By the closing stages, your mind is working overdrive and the myriad possibilities and images race together. I know Payne has Doves as an influence and you can hear a bit of the band here. Their album, The Last Broadcast, was released in 2002 and stands as one of their finest. Similarly, you can hear little bits of that record and the same positive points. Like Doves; This Modern Hope have created a spectacular soundscape that gets into the imagination and will motivate everyone to have their own views. The lyrics intrigue me and I was caught up in the possibilities.

Maybe it is a man who needs to make changes and has had enough or somebody confident in their abilities and sending a message to the world. I was engrossed from first to last and impressed by every element of the song. The lyrics are simple – other songs much fuller and expansive – but the emphasis is on the composition and effect. That is what makes Kingdom so appealing: it is not just reliant on the words or vocal performance: every asset and side get equal attention. Horizon has a mixture of traditional songs (more lyrics and straight vocals) and these more eerie and unusual moments. It is testament to Payne, as a writer, he manages to keep so fresh and changeable. Being familiar with the tracks he has already released, I was a bit nervous what was to come and how it would sound. My fears were allayed within seconds and a song that warrants a lot of attention. Kingdom is an excellent start and one of the highlights – in my view it is the most fascinating. Other songs on the album will get big focus but the lead-off song is hard to top. It is emotional and confident; it is bold and vulnerable and that is just the lyrics. When you dive into the composition, you are awed and need a few listens before everything sinks in. Payne’s voice is dependably epic and strong and contains its unusual mixture of emotional and strident. He is one of the most underrated vocalists in modern music and proves how strong he is here. Kingdom is a perfect way to open Horizon and an exceptional song from This Modern Hope.

I have extolled the virtues of Horizon and where I think This Modern Hope will head. I know Rob Payne and the passion he has for music. Before returning to my previous points, I wanted to see where his music is heading and just how far it can go. There is excitement in camp about the tracks and getting them out to the public. I am lucky enough to be the first/one of the first to hear the full album and just what is contained. Whilst I have not gone into the detail it warrants – the word count would be never-ending – I have loved hearing it and all the different themes and colours explored. Being based in and around London, there is a perfect opportunity for This Modern Hope to mop up the gigs. There are a lot of great venues, small and large, that would see crowds pack into. I am not sure what Payne is planning in terms of itinerary, but there are places I could direct him to. Essentially, there is a big demand for the kind of the music he is writing that has already captured a large amount of hearts. I know there are a lot of bands out there – I can technically call T.M.H. that – but a great amount of competition. I feel there will be some gig demands for Horizon around the country. Secondly, the popularity and focus it will see on social media should send it to some important hands. I always mention BBC Radio 6 Music as that grail every worthy musician should aim for. It is, in my humble view, the best station in the U.K. and has built its reputation on a basis of exceptional, diverse music and knowledgeable, passionate D.J.s. The station does not play music from new artists to fill a gap: they recognise the quality and have faith that artist is going to go a long way. I am not sure whether This Modern Hope have been played on the station but the music seems ready-made for D.J.s like Radcliffe and Maconie and Sean Keaveny. I am not sure how one gets their music on the station but something for Payne to think about. I know This Modern Hope have a core of dedicated fans but here is a chance to get the music across national radio and to the masses. Horizon warrants a lot of praise and spotlight from the country’s most prominent stations and reviewers.

I’ll wrap this up by (briefly) returning to my earlier points and just what to expect from the album. Run Away has some incredible guitar lines and a real sense of occasion and one of the most stirring vocal performances on the set. In a way, the song reminds me of Oasis and their (What’s the Story?) Morning Glory period. Ship on the Ocean is one of the clearest and most direct vocals – a song many will be familiar with. The hero is floating his heart on the waves and looking for a connection. It is a more direct song in every term compared with Run Away. A busier track with more elements and layers at its disposal – showing how This Modern Hope can shift in the space of a song. Run Away is that lush and dreamy thing that perfectly follows the opening track. Perhaps less conventional than Ship on the Ocean: Payne demonstrates his full range of talents (as a singer) on both. Flow of the River has that water theme but is a different beast compared with Ship on the Ocean. It is a shorter track but no less potent and memorable. Brothers & Sisters, again, puts me in mind of Oasis and some of their most celebratory music. It has a feel of the 1990s and boasts one of Payne’s most strident and proud performances. “We got high” is a sentiment and deceleration that could have been plucked from the songbook of the best bands of that era – it seems to evoke a better time when there was a hopefulness and togetherness. The track also features incredible guitar work throughout. So many different ideas and notes combined to create a composition with hiden depths and punch. Tear Me Down is more emotional and introspective but has the same sort of energy of Brothers & Sisters. The Storm is one of the standouts from the record and a song that has already gained acclaim and applause. It is as turbulent and energised as its title suggests and showcases the full strength of Payne and the musicians on the album. Farwell is a perfect ending. It mixes the elegance and grace of some tracks but has plenty of nervy and emotional guitar lines. The vocal hovers in the background at times and creates something spectral and detached. A perfect way to end an incredible album from This Modern Hope.

I have touched on the album tracks and general impressions but it is a record that deserves more time and investigation. This Modern Hope will be announcing the release very soon but the final stages are coming together. It is almost at a time where it can be put online but I’ll make no promises. If you want a taste of the album, I suggest you look on SoundCloud and the previous singles that give you a taste of what to expect. I am excited by the music coming out of London and the range of sounds one can find. I have mentioned This Modern Hope as both the project of Rob Payne and a band but, depending in what context you see them, you have some incredible musicians ensuring there will be eyes trained their way. I also stated how there will be a move towards female-made music and what they are producing. This Modern Hope are one of those acts that have a feel of the past but are very much in the present. I am not sure how the rest of the year will pan out – with regards the genres and artists who will reign – but I am keen to follow music here and everything it offers. What I love about This Modern Hope is that range of sounds and all the compositional strands that seem to weave together seamlessly. You have the beauty and tenderness on some songs; there is a huge amount of drama and force in others. It is the orchestral, tender sides of the palette that really get to me. Few artists take time to infuse their music with something elegant, sophisticated and complex. Horizon is full of treats and superb musicianship throughout. The songs look at love and dislocation but provide hopeful messages and uplift when needed. If one contrasts Brothers & Sisters and The Abyss, one would assume it was two different acts. The music is not that different but the central messages are. Many bands and artists either squander the chance to make an album or create one that is rather underwhelming. I speculated why this is the case and the importance of getting an album out. For This Modern Hope, it was crucial getting the album out. Singles and previous numbers were received with love but only showed a glimpse of what we get in Horizon. Everything comes together and, when you listen to the entire album, you get a full sense of what the band is all about. I shall leave it there but urge, as I do at this stage of a review, to get the album when it is out as it promises to be one of the most impressive of the year so far. Rob Payne is keeping his followers updated and excited by what is to come. That excitement will be translated into affection and appreciation – many will take Horizon to heart. It is one of those records that…

SPEAKS for us all.

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Follow This Modern Hope

 

Official:

http://www.thismodernhope.com/

Facebook:

https://www.facebook.com/ThisModernHopeMusic

Twitter:

https://twitter.com/thismodernhope

YouTube:

https://www.youtube.com/channel/UCoezfwi011FeoW9kzzAqDaA

Instagram:

https://www.instagram.com/thismodernhope/

SoundCloud:

https://soundcloud.com/thismodernhope

INTERVIEW: VEI

INTERVIEW:

 

 

VEI

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IT is hardly an exaggeration to say the solo singer-songwriter…

PHOTO CREDIT: @balconytvlondon

market is the most crowded and competitive in all of music. Every week, we see new artists come through with the same ideas: laying down their mark and putting their stamp on music. All too often, we see musicians fall and last only a short time. Those that remain and succeed are to be commended. VEI is a promising young songwriter with an army of fans behind her. That is hardly a stretch considering the sort of raw and emotional Pop music she writes. Rolling on You Romeo is her latest single and stunning declaration from an artist who is primed to go a long way. I talk to her about the song and what she has planned for this year; how she got started in music and the artists that have influenced her.

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Hi VEI. How are you? How has your week been?

It’s been great, thanks. Have been trying to keep warm!

For those new to your music can you introduce yourself, please?

Of course. I’m an artist, singer and cellist, very much looking forward to this journey into releasing my album. My songs have a rawness and emotional edge: structured in an accessible way…

How did you get started in music? Was it a childhood love or was there a particular moment that sparked the fuse?

It started in childhood but has been an off-and-on thing at times until I was a bit older and found what I wanted to do with it.

[youtube https://www.youtube.com/watch?v=dqkrmsKLXs4&w=560&h=315]

Rolling on You Romeo is your latest single. Can you tell us about the inspiration behind it?

It’s just life - without going into too much detail.

Writing songs is such a cathartic way to turn any negative emotion you may be feeing into something positive.

You performed the song for Janice Long on The 2ube. What was that experience like?

That was great. It was a really nice couple of days being up in Liverpool and meeting everyone too.

For a lot of songwriters, they need to set aside time to write; some write when the mood strikes. How do your songs come together? Do you try and write a certain amount of music a day or just when inspiration hits?

These songs have been given space and weren’t rushed. We would write using technology which allows you to get an element or part of the song down before moving onto the next part. It’s definitely about doing both for me. I always have a notepad and pen - or the phone handy - to put down lyrics throughout the day or to record vocal hooks.

Rolling on You Romeo suggests more music to come. Can we expect a VEI E.P. this year?

We’ve got the next single on the way as we speak - leading on from that we’ll be releasing the album.

I hope it will be a fun journey!

You have been compared with everyone from Lenka and Björk to Kate Nash in terms of your delivery and accent. Are they influences of yours?

Yes, but I’m not trying to be them. When we wrote the album I rarely listened to other people - it was enough to just be with the songs we were writing. So, that way, I guess any number of others influenced this music but their influence was already digested and a part of who I was, and my co-writers, Mike Chapman and Simon Pilton were musical already.

In term of that triumvirate, and doing a musical Snog, Marry or Avoid?, which would you go out for drinks with? Which would you record a song with? Which would you share a flat with?

Drinks: Ella Eyre

Record a song: Major Lazer

Share a flat with Paloma Faith.

In terms of the musicians and albums that inspired you most growing up which would they be?

From dancing around at five years old to The Beach Boys - and my dad’s record collection - to Submotion Orchestra and the U.K. festival scene when I grew up a bit… 

A lot of new music is rather tame and formulaic. You seem like a breath of fresh air. Do you think there is a lack of character and originality in modern Pop music?

I feel that it’s just harder to break through if you’re not following exactly what is out there at the moment.

Any music that has broken through and created its own sound world or audience has been on its own journey (and own industry doors to break down).

If you had to pick your favourite memory from your career so far which would it be and why?

Probably the early days of writing these songs - because they felt very carefree!

Summer is, we hope, just around the corner. Are tour plans for the coming months where we can see you play?

I’m singing as part of the third preliminary rounds of the London Coffee Music Project’s songwriting competition on Feb 21^st (at The O Bar in Soho). It’s all in aid of Project Waterfall so very exciting.

Later than that, you can find any upcoming shows on www.veimusic.com as we book them in - such as the release party with our next single, Soak It Up.

Are there any new artists out there you’d recommend we check out?

Yes. Vince Kidd. I saw him perform before Christmas and he and his two lovely friends singing with him made me so happy!

Have you advice for new songwriters coming through right now?

Just stick with it and follow what you love doing: it’s possibly the only grounding way to not get pulled back and forth trying to fit in with others’ expectations. 

_____________

Follow VEI

PHOTO CREDIT: Jim Fry

Official:

http://www.veimusic.com/

Facebook:

https://www.facebook.com/veimusic

Twitter:

https://twitter.com/Vei_Music_

Instagram:

https://www.instagram.com/veimusic/

SoundCloud:

https://soundcloud.com/veimusic

YouTube:

https://www.youtube.com/channel/UCpLUJLs8QRAu6qLb2xHwZRg

FEATURE: Blur at Twenty

FEATURE:

 

 

Blur at Twenty

____________

MOST band do not really make huge changes…

on their fifth album. In fact, a lot of bands, mainstream and new, do not get to the fifth–album stage. For Britpop legends Blur, the transformative epiphany resulted in a decade-defining record – their stunning eponymous album. Befitting of the title, it remains their most personal and focused album: less character-driven than previous efforts. That is not to say the 1997 album misses the excitement, fun and rousing choruses of their best work – there is more depth and musical endeavour throughout Blur. To get an idea of how important Blur is; we must take a look back at their previous album, The Great Escape. If Parklife, to many at least, is the band’s finest record: The Great Escape faced some critical divide. Never to the extent of their debut, Leisure – an album that, in retrospect, is a lot more majestic and important than critics recognised back then. The Great Escape – released in September 1995 – did get some positive reviews and was triple-platinum in the U.K. U.S. audiences bonded with the album and its themes – although the album charted pretty low upon its release. If the title does not provoke a list of the hits we are all familiar with – you can all rattle off Parklife’s key songs – a few bars of each bring it all flooding back in. Country House, derided by some; celebrated by others, is the most immediate and catchy song from the album. Charmless Man is Blur at their observational best while The Universal, complete with its Clockwork Orange-referencing video, is a dreamy, languid beauty. Country House was the first Blur song to hit the U.K. charts top-spot: an infectious and earworm-y song that beat Oasis’ Roll with It in the big Britpop battle in 1995. In a lot of ways, The Great Escape possessed a lot of Parklife’s fertile genes: the mix of tragedy, heartbreak and humour; a healthy amount of instant tunes and slow-burning growers; some perfect Pop moments and a band at the height of their power.

[youtube https://www.youtube.com/watch?v=8BkbmQnau7Y&w=560&h=315]

Following Parklife – the euphoria and attention it received – many bands would feel fearful and struggle to cope with the pressure. Not only did Blur follow the album up within a year but managed to create a record as inventive, Blur-esque and British – although The Great Escape did not get quite the same reviews and accolades as its forefather. Some critics, and why I am keen to preface Blur’s creation, noted how there was emotional detachment and stiffness on the album: the humour and jollity was a little shallow; masking, perhaps, a personal-shaped hole that could have been filled with mature revelation and exorcised demons. To be fair, the band created an album perfect for the Britpop age. Not only were they battling the mighty Oasis – any songwriting weakness or huge shifts would have seen the Manchester boys scoop the crown – but a host of ‘outsiders’ in the Britpop movement, Radiohead among them, were putting out some phenomenal material. Blur were playing on their strengths: fun and witty bangers with plenty of emotion and semi-orchestral swoon. Perhaps, four albums in at this point, there was a yearning for a new Blur: a 2.0 rebuild that would retain the quality and quantity (of tunes) but shift their music in a forward-looking direction.  Although The Great Escape gained huge buzz at the time – perhaps critics intoxicated by the Britpop rivalry and optimistic spirit in the air – the flocks soon started heading Oasis’ way. (What’s the Story?) Morning Glory was released the same year and, naturally, was seriously alluring – many critics considered apologia (a bit keen to reward a five-star review to Blur); guilty they were a bit eager and swept up. If The Great Escape had Country House, Charmless Man and The Universal: (What’s the Story?)’ had Wonderwall, Some Might Say and Champagne Supernova – I am always in the Blur camp but can tell the latter’s set of songs is stronger and more nuanced than Blur’s. The only reason Oasis lost the chart battle in 1995 was the fact they put up the wrong song to tackle Country House – any, stronger, song from the L.P. would have walked it.

[youtube https://www.youtube.com/watch?v=WAXnqjUfal4&w=560&h=315]

Regardless, changes had to be made in Camp Blur. The boys were riding high after Parklife’s enormous success but failed to progress significantly on their fourth album. If critics were ruefully printing retraction letters in 1995 – The Great Escape less inspired than Oasis’ near-masterpiece – 1997 would change everything. Both Oasis and Blur followed each other’s progress closely: they each released an album in 1994 (Oasis: Definitely Maybe; Blur: Parklife) and 1995. By 1997, both bands were making big statements for different reasons. For Blur, they needed to prove they were still one of the world’s best bands and capable of genuine invention and wonder. Oasis, huge critical acclaim buzzing in their ear, had to keep the momentum going after a terrific sophomore record. Oasis created a rather bloated, indulgent ‘cocaine album’ with 1997’s Be Here Now. It’s unedited, unfocused nature – many songs going on endlessly and losing traction – and (comparative) lack of anthems shocked critics and proved Oasis were mortal and fallible. Blur, conversely, made a genuine move forward with their eponymous album.  The Great Escape is a bit nuts and juvenile; it has flaws but it has gained a lot of retrospective support – even if Damon Albarn finds it messy and below-average. So what changed between 1995 and 1997? Graham Coxon suggested the band engage in a stylistic shift. Previous albums, Parklife and The Great Escape especially, were engaged in the celebration of Brutishness and our isles – eschewing American tastes largely.  Albarn’s wit and personality is all over The Great Escape: Blur finds Coxon granted the keys to the car and allowed a greater hand in the creative process. Recorded in London and Reykjavik; the guys started listening to U.S. bands like Pavement – leading to a set of songs more aggressive, electric and American. Stephen Street, producer of the album, noted (in interviews following the album’s release) how Albarn started writing more personal lyrics. Gone, but not entirely, were the odd British characters: in their place was a young musician undergoing a tough time.

[youtube https://www.youtube.com/watch?v=f68VJQc7qys&w=560&h=315]

Reluctance from the record label – this new approach would alienate teenage fans and create divisions – the album went on to become one of Blur’s most-acclaimed and consistent albums since their inception. The move to towards a more American sound was no last-gasp manoeuvre for survival or cynical marketing ploy – the band knew they had to grow from Britpop and embrace what was happening around them. Britpop had its moment and was a hugely important era of music: by 1997, the party was winding down and American artists were becoming more popular and prominent in Britain. Blur, often seen as insincere middle-class boys compared to Oasis’ working-class heroes’ mantle, changed their game and reaped the rewards. Between 1995 and Blur’s release, Damon Albarn enjoyed (is that the right word?!) a period of criticism – seen as a bit of a loser. Blur were no longer the spokespeople of British music: they had been embarrassed by Oasis and were struggling for direction. Albarn was gripped by depression while the band themselves almost split because of tensions and disillusionment. Odd performances – including an Italian T.V. appearance that replaced some of the band members with cardboard cut-outs – and substance issues (Coxon drinking heavily) threatened to ruin the bands. It was, ironically, Coxon’s interest in American guitar bands that gave Blur a new lease of life – realising those types of groups were making very interesting music. Albarn, in typically modest mood, recognised he could not simply bang out piano-led observational gems. Going to Street, Albarn proposed a more lo-fi, stripped-down sound for their next record. Previously, Albarn had transposed himself with make-believe characters in songs like Tracy Jacks: Blur was the first-person record the guys knew they had to make. No more fantasy and quirky British witticism – they had to get serious and get the critical vote back. You’re So Great was Coxon’s first co-write – he sang lead vocals too – but would not be his only (13 and Think Tank contained more Coxon songwriting involvement).

[youtube https://www.youtube.com/watch?v=plPyIBdD09E&w=560&h=315]

Whether you see Blur’s fifth album as a punchy, harder version of Britpop – or a fostering of U.S. guitar bands like Pavement – you cannot deny the quality and imperiousness that runs through its veins. Yes, the humour and observations remained (Death of a Party and Essex Dogs not a million miles from their earlier work) but here there was more personality and soul-baring. Beetlebum – with its Beatles-esque nods and epic status – looked at Albarn’s heroine addiction of the time with his then-girlfriend Justine Frischmann (Elastica). The song is sleepy, sexy and cooing: muscular guitars and heavy hearts trade with a typically rousing, sticks-in-the-head chorus. The drug-referencing title – “chasing the beetle” is when a user inhales smoke from a heated heroin, morphine or opium – is one of the album’s standouts. Song 2, all sub-two-minutes or if contains that now-legendary “woo-hoo!” Albarn chorus – Coxon’s introduction and shredding at its most brilliant and fearless. So many different influences went into Blur. The Kinks’ Garage-Pop best can be detected in Movin’ On and M.O.R. whereas The Beatles’ harmonies (Because and The Word especially) make themselves heard in Beetlebum and Look Inside America; one-off Punk outcasts (Chinese Bombs) and old-school Blur sing-along (On Your Own) make it a rich and veritable banquet for the senses. I love the underrated Death of a Party: its chugging festival-ride chorus and vivid, outcast imagery. Essex Dogs is dark, shifting shadowy swansong; Country Sad Ballad Man could easily have been included on Parklife – some of the Space-Rock quirkiness from Parklife continues in Theme from Retro and I’m Just a Killer for Your Love.

[youtube https://www.youtube.com/watch?v=qJ7nAux8LIM&w=560&h=315]

Critics were back – some felt cold but most were swayed – and impressed by an about-face and stunning recovery from a band on the precipice of liquidation. The American influence is strong yet many felt the album’s highlights had British skin and sensibilities – On Your Own and Beetlebum particular lauded. In spite of the chaos and uncertainty in the band after The Great Escape: Blur is a throughout, focused and knowledgeable distillation of the contemporary (1997) U.S. Rock/Garage scene; the same way Parklife perfectly brought together the best British music of the past three decades. Blur were accepting American contemporaries (Look Inside America is Albarn realising the nation, and its music, is not so bad after all) and all the better for it. Being Blur, there is no let-up in the eclecticism and far-reaching blend of sounds. They were never going to hone their panoramic visions or ‘singularise’ in terms of genres. In a great way, Blur retains all the best sides of their previous albums – the celebratory, spirited choruses and big, British anthems – with open-hearted revelations and incredible, detailed songwriting. The band, rejuvenated and renewed by fresh inspiration created an album of brilliance and defiance. Some critics were not completely sold but, like all great albums, Blur has gained some retrospective pardoning and apology from many.

[youtube https://www.youtube.com/watch?v=kQVIIWq9gIQ&w=560&h=315]

I have provided the background, statistics and reviews of the album without personalising this piece – allow me to retort and focus. Blur is no longer a teenager (its twentieth birthday was yesterday) but still retains its sense of youthfulness and energy. It is an album that ages incredibly well but still reveals hidden meaning and depths. Some of the songs I did not bond with back then – Essex Dogs and M.O.R. – are starting to make their impact know. Those that were instant classics – Song 2, Beetlebum and On Your Own, among others – still sound brilliant and put me in a better mood. It is rather sobering when you think Blur came out twenty years ago. It makes me feel quite old but, in a positive way, shows just how enduring and impressive albums from that time were. If I had to do a league table of Blur albums, the bottom three spots, in no particular order, would have The Magic Whip, 13 and Leisure in there. Parklife and The Great Escape would be in the running: I figure Modern Life is Rubbish would be in the top-four places too. For me, Blur is the king because of its unlikeliness. In the same way few expected Radiohead to create anything memory after their debut, Pablo Honey (instead, they gave us the sublime The Bends); many figured Blur had reached a critical and creative cul-de-sac.

[youtube https://www.youtube.com/watch?v=-I2P2bAfiXY&w=560&h=315]

It is good finding any band that faces potential stagnation and extinction, but instead of crumbling and splitting up, they had a rethink and took in new influence. Today, we hear bands strain after a few albums and deciding the best thing to do is part company. Whilst we do not have the quality of music there was in the 1990s – not even close – or a (positive) national jingoism; that is not to say deflated bands cannot regain their initial enthusiasm and passion. Take in new bands and embrace new cultures: dispense the old way of working and go back to the drawing board. Blur showed what happens when you do that. The fact they are still together today can be traced back to that moment following The Great Escape. The boys knew things were going in the wrong direction and overhaul the Damon Albarn hegemony. Graham Coxon’s transatlantic foresight gave the band the spark they needed to grow and evolve. Even though Blur failed to match the scope and quality after their fifth album; they provided the music world an incredible record. It has just been celebrated on BBC Radio 6 Music – they commemorated its twentieth and played tracks from the album – and stands as one of the finest albums from the 1990s. As it is cold, sleety and generally dreadful out there: take an hour to revisit a classic album that is strangely intoxicating and inescapable. Once you hear the first (scratchy) riffs of Beetlebum you are, ironically and appropriately, hooked and drugged. By the time you get to Coxon’s You’re So Great – the mid-way point – we have gone through Fugazi-referencing, full-tilt Punk thrash (Song 2) and sing-along glory (On Your Own) – via the seductive back roads of Theme from Retro thrown in. Following that, you have Death of a Party’s awkward sociability and another firecracker blast: Chinese Bombs and eighty-four seconds of bliss and urgency. I’m Just a Killer for Your Love and Look Inside America is a joyous, crowd-uniting one-two; Strange News from Another Star a prescient preface for Essex Dogs’ Barking (sorry!) villains and revel in a wonderful time for music. I guarantee you this: once you submit to the album and all it has to offer you will definitely not be…

ON your own.

[youtube https://www.youtube.com/watch?v=KRxAOCFeSZ4&w=560&h=315]

FEATURE: The February Playlist: Vol. 2: A Week for (Sweet)hearts and Minds

FEATURE:

 

The February Playlist

 

 

Vol. 2: A Week for (Sweet)hearts and Minds

____________

IN a few days, it is going to be that dreaded thing…

IN THIS PHOTO: M.I.A.

Valentine’s Day. Perhaps irrelevant with regards music: for those of us (myself included) single and dateless; it puts certain things into focus. Music always makes thing a little easier and less lonely so, seeing as V.D. is just around the bend (hope that is the only time I will say that!), I’m diving full-steam-ahead into the new sounds oozing from the mainstream. Included are new Pop bangers from Lady Gaga and Katy Perry; videos from Depeche Mode and Skott with some classical tracks from Michael Jackson and Aretha Franklin – who has just announced her retirement from music. I include a track from Blur’s eponymous 1997 album – as it celebrates its twentieth – and collect together the newest tracks from across the genres. I am sure there will be something to wet the appetite, but if not, a new Playlist will be along this time next week.

____________

Katy Perry (ft. Skip Marley) – Chained to the Rhythm

[youtube https://www.youtube.com/watch?v=8gsGhdZDC-0&w=560&h=315]

Lady Gaga – John Wayne

[youtube https://www.youtube.com/watch?v=o9iQ8lIfyEs&w=560&h=315]

Rag ‘n’ Bone Man – Fade to Nothing

https://play.spotify.com/track/5LUg3woLYpiaNwXHDVWcY5

M.I.A. – P.O.W.A.

[youtube https://www.youtube.com/watch?v=Zkkr-HhnwS8&w=560&h=315]

You Me at Six – Give

[youtube https://www.youtube.com/watch?v=r6EakBG9DuI&w=560&h=315]

Bush – Mad Love

[youtube https://www.youtube.com/watch?v=n3H6J0Zwodc&w=560&h=315]

Michael Jackson – Bad (Official Video)

[youtube https://www.youtube.com/watch?v=Sd4SJVsTulc&w=560&h=315]

Aretha Franklin – I Say a Little Prayer

[youtube https://www.youtube.com/watch?v=STKkWj2WpWM&w=560&h=315]

Blur – Movin’ On

[youtube https://www.youtube.com/watch?v=NsaJ7KsH90Y&w=560&h=315]

Anne-Marie – Ciao Adios

[youtube https://www.youtube.com/watch?v=xRuI6mTxqz4&w=560&h=315]

Bridgit Mendler – Temperamental Love

[youtube https://www.youtube.com/watch?v=O-YXcPitNE0&w=560&h=315]

Axwell Ingrosso (ft. Kid Ink) – I Love You

[youtube https://www.youtube.com/watch?v=qqtG3GybEhs&w=560&h=315]

Skott – Glitter & Gloss

[youtube https://www.youtube.com/watch?v=JxuEBt_RIRs&w=560&h=315]

BlackWaters – Down

[youtube https://www.youtube.com/watch?v=FrCba30d3uY&w=560&h=315]

 

Aura – Can’t Steal the Music

[youtube https://www.youtube.com/watch?v=PjdnEXQf3sc&w=560&h=315]

Superfood – Double Dutch

[youtube https://www.youtube.com/watch?v=7QeaF9pQudo&w=560&h=315]

Amaranthe – Boomerang

[youtube https://www.youtube.com/watch?v=Wjdm5tJ5NiA&w=560&h=315]

Marika Hackman – Boyfriend

https://open.spotify.com/track/1b15On0D5OQTrN0z8ejuzL

Nines (ft. J Hus) – High Roller

[youtube https://www.youtube.com/watch?v=r2PpLRjaWT8&w=560&h=315]

Nickelback – Feed the Machine

[youtube https://www.youtube.com/watch?v=rtVU--O29oY&w=560&h=315]

Chance the Rapper – Same Drugs

[youtube https://www.youtube.com/watch?v=be37-T72DNk&w=560&h=315]

Charlotte OC – Medicine Man

[youtube https://www.youtube.com/watch?v=78VGxZQps8U&w=560&h=315]

Jamiroquai – Cloud 9

[youtube https://www.youtube.com/watch?v=9SurkSpvcjM&w=560&h=315]

Coasts – Heart Starts Beating

[youtube https://www.youtube.com/watch?v=gRkKL33kNMI&w=560&h=315]

Sigrid – Don’t Kill My Vibe

[youtube https://www.youtube.com/watch?v=uk7SRjgkaPQ&w=560&h=315]

Texas – Let’s Work It Out

[youtube https://www.youtube.com/watch?v=zBNEf4buiFY&w=560&h=315]

Vistas – Feel Alive

[youtube https://www.youtube.com/watch?v=IdHWJ6_TdnA&w=560&h=315]

Will Heard – I Better Love You

https://open.spotify.com/track/1WLPB354JipVmjDxQcG4fN

Pigeon Detectives – Enemy Lines

[youtube https://www.youtube.com/watch?v=UMAZDMLe33M&w=560&h=315]

FKJ – Skyline

[youtube https://www.youtube.com/watch?v=qU5FWU0SH0o&w=560&h=315]

Hedia (ft. Kristen Marie) – Your Mind

[youtube https://www.youtube.com/watch?v=gKdIeb018rw&w=560&h=315]

Laura White – That Girl

https://open.spotify.com/track/4jF56Sy8qkQELZPCWeGvSB

AlunaGeorge – Not About Love

[youtube https://www.youtube.com/watch?v=9UcUl0svF24&w=560&h=315]

Jens Lekman – Evening Prayer

[youtube https://www.youtube.com/watch?v=SgSC6Kh0N5s&w=560&h=315]

Depeche Mode – Where’s the Revolution?

[youtube https://www.youtube.com/watch?v=jsCR05oKROA&w=560&h=315]

Slow Club – Champion

https://open.spotify.com/track/2BiSZ8F94DW7lhe2JvGDBd

Zak Abel (ft. Wretch 32) – Rock Bottom

[youtube https://www.youtube.com/watch?v=cQ8BHZITkm8&w=560&h=315]

Ed Harcourt – You Give Me More than Love

https://open.spotify.com/track/5IxDJij75IC4SHcCp0sYTF

Sinkane – U’Huh

[youtube https://www.youtube.com/watch?v=LSgmgkyhPZ4&w=560&h=315]

Wyclef Jean (ft. Walk the Moon) – Holding on the Edge

[youtube https://www.youtube.com/watch?v=vb_lJM7F2UI&w=560&h=315]

The Magic Gang – How Can I Compete

[youtube https://www.youtube.com/watch?v=-LzP4cPfYpk&w=560&h=315]

Carly Rae Jepsen (ft. Lil Yachty) – It Takes Two

[youtube https://www.youtube.com/watch?v=LCZHaUVhh5E&w=560&h=315]

The Bats – Shut Your Eyes

[youtube https://www.youtube.com/watch?v=lfiO9iqpGoY&w=560&h=315]

Tina Guo – Skyrim (Dragonborn)

[youtube https://www.youtube.com/watch?v=hJc9Fko0mf4&w=560&h=315]

Una Healy – Battlelines

https://open.spotify.com/track/5kXXCD11eAHG88msayMnY2

Amber Run – Stranger

[youtube https://www.youtube.com/watch?v=4MR5xuMvpxo&w=560&h=315]

The Dig – Astronaut

https://open.spotify.com/track/1m1Qai7WfoZkP0IDhicnVr

Froth – Passing Thing

[youtube https://www.youtube.com/watch?v=aArswnrgNtk&w=560&h=315]

Lupe Fiasco (ft. Gizzle) – Jump

[youtube https://www.youtube.com/watch?v=5zp5Ee326xE&w=560&h=315]

Graeme Miller and Steve Shill – The Moomins Theme

[youtube https://www.youtube.com/watch?v=GN6DzUpPXwM&w=560&h=315]

Toothless – Alright Alright Alright

https://open.spotify.com/track/2YZPJCMx1IB542ipm7fYA8

Jesca Hoop – Memories Are Now

[youtube https://www.youtube.com/watch?v=s79pNrycneQ&w=560&h=315]

The Jesus and Mary Chain - Always Sad

[youtube https://www.youtube.com/watch?v=qevLgqlKvIk&w=560&h=315]

Luke Sital-Singh – Killing Me

[youtube https://www.youtube.com/watch?v=I80QeSZ_Tuo&w=560&h=315]

Wild Beasts – Alpha Female

[youtube https://www.youtube.com/watch?v=YTvrv30b7C0&w=560&h=315]

Tom Williams – Everyone Needs a Home

[youtube https://www.youtube.com/watch?v=3ERoT4rBNHo&w=560&h=315]

Bad Sounds – Meat on My Bones

https://open.spotify.com/track/6q2rBix6rWHRGWkrjq6GnA

Circa Waves – Fire That Burns

[youtube https://www.youtube.com/watch?v=LSlVRkq61eo&w=560&h=315]

Goldfrapp – Anymore

[youtube https://www.youtube.com/watch?v=2euqyXXjmAo&w=560&h=315]

Shakira (ft. Maluma) - Chantaje (Versión Salsa)

[youtube https://www.youtube.com/watch?v=tVcE5PFXpbQ&w=560&h=315]

Kane Strang – Oh So You’re Off I See

[youtube https://www.youtube.com/watch?v=l1VLO17X3Is&w=560&h=315]

Dirty Projectors (feat. D∆WN) - Cool Your Heart

[youtube https://www.youtube.com/watch?v=rUplxePolH4&w=560&h=315]

Zeds Dead – Woman Wine

https://play.spotify.com/track/3xO1EGy0qq9nZRGowRyk7R

Taking Back Sunday - Call Come Running

[youtube https://www.youtube.com/watch?v=SDg-A6F5MrU&w=560&h=315]

Alma – Requiem

[youtube https://www.youtube.com/watch?v=JtgM7laoukA&w=560&h=315]

Grimes (ft. Janelle Monáe) - Venus Fly

[youtube https://www.youtube.com/watch?v=eTLTXDHrgtw&w=560&h=315]

Blake Shelton - Every Time I Hear That Song

[youtube https://www.youtube.com/watch?v=EfZfURgx9b0&w=560&h=315]

Skott – Amelia

[youtube https://www.youtube.com/watch?v=lglvRXToXMQ&w=560&h=315]

GEKO – Drunk on You

[youtube https://www.youtube.com/watch?v=yGdS3ecG2dI&w=560&h=315]

Ten Fé - Twist Your Arm

[youtube https://www.youtube.com/watch?v=4awKqbekmcI&w=560&h=315]

Sam Hunt - Body Like a Back Road

[youtube https://www.youtube.com/watch?v=Mdh2p03cRfw&w=560&h=315]

Jidenna – Bambi

[youtube https://www.youtube.com/watch?v=arq59eGIUw0&w=560&h=315]

machineheart – Speak In Tongues

[youtube https://www.youtube.com/watch?v=d6JM-DGSMjU&w=560&h=315]

Filous (ft. Mat Kearney) - Goodbye

[youtube https://www.youtube.com/watch?v=_YQ2EA-PKY8&w=560&h=315]

Melanie Pfirrman - I Don't Wanna Love

[youtube https://www.youtube.com/watch?v=137Scp642WQ&w=560&h=315]

Desiigner – Outlet

[youtube https://www.youtube.com/watch?v=hHGyn65iLGQ&w=560&h=315]

Omarion – Distance

[youtube https://www.youtube.com/watch?v=vsrhIUmPf-w&w=560&h=315]

Kidwaste Khai – Wild

https://play.spotify.com/track/3r5ctrzNuyjx05F6iS8Nbl

NERVO – In Your Arms

https://play.spotify.com/track/6kL5KS38LCR96cNfbfsb6u

Aaron Carter – Let Me Let You

https://play.spotify.com/track/5YPV9XTUn0YRmvAC5DK5JS

FRND – Substitute

[youtube https://www.youtube.com/watch?v=Tuqt0ycaQnA&w=560&h=315]

Adam Friedman - What If

[youtube https://www.youtube.com/watch?v=bnO5EF5k7Pk&w=560&h=315]

Dennis Kruissen (feat. David Benjamin) - Love Like the Sun

[youtube https://www.youtube.com/watch?v=uUwDlATowSE&w=560&h=315]

Sia – Helium

[youtube https://www.youtube.com/watch?v=nLnpvbBSjUY&w=560&h=315]

Milky Chance – Ego

[youtube https://www.youtube.com/watch?v=JvftJAyA6Ec&w=560&h=315]

Jacob Banks – Unholy War

[youtube https://www.youtube.com/watch?v=LwyhZfjrwQA&w=560&h=315]

Nick Jonas & Nicki Minaj - Bom Bidi Bom

[youtube https://www.youtube.com/watch?v=giEjPV8BJ2U&w=560&h=315]

Smino – Anita

[youtube https://www.youtube.com/watch?v=BAnKh2gQtVs&w=560&h=315]

Corinne Bailey Rae – The Scientist

[youtube https://www.youtube.com/watch?v=W2oAIiVL0HE&w=560&h=315]

PHOTO CREDIT: Jon April

Amtrac – Piano Boy

https://play.spotify.com/track/2PL0Lo7QLmUNiA3453bgGS

Tep No – Is It Too Much That I’m Asking For

[youtube https://www.youtube.com/watch?v=CfP5JYsgEm0&w=560&h=315]

Elliot Moss – Closedloop

https://play.spotify.com/track/1GpXFzOfrFQldjb0SYgELx

Moonshine Man – Trouble

https://play.spotify.com/track/18DEzQirKpog7KGusQDfca

IN THIS PHOTO: Anne-Marie

Another healthy, stealthy collection of just-released tracks and some much-hyped newbies – Katy Perry’s latest single had a rather strange P.R. build-up. Whether Valentine’s Day sees you happy (with company) or lamenting its existence; do not fear: music is an ever-present and fine compassion that always lifts the mood. That is what I have been relying on and have not been let down. I am pumped to find what the next week holds in store – for music and new albums – and will ‘report’ back next Saturday.

TRACK REVIEW: Kate Dimbleby - Musical Boxes

TRACK REVIEW:

 

Kate Dimbleby

  

Musical Boxes

9.4/10

Musical Boxes is available at:

https://soundcloud.com/folkstock-records/kate-dimbleby-musical-boxes/s-b87zA

GENRE:

Soul; Classical; Folk

ORIGIN:

U.K.

RELEASE DATE:

January 2017

The album, Songbirds, is released on 23^rd February, 2017. Pre-order the album here:

https://folkstockrecords.bandcamp.com/album/kate-dimbleby-songbirds

LABEL:

Folkstock Records

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THIS is the last time I am looking at a Folk-based artist...

for a little while –  it is getting harder to say new things; I’m trying to diversify the blog a lot more this year – searching for Grime and Urban artists especially. To be fair, my featured artist, or her latest album at least, is based in Soul territory and explores Classical music in addition. That is not to say I am unexcited about Kate Dimbleby: quite the opposite as she has an incredible sound and is turning many heads. I will bring her in soon – through her extensive biography – but I wanted to look at the voice and stripped-back music, to begin with; take a detour and speak of more mature artists and the accolades they have achieved; go on to discussing Folk and beauty and ending with original artists and the promise they hold. Music is endlessly complicated and diverse: it is impossible to predict and has so many different artists doing very different things. I have reviewed a lot of musicians who emphasise the voice and have that as their main instrument. This is especially true of Kate Dimbleby. She has a long and successful career behind her – her previous albums have been quite ornate and stirring (at different moments) and instilled with quite subtle compositions. Now, she is placing her tremulous, stirring voice at the centre of things. I will discuss that a bit later but wanted to investigate the voice and how versatile it can be. Most of my favourite artists, solo acts at least, are synonymous with their voice. From Jeff Buckley and Kate Bush through to Björk: performers who have that extraordinary voice and take it in all sort of directions. We take vocals for granted and overlooked genuinely fresh and impressive singers. Talent shows and anodyne Pop music is preferred, by certain stations and people, as being impressive and worthy. I am not suggesting all the greatest singers of all time are in the past – with no modern-day equivalent able to match them – but there are fewer authentic and enduring singers coming through. Kate Dimbleby has that experience but a truly special voice. Of course, if the voice is rather listless or the songs simple and clichéd then you are unlikely to bond with the singer for too long. It is not good enough having a great voice and not having the songs to back it up.

I have heard a lot of promising vocalists unable to pen a deep and impressive song: you are fascinated to begin but then start to drift away and lose interest. The reason I wanted to bring this point up was to applaud artists taking risks and putting their voice right at the forefront. Dimbleby’s album, Songbirds, is a bit of a bold experiment: stripping everything back and having the vocal up-top. You have to have a lot of confidence - and know your voice has what it takes - to do something unconventional and brave. That is what she has done and the results, as you will hear from Musical Boxes, is stunning. I find there are so many artists out there doing the same thing – never separating themselves from the majority out there. What I mean is the themes stick to love, separation and togetherness: you hear too much of other artists in the vocals and few risks are taken. Sifting through that fog trying to find a beacon of light can be a tough navigation. Kate Dimbleby not only takes an unexpected approach to music but has a voice you struggle to link with anyone else. It is as a result of years of performance and work. When you have something (voice) like that; can craft a voice original and striking, you are going to bring people in and keep them there. Naturally, her songs are strong and reach into the heart. What I love about Dimbleby is her confidence and inventive approach to music. I shall move on from the voice but it is a subject that fascinates me. Songbirds is an album full of sensational moments and gorgeous vocals. Dimbleby’s near-exclusion of instruments – having that voice covering everything and the key sound – should inspire others to try things in their music. Modern artists, in certain genres, crowd their music and stuff it with overly-glossy production. It lacks naturalness and humanity: what you get is (often) music both synthetic and distant. I always look for a singer I can connect with; someone whose voice gets right inside me and elicits something profound and awe-inspired. That is what you get with Dimbleby but I will, as explained earlier, come back to that side of things. Before I raise a new point, let me introduce her to you:

“Kate has released five albums, sold out the Festival Hall, toured internationally at arts and music festivals and appeared regularly on national radio.  She is currently working on a new live show and album for 2017 as well as developing her “song stories” into various radio, podcast and TV formats.   Her new live show “Songbirds tells a personal story about finding her own voice through singing the stories of others and will tour the UK, New York and Edinburgh next year after scratch shows in Bristol in June.

Kate’s critically acclaimed live shows (Who is Dory Previn?, I’m a Woman, Music to Watch Boys By and Fever! The Making of Peggy Lee) all devised and produced by her in collaboration with “One Man Two Guvnors” director Cal McCyrstal and writers (Amy Rosenthal, Emma and Beth Kilcoyne and Lucy Powell) have become a trademark for a unique blend of singing, storytelling and entertainment. With a new podcast “The Voices in our Heads”, Kate plans to develop this in broadcast to an online audience.

Described by The Times as ‘One of the most versatile singers on the jazz/blues circuit, opening up her own Third Way, part-cabaret, part pop concert’ Kate grew up in a family where performing was the norm. Her father is the broadcaster David Dimbleby, and her mother was a trained classical singer. Her uncle on her mother’s side played jazz piano, trumpet and blues harp, and inspired her with his collection of gramaphone records.

In 2015, Kate performed her most recent show about cult 70’s songwriter Dory Previn at 59E59 Theatres in New York after the world premiere opened the Matcham Room, Leicester Square Hippodrome in 2013. The album “Beware of Young Girls : the songs of Dory Previn”, a collaboration with pianist Naadia Sheriff was chosen as one of Sunday Times Top Ten Records of 2012 and the duo have played on Jools Holland’s Radio Show (R2), Woman’s Hour (R4) and In Tune (R3). The production toured the UK through 2014/2015 and Kate and Naadia are featured in Nick Murphy’s thriller “Blood” starring Paul Bettany”

I am not using the word ‘mature’ as a synonym or euphemism. When speaking of Kate Dimbleby – not referring to age as a negative thing – she has that body of work behind her and experienced a lot. I raise this point to show young musicians what it takes to remain and succeed. Not only does she has Folkstock Records behind her (Helen Meissner’s project) but a seriously impressive C.V. to boot. For sure, Dimbleby’s record label/management help guide her career but the established songwriter has built her reputation on talent and persistence. You only have to look at her official website to see what I mean. Hailing from a family of broadcasters – that surname must have set off ideas of her lineage and genealogy – Dimbleby’s mother would sing Opera numbers around the breakfast table. Maybe this was the match that lit the fuse that set off that explosive passion for music – certainly taking an operatic approach to music. Songbirds, again, I will go into more detail later, allows listeners to fill the gaps where the instruments would be and be much more involved with the songs. Bitten by the performance bug at an early age: now Dimbleby has twenty-five years of performance experience under her belt. I have seen artists with that sort of experience tire and produce work that is rather weak – compared with their initial work. Dimbleby, in Songbirds, has taken her music is another direct and, in a strange way, back to the start of her career. It is quite a gamble relying on the voice alone but Dimbleby knows what she is doing. Having performance for so many years, and an army of fans behind her, the risk was always worth it. Many ask whether you can be a full-time musician and actually remain.

In a sense, the industry is like an illness: depending on your immune system and type of illness (your music) will determine how long you live, as it were. It sounds bleak but there are few artists remaining for years and building successful careers. Maybe it is down to increased competition – or the fact music is available on music-sharing platforms for free – but the reality is rather bleak and tough to swallow. That is not to say nobody survives years down the line but we are seeing few decades-old musicians these days. Kate Dimbleby’s inimitable talent and unquenchable drive has done a lot of the work: the inventiveness and thought she puts into the music is responsible. Maybe she arrived on the scene at the right time – again, not implying anything derogatory about age. Since singing with Black Box Music in 1998 (a wonderful year to enter music!) she worked with some of the finest Jazz musicians in the U.K.; performed fifty-date sell-out tours and devised live cabaret shows (Music to Watch Boys By and I’m a Woman). Maybe emerging in music – getting signed at least – in the 1990s is responsible for her longevity but it is Dimbleby’s work ethic and openness that has built the legacy. Today, and for someone who has been in music for a long time, there is no stopping her. I am thrilled Dimbleby is still performing and creating some of her finest work to date. She is a model to any upcoming songwriter as to how one survives in the industry. So long as you have the talent and put the work in then you will succeed. Of course, Dimbleby be has had her music featured on T.V. and film; she has involved herself with the theatre and spread herself across various different disciplines. It is not good enough relying on social media and hoping a traditional, do-it-like-everyone-else approach to a career is sufficient.

Before I come to my next point – I will get to her music fairly soon, promise – I will look at what experience and hard work can lead to. One of the most eye-catching parts of Dimbleby’s (recent) biography is her studying the vocal techniques of Bobby McFerrin. The sixty-six-year-old New York-born legend is, to many of us, iconically linked with the track, Don’t Worry, Be Happy. That song was released in 1988 and the first a cappella song to reach the number-one spot on the Billboard Hot 100. Not only it is a funky, hugely uplifting song but the techniques involved with ground-breaking at the time. McFerrin uses his voice (overdubbed) as instruments in the song. Through an affected vocal (a West Indian inflexion) and various mannerisms/sound effects: the track has gone down in history and inspired many singers. McFerrin himself uses techniques like singing fluidly but with jumps in pitch. He can sustain melodies whilst rapidly alternating with arpeggios and harmonies – he can do scat singing and polyphonic overtone singing. That sort of talent is rare but the performance method – McFerrin often accompanying himself and employing no other instruments – is practically unheard of these days. I can see comparisons between Dimbleby and McFerrin. Aside from obvious differences – age, gender and race for example – their musical approach is very similar. In fact, I can draw direct parallels between Dimbleby’s Songbirds and McFerrin’s 1984 sophomore release, The Voice. On that album, unlike his debut release, there are no instruments: McFerrin uses his rare techniques and stunning voice to define a series of splendid originals and covers (including a stirring take of The Beatles’ Blackbird). Not only has that stock-and-trade vocal sound inspired legions of singers but has led to a vast and long career. McFerrin continues to record and has barely put a foot wrong – aside from 1995’s rather lukewarm album, Bang! Zoom.

The other honorific I wanted to mention, before coming to my final points, is that received from BBC Radio 6 Music D.J., Tom Robinson. The legendary musician recently paid tribute to Musical Boxes – defining its beauty far better than I could, it appears. Paying tribute to Dimbleby’s talent (describing her as being at the “top of her game”), it seems those ten-thousand hours – Malcolm Gladwell’s study said this is the amount of hours you need to spend on anything in order to become world-class – I am quite a way off it seems! That figure might be arbitrary and open for debate – innate talent and luck can circumvent that rule; some might not have an aptitude to become world-class under any condition – but Robinson applauded Dimbleby’s dedication and experience. By virtue of his years – Robinson’s ‘6 Music audience maybe a little older than that of Lauren Laverne or Steve Lamacq, for instance – you can appreciate the bond and affection he feels for someone as established and innovative as Kate Dimbleby. That track, and the words Robinson used mean the song has reached new ears and been picked up by other stations. Getting a track played on BBC Radio 6 Music is a bit if a holy grail-type event. It is, without any questions, the finest stations in the U.K. and, when you have your music played there, it is a huge deal. Not only because of the type of person who listens to the station – discerning and keen to embrace the finest music – but the amount of listeners it reaches.

I am keen to jump onto Dimbleby’s music but want to briefly talk about Folk and ‘subtler’ genres; those artists keen to promote originality and difference. As I said, Dimbleby grew up with an Opera-singing mum and is a classically-trained artist – having released five albums previously. She has performed sold-out shows and played at Ronnie Scott’s Jazz Club. Having studied with Bobby McFerrin himself – she did that in New York and taught herself how to use a looper to recreate the instrumental lines on her previously released original material – Dimbleby has had a grand rise and fascinating past. She is one of those original artists who has not followed a boring or conventional path. Songbirds is the result of her quest to push the envelope and utilise her myriad talents. The influence of McFerrin is strong and one wonders just what will come next. I will theorise more in end of this review but I am fascinated by Kate Dimbleby’s cross-genre sounds. As I craft this paragraph, I am listening to Jesca Hoop and one of her tracks – an artist I have mentioned a lot recently. You hear Folk and Soul in her voice but it is hard to peg. The compositions weave and suggest so many ideas: the voice floats and teases with that incredible beauty and grace. I feel the same way about Kate Dimbleby when I listen to Musical Boxes. I started this review by looking at Dimbleby as a Folk artist – something I will retract to a degree. Yes, some of her music suggests Folk but there is so much more to it than that. What strikes me hardest about Kate Dimbleby is her originality and variety. Songbirds is that vocal-only album that suggests a rare and peerless talent. Previous albums have merged Soul, Folk and Classical whereas her earlier material was different from that. She is always evolving and challenging her own material but never at the expense of consistency and personality. I get fatigued and stressed hearing artists who never change anything and show nothing but stubbornness and over-confidence. No such danger with Dimbleby who reinvents herself and produces extraordinary work – reasons why she has been in-demand for all these years.

If one looks back at Dimbleby’s work, before I move onto Musical Boxes, you can see a definite progression and change. Her debut, Good Vibrations, was released in 1998 and performed with a group of stellar Jazz musician. Covering a range of classic tracks, Dimbleby put her mark on standards from the likes of Nick Drake, Tom Waits and, as the album title suggests, The Beach Boys. It was a confident album that proved Dimbleby was/is a solid interpreter who can put her own spin on familiar songs. It was not an average cover album where you felt rather bored and uninspired. Each number could have been written by Dimbleby herself: she inhabits the songs and shows a real affection for each. Richard Niles produced and there was a real sense of command and conviction throughout – rare to see from someone on their debut-album stage. From there, Dimbleby started to perform quite a lot and looking ahead. Her sophomore album, Ain’t This Cosy was inspired by her about her acclaimed show on the life and work of Peggy Lee. Released to coincided with a fifty-date sell-out tour of Fever!; another solid and engaging album that covered new ground but retained that very special and flexible voice. Whereas Good Vibrations covered a lot of male artists and concentrated on particular times: this was more focused – in terms of subject matter – and proved Dimbleby could cover any genre she wanted to. The Kate Dimbleby band joined forces to record Things As They Are in 2009 and is the first album where Dimbleby writes her own material. Inspired by her time in a remote retreat in western Canada; it is a very different work to her first two albums and, once more, takes another left-turn. Showing herself to be a natural and talented songwriter, the material across the album is not just about her own life but is, as one reviewer pointed out, a reflection on all our lives. You get engrossed in the musical and the perfect delivery – the way words are almost treated as part of a sermon. It is a beautiful record that gets into the heart and stays there for a very long time.

The biggest difference from then to now – 2014’s Love Comes Again as recorded in a transition where Dimbleby moved from being a thirty-nine-year-old Londoner to a forty-year-old Bristolian – beautifully sets up Musical Boxes. Previously, Dimbleby has played with her band and collaborated with other artists. Beware of Young Girls (2013) saw Dimbleby join with Naadia Sheriff and other albums have seen her join with fellow musicians. Songbirds, aside from a light smattering of keys and tambourine on some tracks, is the voice alone left to fend for itself. It does so incredibly well and shows another transition for Dimbleby. If Love Comes Again is her taking stock – having spent the past twenty years touring she knew something has to change – then Songbirds is the heroine takes us in yet another direction. She wanted, with this album, to set aside any preconceptions and predictions. You cannot say whether a song sounds like anyone else or place too many influences together due to the nature of the album. The near-vocal-only dynamic makes it original and very much the product of Kate Dimbleby. It is a stunning album, as I will explore later, that shows what an evolving and fresh artist she is. You never get the same album twice: each new creation is almost like it came from another person. What does remain is the striking, majestic voice that is, if anything, at its peak here. Never has she sounded more graceful and entrancing as she does on Songbirds. I am intrigued to see where she goes next and what unfolds. You can never say so I suggest you keep your eyes peeled and follow her closely. Few artists are as consistent and strong as Kate Dimbleby: I am predicting the next couple of years will be very special and memorable.

Musical Boxes has already gained rave reviews and no small wonder. There is a bit of silence at the beginning of the track which keeps the breath baited and prepares the listener for what is to come. When Dimbleby’s voice does appear, it builds up momentum through a series of the word “hey”. Starting as a single layer, it soon builds and weaves inside one another – vocal lines float, twist and rise to create a choir-like effect. It is amazing hearing the range in the opening moments. Low notes sit and create a solid base whereas lighter, more ethereal tones summon light and breeziness. Together, it is a stunning effect that grips you from the offset. I hear McFerrin’s influence right away, especially in the vocal range and pronunciations. Those deep and gravelled parts and higher, sweeter sounds are something he mastered on the album, The Voice. Here, Dimbleby talks of ancient truths and being rooted in the trees. Whether talking spirituality or taking her voice into nature; you wonder what the lyrics refer to and the influence behind them. Certainly, there is a sense of the open in the song – no instruments and just that voice – so you transport yourself into the wild and follow the song on that basis. When the title is presented, the origins and meanings become clearer. Like musical boxes, we lock our sounds and self away until everyone is out. Secrecy and mystique are brought in and, again, you interpret and draw your own images. Maybe that sentiment refers to honesty or something as simple as the voice. We are at our most open and comfortable alone, at times, and that is when the true magic can occur. Perhaps it is not always a desirable state of affairs but common among us. Perhaps we all shelter away from the rush of the world and are fearful of being too honest and revealing. Maybe not but what I get from Musical Boxes, in the early phases, is a woman who is speaking from her soul. Perhaps Dimbleby is referring to her own creative process and when that is at its purest.

It is hard to fault the vocals as they stem from an artist as authoritative and experienced as they come. There are so many different sounds and tones yet it never sounds cluttered or wandering. Dimbleby summons up the sound of instruments with her voice and has complete freedom to project exactly how she wishes. True, she has worked with brilliant musicians before but there is something to be said for taking complete control. Musical Boxes is the most personal song from Dimbleby, simply because it is her voice in the mix – without outside interjection and any other spirit. I was fascinated by the lyrical bent and drilling down to its root. I sensed a woman hiding a part of herself or wishing for something different. Musical boxes reveal their tunes in the company of a single person and often at times when we need uplifting. A lot of times, few hear the song of a musical box until years later: never tempted to open the lid and discover what is inside. Perhaps that is the way we treat others or the way some of us feel. It is an interesting idea that every listener will have their own views on. I might be reaching and looking too deeply but cannot help it. “Imagine the noises…” we could make it we “let it out” as Dimbleby poses. If we are locked in secrecy and reluctant to sing, that would be a tragic thing. Those who are free to fly and express are the happiest and most inspired. It is a brilliant sentiment that has a lot of truth in it. Not just looking at it from a very basic and literal interpretation – those who sing feel better and healthier – you can look at the spirit and soul and how we can open them up with encouragement. Those who cloister away and restrict themselves from the outside world will always have regrets. Maybe there is another slant on this: something more political and universal. If we, as humans and conscious, sentient beings yearn to make the world better there needs to be a democratic channel and consensus. If we are allowed to express ourselves and opinions without fear of reprisals and repression, that leads to a better world. Again, I might be going in the wrong direction but that is the beauty of the song.

It is that inimitable and irrepressible voice that continues to implore, seduce and haunt throughout. It is hard getting to grips with the complexities and nuances of the performance(s) upon the first listening. After the previous statement, Dimbleby returns to the wordlessness of the introduction and lets her voice bubble, rise and chorus. You get skipping, intertwined notes and the sound of a (human) music box. Nobody can ignore the effect and power of the voice as it projects images and allows the listener to dream and drift. Softened and touched by Dimbleby’s instinct, powers and gracefulness; you allow the music box song to do its work and prove its point. Previously, we are told how sad it would be, were we never to hear that mystical song and freedom – something rectified by an enticing and stunning vocal line. There are few original lines (keeping the message pure and simple) but the ones they are hit the mark and speak for us all. Imagining the noises we can make when we let our voices speak is something we all think of. Whether that is literally singing or being more candid and bold with our instrument, I am not sure. Whatever the true meaning from Musical Boxes, you replay the song to experience those vocals paint so many colours and ideas. Not only is the song a perfect representation and taste of Songbirds but it will inspire other artists to follow suit. There are few vocal-only performers in this age. In the past, there have been the likes of McFerrin and Opera singers; groups like Boyz II Men – but they are few and far between. Modern music is, by and large, packed with instrumentation and sound – rarely does the voice have the chance to throw off the shackles and really breathe. The purity and solitude of Musical Boxes is a guiding light to those who understand the true nature and importance of self-expression. Let’s hope Dimbleby continues to follow this path (her vocals alone) as she has created something unusual, atmospheric and highly memorable.

Songbirds is the album we should all take the time to listen to this year. Sure, there will be bigger-hyped records in the mainstream but few underground albums have such a fascinating sound. The fact it has already been recommended by Tom Robinson suggests it is not your average creation. Certainly not, as Music Boxes demonstrates. A song that has won its fair share of impassioned reviews and effusive commendations. It is testament to Kate Dimbleby she is able, so far along in her career, to sound new and reborn. That might seem condescending but not at all. I am stunned by her consistency and the way she makes her albums so intimate and unusual. You would be hard pressed comparing Songbirds with anything you have heard before – unless you are familiar with Bobby McFerrin and The Voice. So what can we expect this year? Well, in terms of tour dates, you can catch Dimbleby at Bath’s Ustinov Theatre on 17^th and 18^th of this month; she heads to the NOW gallery in London on 23^rd before playing a series of dates in March – The Bike Shed Theatre, Exeter (19^th) and Rise Records, Bristol (2^nd March) among them. In fact, that 2^nd March date is the Bristol album launch: if you are in the area, get yourself down there. Scanning through the remaining tour dates; we can see some cool London dates in March – The Crazy Coqs, Brasserie Zedel in Piccadilly intrigues me on name alone – with some other dates through April and May – Devon and Brighton are included in the itinerary. I will try and come see Dimbleby as that live experience will be one hard to top. It will be interesting seeing how Songbirds is staged on the road. Given the lack of instruments, it could be one of the sparsest stages you’re likely to see – perhaps there will be ornamentation and simple set design to accompany Dimbleby. Whatever the specifications and set design; you owe yourself to witness a very special artist perform.

Songbirds is a wonderful collection everyone should have. If you have not heard of Kate Dimbleby; perhaps you bridle at the thought of a cappella music – do not make assumptions or deny yourself. Songbirds is, as Dimbleby states, about: “…the voices we keep locked up inside. About the need for connection – right here, right now. And if it goes ‘wrong’, so what? I’ve realised that the place where things go wrong is where we find the magic”. From that description alone, there will be few not intrigued by such promise and potential. I shall not spend too much time recommending the album – lest it gives too much away or makes your mind up for you – but would impress this on everybody: it is one of those records that gets you gripped; one you struggle to forget. Musical Boxes is a good starting point and pretty indicative of the album’s sound and nature. Kate Dimbleby has been in the business a while but seems to be at her most active and ambitious. Certainly, album promotional duties will take her around the U.K. and to new places. It is great to see her covering ground in the south but one knows there is a big crowd waiting up north. I know similar-sounding artists around Manchester and Yorkshire who have to come down to London to get gigs/big crowds. It seems like most musicians gravitate towards the capital but there are some great venues in cities like Manchester and Leeds. Seven Arts and Belgrave Music Hall seem like perfectly-suited spaces for Dimbleby’s entrancing music. Likewise, Manchester’s Band on the Wall and Night & Day would be good venues for Dimbleby but that is up to her. Whether there are more dates to come or not: I know a big and eager crowd awaits her north of London.

Many are eager to celebrate an artist with a sensational voice. Her album concept had an interesting derivation: “I wanted to go in with just my voice and without instruments so that you don’t get any of the associations that usually spring up, ‘Oh, it’s that kind of thing’. It allows for an element of surprise and fun – room for people to interact by stepping into the space where the instruments would normally be – even joining in”. People will join for sure and take the album to heart. I shall end this, I’m sure you’ll be overjoyed to hear, reverting to me early points and why Kate Dimbleby impress me so. Her touring schedule, performing in churches and intimate venues, is a rare approach from someone who could well sell-out bigger spaces. I mentioned a few possible venues Dimbleby could visit – in my proxy booking manager role – further north. I know some great cathedrals/churches in Yorkshire and ornate spots in Scotland. There is an eager Britain out there: many new ears keen to witness Dimbleby’s stunning powers in the flesh. Many would argue it is hard to provoke the same sort of reality and effect one would experience live. For an album/song that is vocal-only; will the song resonate quite the same way? Those that have heard Musical Boxes, myself included, have been struck by the evocative beauty and gracefulness of the song. I opened by looking at the voice and the power it possesses. There are some great artists with a terrific voice: a lot of them hide it behind glossy production and composition noises. It is rare to discover someone who strips that all back and leaves the voice alone – unfettered and uncomplicated by instrumental concerns. I’ll jump to my last paragraph soon but wanted to send congratulations to Musical Boxes and Songbirds. I am a fan of Bobby McFerrin and albums like The Voice. Its sheer beauty and potency is hard to put into words – you can say the same about Kate Dimbleby’s latest. One other thing I yearn for in music – that will be rectified, to a small degree – are orchestral strings and cinematic sounds. Were Dimbleby, in a future album or between-releases track, to mesh her gorgeous voice with a (The) Cinematic Orchestra-esque score the results would be spellbinding. An operatic, soulful voice bonded to a symphonic, elegant passage would be a wonderful marriage – just a passing rumination of mine.

I shall end this and wish Dimbleby well in her future pursuits. She is with Folkstock Records – who are keen to support the female voice and unconventional recording artists – and that lack of conventionality makes the music really stand out. With so many people stuffed into the music sardine can: those that are willing to earn their place are to be commended. I get tired by so many predictable and samey artists coming through. Sure, everyone is welcome but open-borders approach to music-making means quality control is rather lacklustre. Volume and hoarding masses do create a bit of a crowded metropolis: you can spot rays of light and fascinating, charming side-alley treasures when you wander off the tourist trail. Navigate away from the mainstream beige and embrace something much more unusual and nourishing. We need to do more to promote artists like Kate Dimbleby; ensure they are preserved and their heritage passed through the generations. It is not hyperbole to suggest she is among the most original artists around, simply because of the way the music is present. Musical Boxes, in a sense, has an irony about it: maybe the title, if you didn’t know better, refers to the way musicians are labelled and put into boxes. Whatever the origins and your personal interpretations; Kate Dimbleby is someone with a long future ahead. I will follow her and cannot wait to see…

WHAT her next album contains.

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Follow Kate Dimbleby

 

Official:

http://www.katedimbleby.com/

Facebook:

https://www.facebook.com/katedimblebysings/

Twitter:

https://twitter.com/katedimbleby

YouTube:

https://www.youtube.com/user/katedimbleby/videos?flow=list&sort=p&view=0

SoundCloud:

https://soundcloud.com/kate-dimbleby/

INTERVIEW: Canvas Wall

INTERVIEW:

  

Canvas Wall

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AS I search around music in eager hope a great…

and enduring band will come along: Canvas Wall certainly offer plenty of wonderful music and promise. The group split their membership between Malta and the U.K. and have been together since 2008. Racking up a series of impressive singles; the boys have just released their stunning E.P., Mannekind. It is their strongest and most colourful release: one that should see them inch closer to the hallowed turf of the mainstream. I speak to Canvas Wall about the E.P. and their past; how they have progressed and what albums have meant most to each of them. Make sure you make the Canvas Wall boys part of your 2017 playlist.

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Hi guys. How are you? How has your week been?

Simon: Hi Sam, we're well, thanks. This week has been good. It's the last week of what has been a bit of a break for us - after a busy ending to 2016. It's also been an international week as Matteo (bass) heads back from Australia and Craig (drums) catches a few rays in the Dominican (Republic). Dean (guitar) and I have been fighting frostbite in London so we're all looking forward to getting back to our music and warming things up for the year ahead.

For those new to your music, can you introduce yourself, please?

Dean: We're an eclectic mix of many influences that create an energetic Indie-Pop-Rock sound. It's vibrant, upbeat, positive and fun - we always have a great time playing live and love that part of what we do. We find our audiences quite varied so I think many different people take something away from our music.

The band formed back in 2008. How did you guys come together and were you all friends from way back?

Craig: Canvas Wall took a while to come to fruition with a fair amount of lineup changes in the beginning. The band you see now is, in fact, three childhood friends and Matteo - our new friend who feels like we've known him just as long! Dean, Simon and I were playing music together when we were fourteen growing up in Malta. We all went our separate ways when we were about eighteen, and later on, life brought us back together in London. We met Matteo last year mid-recording our latest release Mannekind - and he's fit right in; bringing a solid sound on bass.

[soundcloud url="https://api.soundcloud.com/tracks/16583908" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Your first single, Sooner or Later, gained widespread radio play. Was it quite surprising doing that well from your debut song?

Simon: Getting to that point was quite an uphill battle.

We were trying to put together our first album and hit some major hurdles - with the kind of people in the industry that nobody wants to encounter.

By the time Sooner or Later came out we were just happy we had something to show - the way it was received was all a bonus and it made the hardships worthwhile.

By 2011, you released Close to the Edge and its fantastic music video. What was that experience like and do you enjoy music videos in general?

Simon: It was great! When we first got to London, one of our relatives took us in under his wing and he helped us get on our feet. Carmel works in prop, set and model-making for the advertising industry so he called on a few friends who helped us shoot the Close to the Edge video. They were all really nice and we were really happy with the end product.

[youtube https://www.youtube.com/watch?v=HbHtnjO4HoM&w=560&h=315]

The band has been played on Maltese radio. What is the band connection to the country and have you ever played out there?

Craig: Malta is home for the majority of us. Dean, Simon and I are all half-Maltese and we all grew up there together. We have big families there and fly over often for a dose of home. Matteo shares the Mediterranean connection as he is from Rome. We've played in Malta quite a few times - in October last year we launched our new E.P. Mannekind at Funky Monkey with Jack's Fusion, in fact. We've put on our own shows there before and have performed at the likes of The Beer Festival. We missed out on Bubble Festival this year because of timing but we'll be back this year for Rock the South, which we're excited for.

Based in London, it must be an exciting and inspiring city for a group to create. How influential is London to your work and how have the crowds reacted to your music?

Matteo: A lot of the songs are based on life experiences so London life does influence. The crowds are good: we always get them going and end up making new friends and fans along the way.

Mannekind is your new E.P. Songs like Storm and Chronic Agitator suggests anger and discontent. What were the events/themes that inspired the E.P.’s creation?

Simon: Storm is really about getting through the tough times which everyone experiences once in a while in a relationship and to not take them too seriously: “Don't be scared of the storm, it's just the weather”. Chronic Agitator is about a 'haters' online who likes to spend their time agitating other people: we've all seen it and sometimes it's pretty funny to read.

The general theme of Mannekind is life colouring each of us differently. It's all about how we start out the same (the white mannequin) but our experiences shape us; colour us into the unique individuals we all are.

Mannekind is all of us, mankind - with a tip of the hat at mannequin, as used in the artwork to show this.

Come and Get It is the E.P.’s current single and one of the biggest, most arena-ready songs the band have created. The video looked like it was especially fun to film. What was the shoot like and what has the general reception been like for the song?

Craig: Thanks! It was fun. It was a lot of waiting around under dust sheets - and we had a colourful mess to clear up at the end of the day because of all of the paint pigment we used. Come and Get It has gone down a treat. It's a real catchy sing-along tune so we've had some great feedback.

[youtube https://www.youtube.com/watch?v=_K0GJb8OLeo&w=560&h=315]

Are you looking forward to future gigs? What dates have you got in the diary for 2017?

Dean: We'll be performing at the closing party of the Independent Music Day weekend on the 25th Feb at the Crowndale Club. It's gonna be a great weekend and we invite those reading to join us. Tickets and info here: https://www.eventbrite.co.uk/e/tenth-electric-canvas-wall-the-primes-calamity-script-the-curious-incident-tickets-31029757841 .

We're also planning a trip back to Italy at some point and we'll pop back home to Malta for a show as well.

As we all look ahead: are there plans for new material or releases later in the year?

Simon: We will be releasing some more tracks from the new E.P.

Every band has that one member who is very cheeky or lazy, for instance. Are there any pranksters in the group or one that turns up late for rehearsals, perhaps?

Craig: No one turns up late but we're all pranksters. We've known each other for a long time and constantly joke around. Dean probably takes the cake for being the craziest, I think!

What has been your favourite memory, each, from your time in Canvas Wall?

Matteo: Within my first week of playing bass for Canvas Wall I was shooting the music video for Come and Get It: straight into the deep end… fun!

Dean: Playing inside a soundproof Music Cube as part of Sennheiser’s Music Cube for Westfield (London)!

Craig: Touring Finland!

Travelling through music is awesome and Finland was full of great people and beautiful scenery. We came home - after making some great friends!

Simon: Having hundreds of people sing along to our song at the (Farsons) Beer Fest. in Malta!

If you guys each has to pick an album that means the most to you which would it be and why?

Craig: Incubus - Morning View. It's a real time and a place for me and it has been a personal favourite since released - the sort of album you can put on and listen to the whole thing from start to finish (and they're all great tracks).

Dean: Foo Fighters - There Is Nothing Left to Lose. (It is) the first album I ever bought and got me through my teenage troubles.

Matteo: Red Hot Chili Peppers - Stadium Arcadium - a ‘must-have’ for every music lover and bass players. Great melodies, great lyrics and great basslines.

Simon: Queens of the Stone Age - Songs for the Deaf. High energy and (it) always gets me pumped

Are there any new artists, either locally or mainstream, you suggest we check out?

Craig: Spring King. Just saw them at Brixton - lots of energy, great set!

What advice would you provide any young songwriter coming through right now?

Dean: Keep writing, get involved - and keep writing!

Finally, and for being good sports, you can name any song (not yours as I’ll do that) and I’ll play it here.

Cage the Elephant - Ain't No Rest for the Wicked

[youtube https://www.youtube.com/watch?v=U631FGnXDXY&w=560&h=315]

____________

Follow Canvas Wall

Official:

http://www.canvas-wall.com/

Facebook:

https://www.facebook.com/canvaswall/

Twitter:

https://twitter.com/canvaswall

Instagram:

https://www.instagram.com/canvaswallband/?hl=en

SoundCloud:

https://soundcloud.com/canvaswall

YouTube:

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

TRACK REVIEW: Bree Taylor - Perfect

TRACK REVIEW:

 

Bree Taylor

 

 

 

Perfect

9.5/10

Perfect is available at:

https://soundcloud.com/bree-taylor-4/perfect

GENRE:

Pop

ORIGIN:

Toronto, Canada

RELEASE DATE:

3^rd February, 2017

______________

LAST year provided me with very few artists that started their life…

in Canada (or performing there still). This year, I have already reviewed two Canadian artists – Bree Taylor is someone I am very familiar with. Before I look at her biography and background, I want to look at Toronto as a vital centre for music and the type of artists being tipped for success this year. Starting off with Toronto – where Taylor hails from – has been pretty busy when it comes to providing awesome music. Broken Social Scene and Fuck** Off can be added to the list; Austra and Crystal Castles too – in fact, a whole banquet of very cool and stunning artists. It seems like the Canadian city has been overlooked by the international press a lot. I have interviewed Canadian artists and there is that consensus: not only are cities like Toronto providing some of the world’s best music but it is hard to get attention from outside Canada. The U.S. has, in a lot of respects, always had a derogatory and unfriendly attitude to Canada – rather joking and defamatory towards its people and reputation. For a nation who has just elected a bloated tyrant to their White House have a nerve criticising or disparaging anyone. If the U.S. has few constructive things to say about Canada as a nation they cannot ignore the phenomenal music arriving right now. I am a bit pissed with the U.S. people in general but shall overlook that as an irrelevance. As neighbours, their media should be a lot more caring with regards music and the awesome sounds from the nation. In Britain, I see some publications promoting Canadian artists but they are few and far between. It is the Canadian press themselves waging a war for recognition. Before I come to Taylor – who is recording in the U.S. but originates from Canada – I want to talk about a few Toronto-based artists who will be rising through 2017 – ensuring minds and eyes turn to the nation.

The Savilles are a band I have had my eye on for a while and have been making stonking music the past few years. The radical rockers have Meg Fasulo’s striking tones providing them a fragile and tormented edge with plenty of Punk-inspired spit. A solid and intuitive percussive arsenal means the music is instilled that primordial urge and steel toe-capped kick. In terms of that Rock core, you have Flamingo Báy producing enough meat and passion to keep ears tuned to their camp. They have been playing since 2012 and boast the epic guitar stylings of Dillon Henningson. They made some big moves in 2016 but one feels the best days are still ahead of them. Steak and Eggs, their previous album, saw the trio create a Classic-Rock epic: expect more from their guys as we head through the year. In terms of established acts that will be growing and developing this year; Rochelle Jordan – thanks to The Culture Trip for the guidance - is well worth following. She draws influence from 1990s’-influenced Hip-Hop/R&B. Collaborating with the likes of Childish Gambino and Adult Swim, her debut album, 1021, has captured hearts and made critics stand to attention. This year will be an important one for her as she expands her horizons and looks to bring their music around the world. There are a lot of other Toronto-based artists one should seek out to get an idea of what the city’s about. BlogTO have given us a list of the bands they are watching out for this year. I have been listening and have a lot of love for LUKA. The minimal group, consisting nylon-stringed guitar, drummer and female backup singers have been making their mark and creating quite a storm. Following their lead – and juxtaposing the Rock-based bands I have already mentioned – is a band I am familiar with: the mighty Crooked House Road. There is a sense of traditional Folk/Pop with stunning, evocative vocals.

They are sort of a female-like Fleet Foxes: luscious and dreamy with plenty of keen musicianship and nuanced songs. In terms of the scope (of Toronto music), it is a city you cannot predict or define. There are plenty of weird and wonderful musicians stepping outside convention and delivering something unique and truly unexpected. Electronic artist Castle If (Jess Forrest) gets a kick from weird: Sci-Fi concept record, Sector 03, with the fabulous and odd Plant Material have singled her out as somewhere to keep an ear out for. Like any great musical city: there is such a breadth of sound and intention coming from Toronto. It does not matter the national press has a fight on their hand because their artists are stepping up and making their job very easy. Another act that is likely to turn heads this year is Luge. They are experimental and left-field but not in an offensive or unlovable way. Their 2015 debut, Sex Cop, certainly pricked ears and put the band in the public consciousness. They look set to follow this (this) year with new live dates and (perhaps) a new album. Conga Radio continue Toronto’s varied and proud Electronic legacy with something new and striking. Gaining applause (from behind the decks), D.J./producer Roberto collaborates superbly with Torontonian Jex Opolis. Their Balearic-Disco duo has been growing since inception and gaining a solid fanbase since then. Hip-Hop’s John River has a couple of great mixtapes to his name – The Calm (2012) and The Storm (2015) – and is primed for a summer release in the summer. Recording in L.A., the accomplished poet/songwriter is taking his time to craft something truly special. It is appropriate I finish with River, who is taking advantage of the opportunities and clemency L.A. provides. Bree Taylor, like many of her Canadian cohorts, has come to the U.S. to record and finding the communities and busy music scene conducive to inspiring songs and fresh impetus. Of course, Toronto is a vital base and wonderful place for music: Los Angeles provides more scope and support for the ambitious musician. I shall touch more on that, but for now, let me introduce you to my featured artist:

“Canadian Pop singer-songwriter Bree Taylor is a force to be reckoned with. She is known for powerful, honest lyrics and dynamic melodies that express a range of emotions that everyone can relate to.

Writing and creating music has always been Bree’s way of expressing herself and is her way of baring her soul to the world. Bree has been writing and recording her debut EP in Los Angeles, California and is excited to release her first single “Broken Dreams” this Fall 2016.

Bree was born to sing and entertain. Having been brought into this world to music in the delivery room, her love of music began making it inevitable that she follow this dream. She was always an outgoing and creative child and was writing poems, stories and lyrics and participated in school choir’s from the age of 6. Instructor’s describe Bree as an emotional and gifted singer with a powerful and unique voice. Bree has shown an ear for music and she is known to pick up instruments quickly such as piano, flute and guitar.

Bree has made a name for herself on YouTube as a beauty creator where she shares her passion for makeup, skincare and beauty products and continues to post videos for her viewers. Her popular book review series, “Books with Bree” has become increasingly popular as well and is an outlet for her to share her passion for reading and literature which was another part of her life growing up, having always had her head in books. She has gained a great following of people from all over the world who support her YouTube channel and her music”.

I’ll come back to Canada/Toronto and L.A. – a U.S.-Canada combination that is flowering and brotherly – but, at this moment, I want to look at the ideals of perfection and battling depression. Bree Taylor’s latest single looks at these issues and how we view ourselves: the value we put on so-called ‘perfection’ and the hardships of anxiety. I have looked at songs that address such concerns and wish there were more. I feel artists are not taking risks and focusing on subjects that should be talked about. From mainstream acts like Beyoncé and Kendrick Lamar to the underground acts making a stand: there are musicians who concentrate on issues of politics, mental health and togetherness. Most music overly-concerned with love and relationships. To be fair, Taylor has written about love and its mystery but has come up with something very honest and brave. She, like so many different musicians, has suffered (and does) mental health problems. I myself know the sting and feel there are not many speaking out and representing MY struggle. In terms of music, there are so many artists who have to endure physiological ills. It is one of the main reasons creative types come into music: a way of expressing their struggle and (creatively) helping others. I find so many musicians are self-centred in what they write about. Too concerned with their own heartbreak and romantic struggle; there are few that take the spotlight away from themselves and cast it wider. In truth, Taylor is talking about her own struggles (on Perfect) but hoping to assist others and de-stigmatise mental illness. The song is a message to everyone and a chance for sufferers to find something that represents them. This is an impressive and applause-worthy approach that should see Perfect picked up and adored. It is, as I shall show you, now a song that weighs you down and is too dark. There is light and hope but a very direct approach to something very talk about. I was pleased to review the song for a number of reasons: not only because of the issues explored but it is another Bree Taylor song.

She is somebody on my radar and primed for worldwide exposure very soon. The actress-musician has that inherent performance talent and is one of the most expressive and multi-talented songwriters around (let alone the U.S./Canada). She is not a typical upcoming musician: someone too focused on themselves and too concerned with their own mind and clichéd ideas. What impresses me about Bree Taylor is her range of songwriting ideas. Perfect does not just look at depression and anxiety but so much more. You hear about a woman’s idea of perfection: how we can judge ourselves and compare our own situation against a societal conception of ‘perfect’. The song is a message to everyone: a boost of positivity that lets everyone knows they ARE good enough. We get swamped with media messages and their vision of what we should be. From advertising evils – that concept of a ‘beach body’ and physical definitions – to the perception we should all be happy and content. They do nothing to remove pollution from society: instilling the consumer with false representations and unrealistic expectations. Taylor wants it to be known we are all good enough and not to judge ourselves harshly. We all need that kind of positivity and realism. We all get inundated with propaganda and preconceived ideals of the ‘perfect person’. Everybody is different - which is something Taylor is keen to campaign. She electioneers and stands out front: we are all fine and should not let media cloud our minds and make us feel like we need to be better. Her song is not sloganeering or riddled with cliché. Instead, it comes from the heart and is a very personal testament from a woman who has struggled but is where she is down to perseverance and self-belief. It is easy to be dubious and self-admonishing in life but there is hope and support out there. When you find a musician who understands that, it makes things a lot easier. I don’t know what it is but you feel less alone; like there is another person out there like you. Were the music pretty average – but the message pure and courageous – you might be half-invested. As it is, Bree Taylor is a stunning singer and writer who know what you are going through and backs it with incredible music and undeniable commitment. She is a passionate and kind-hearted performer who is determined to remain for many years to come.

Before I arrive at Taylor’s latest single (and take a gander at her past) I want to look at one last side of her: the female singer-songwriter dynamic. This is a genre – if one can call it that – growing and burgeoning. I have stated how I feel female singer-songwriters will be defining 2017. That may be me showing bias and false confidence but there is evidential proof out there. You consider last year and the mainstream artists who created the finest albums. It is no coincidence there was a proliferation and appreciation of great female songwriters. Sure, the boys did well but I was left stunned and awed by the incredible female-made music of 2016. This year, I know that will continue without fail. A lot more bands are going to emerge – and some great male artists create big work – but it is the women of music I am looking forward to promoting. Bree Taylor, in essence, is part of one of the proudest and more prosperous markets in music. By the same token, it is very busy and crowded but that should not deter her. Why are the female of music, in my view, so much stronger than their male counterparts? Well, I feel their natural warmth and caring personalities define their music. I am not saying there is an inherent maternal instinct but female musicians seem to reveal more of their soul in music; they are more willing to embrace ‘difficult’ talking points and provide inspiring, thought-provoking music. Were we experiencing political and worldwide stability; I would say gender and music would not be such a big issue. The fact we are undergoing one of the most unsteady and frightening times in the world means female musicians are going to be hotly in-demand. We need a warm and caring embrace but the sort of truth and wisdom only they can provide.

Call it reverse-sexism or something else: I feel there is going to be a big call for female-made music this year; artists will respond in kind and create songs that talk about what we are all feeling and how we must band together. Screw those who focus solely on love and their own lives: the consumer needs music to step up to the plate and look at the world we are all living in. For that reason, Bree Taylor excites me greatly. She has always had a knack for focusing on the bigger picture and putting an original slant on love and romantic entanglement. As we grow into 2017, her music seems to be ass relevant and important as any out there. Not only does perfect talk about notions of perfectionism but has a political and socio-economic dynamic. It is so nuanced you can extrapolate many different angles and insights from the song. The broad, but personal, conversations of betterment and self-acceptance are not reserved just for certain people. Everyone can understand the song and take something very meaningful from it. It is impossible to predict just how the year will unfold but I am fairly confident in my view. Bree Taylor will be among the most exciting and eager female songwriters around and building on the strength and impressions Perfect has already made. It is a song that has already connected with many new fans and impressed reviewers and exciting supporters. I am not saying a male songwriter couldn’t write a song like it – I have seen plenty of male musicians capable of such a feat – but there is something comforting and inspiring about Taylor. She is part of a new generation of female songwriters showing she has the capacity and endurance to build a huge and varied career. I will follow it and support her every way I can.

These are early days for Bree Taylor so comparing her recent single with songs past is quite challenging. That said, we can easily see a difference between previous single Broken Dreams and Perfect. Broken Dreams, and its video certainly, had its mind in romantic/relationship areas. The single leaves its impressions and was a song I was addicted to. I interviewed Taylor around the time the song came out and she explained how proud she was of it – and how excited she was releasing music. You get a sense of a musician keen to explore as much territory as she possibly can. Perfect is the most serious-minded, for-the-people song she has created. It has the same sort of vocal/composition sound as Broken Dreams but its lyrics look at other areas. Perfect’s investigation of expectations and fitting into moulds – the way people are made to feel less and worthless by the media – is a subject more musicians should be covering. I love the way Taylor does not just focus on relationships and love. Broken Dreams had suggestions of broken hearts and longing; there was lust and passion but nothing was projected in a predictable way. Even from the offset; she showed what an original and personal writer she is. Tackling rather ‘hard’ or untraditional areas of songwriting, in terms of subject matter, can be quite a risky move for new artists. There is that tendency, sadly, for consumers to list for the familiar and tested. Covering weighty and difficult topics has paid off for Bree Taylor who shows she is a songwriter of impressive depth and ability. I would love to see this exploited throughout the year. I have not heard whispers of an E.P. but one assumes there will be something arriving. I know Broken Dreams and Perfect would fit perfectly onto a release and shows two sides to the Canadian songwriter. How her songwriting progresses through the years will be exciting to watch. I know relations and domestic concerns will be a staple but so too will more universal and lesser-heard ideas. Whether the nature of anxiety and depression is explored more is going to be interesting.  There are so many different avenues Taylor can explore: I will watch closely and see how she progresses.

I have found when some artists attempt to write inspiration and avoiding society’s expectations; their songs can appear like a Le Théâtre du Grand-Guignol. Fortunately, as is proven in the opening seconds of Perfect: Bree Taylor has crafted a song one instantly bonds with. With a sense of comfort and kismet, one settles down. Tense, tight percussion clashes and strides and bonds with a sweet-natured piano sound. It is an unusual and original start to such a song: normally, one would hear something quite mournful and stately. Here, you get a blend of pure and rushing: there is plenty of energy and meaning but plenty of depth and promise. A girl, aged twenty as it is said, is the song’s (first) heroine and subject. You feel, given the song’s background and meaning, this could be a look at Taylor herself – I have not asked her age but it would fit one thinks. She has big dreams and is looking out at the world. There is an air of Lady Gaga’s theatrical and graceful mannerisms: the way she can take a pure and gorgeous voice inside something personal and revealing and deliver a big chorus. There are screams inside the head – again, maybe Taylor as the heroine or a friend of hers – that are blotting out the rays of sunshine. Taylor’s voice mixes U.S. idols and what I expect from her. There is definite power and command but you can detect vulnerability and caution underneath. A slight Country twang underlines her delivery and gives the song several different directions. Pop-natured and radio-friendly; mixed with an evocative and raw blend of Country and Alternative. You get sweetness and compassion but the sound of a young woman pouring out her heart. By the time the chorus arrives, the narrative and debate – whether it is first or third-person – is settled. Taylor is not perfect, although she is expected to be, and happy with who she is. Despite some inner-doubts and tormented moments she lives with reality and pushes away society’s model of what it is to be ‘perfect'.

Perfection, as a construct, does not exist and is a very subjective and shallow ideology – certainly with regards tabloids’ view and opinions on the matter. That is what is at the nub of the song: an attack on the twisted logic we see in the media; taking umbrage at the screwed and skewed logic that sees many women trying to alter their bodies and health chasing some damaging and unrealistic idea. Many sacrifice their safety and mental health being thinner or happy: celebrity culture and body-perfect snapshots (in magazines) help fuel something poisonous and fake. Bree Taylor is one of those women who is subjected to that and – one would assume at some point in her life – wondered whether she is as healthy and happy as she should be. That cynicism and questioning has not come from a healthy place – it silences and converses with the Devil-on-the-shoulder evil of the media. Perfect’s chorus is a big and explosive Pop moment but not one shallow, plastic and for the dancefloors. A lot of Pop songs deliver singalong choruses that are quite inane and designed for mass chorusing. That is not the case with Perfect: it is a very meaningful and thought-provoking centre that is designed to get the listener looking at the wider world and things that need to be changed. Of course, Taylor is someone who has been questioning herself and exposed to cutting and unkind voices. Whether referring to a boyfriend or society in general: in the past, she has been saddened by expectations put on her shoulder and the savageness of words. I was torn as to whether the song was addressing the media alone or there was some personal relevance – maybe a friend or figure from her past (or present) is not being as helpful and human as they should be. One of the great things about Perfect is how engrossed you become so soon – fascinated by the lyrical slant and interpreting the true derivation of the words; also grabbed and pulled by the relentless energy and fizzing composition.

Perfect is unmistakable laden with hook and addictiveness. The chorus’ memorability and uplift has one ear on radio stations and bleeding into the mainstream market but surpasses a majority of the competition out there. I have mentioned artists like Lady Gaga but never as an easy comparison or detraction. She, as her name is in the news big at the moment, is a Pop artist who has inspired so many and created some of the finest modern Pop songs. Bree Taylor brings her music idols and favourites into her voice but is distinctly fresh and original. You get some familiar strands but always awed by that central sound: filled with determination, soul and panache. Taylor is an incredible performer who can easily convert fans of other genres into her camp – an instantly loveable artist who is not designed for a record label; she hopes to bring in as many people as possible. Perfect never loses it traction and momentum. It keeps growing and delivering key messages and phrasing. Our heroine has been trapped and forced down before but is fighting strong. I keep guessing whether all the lyrics pertain to Taylor or are a general conglomeration of archetypes and demographics. We all know the kind of people who are pressured into looking and feeling a certain way. Naturally, not everything is aimed at body image and looks. Perfect talks of depression and anxiety and the burden we place on ourselves. Most of us have unrealistic standards of ourselves and find short-comings hard to deal with. I, myself, have all these ambitions and goals and can feel inferior when they are not instantly realised. Maybe the media and outside world is to blame or it is an inherent flaw in us all. Not only did I relate to the song but fell for its genderless, for-all-the-people heart. Bree Taylor is not just writing about her demons and challenges but is representing everyone out there. Now, she runs a beauty blog and has a lot of inspiring words, but naturally, there are human doubts and issues she fights – still dealing with the capricious nature of depression and anxiety.

If you think a positive, rallying mantra was formulaic and predictable then you expectations are subverted. Perfect finds the heroine realising her own self-worth (“I am beautiful”) is a positive realisation and pivotal moment) and showing fortitude. There is never a sense of submission or demure: a young woman standing tall against and negative influence and cruel humans. Not only are the words stirring, mind. Bree Taylor’s vocal delivery is consistently alive and passionate. She fills her words with so many different emotions it means few listeners will fail to bond with the song. Likewise, the production is clean and crisp but never subject to cheap studio trickery and infused with too much gloss (and near-robotic tones). The composition keeps the beat strong and persistent and weaves in lighter piano-like sounds. So many artists talk about being as good as they can and never accepting flaws and reality. We all hear songs that paint idealistic pictures and unrealistic ideas. Taylor knows she is not perfect and does not care. In her own skin she is beautiful and the woman she should be. As I mentioned, there is never a case of over-personalisation or ignorance – the song talks about Taylor, those like her and anyone going through tough times. If you are wrestling with any doubts and niggling then Perfect is the song for you. It might take a few listens to convert all listeners but there is no reason it cannot. I, as someone who does not normally bond with U.S.-scented Pop, found a lot to love and recommend. It is a song I keep coming back to. That big and bright chorus packs a punch but has a very serious and mature side to it. That dichotomy of wise and grown-up and teenage – a restless energy and bounce mean it will resonate with many age groups – is a hard trick to pull off. By the end, you feel nourished and uplifted by the song but take something away with you. Not many tracks offer that so Bree Taylor is to be commended. Another confident and exceptional track from an artist worth watching closely throughout 2017.

I have said everything I can about Perfect – at least I hope I have! I hope it is the start of something wonderful for Bree Taylor. The song has been a lifetime in the making. She has suffered from depression and anxiety for many years and has been keeping a lot inside. It is hard confessing to mental illness at the best of times but especially hard for a musician. It is with bravery and courage she launches the song and many are thankful it is out there. Taylor has not written a track that casts out her demons and wallows: it is something intended to inspire others and give guidance. That is one side of the song, mind. The other looks at the way we all have to measure-up to a media-enforced viewpoint of perfection and idealism. If you feel doubtful of your own worth and whether you are as good as you can be – this is a song that offers assurance and a kind reassurance. Not only do the messages and heartfelt lyrics resonate: there is so much more to recommend and cherish. The vocal performance is one of Taylor’s most stirring and soulful whilst the composition mixes in Pop popularity with old-skool Soul. She is an artist who wants to make music ready for the mainstream but never too commercial or overly-familiar. As such, Perfect has that solid and relatable Pop core but ample personality and original perspective. I have said enough about the track so I will come back to Bree Taylor and where she is heading – finishing by looking back at the original points I made and how it relates to Taylor. For a start, the Canadian songwriter is regretting being positioned in Canada. Not in a bad way you understand: it is a cold country whose winters are legendary in their harshness and Arctic chill. There are few people who can appreciate just how cutting and draining the weather is there now. Conversely, California rarely experiences cold: their summer is equivalent to most nations’ summer – I long to go there and experience that all-year-round clemency. If Taylor is California-dreaming she may not have to dream for too much longer. She has performed and recorded there and is likely to see a lot of demand in California. Toronto, as I shall explore in the closing paragraphs of this review, is a hugely influential and vibrant city for music. Canada, as a whole, is a stunningly diverse and impressive musical climate and one that has to struggle.

I mentioned how the U.S. has had this long-running lack of respect for Canada. It might not extend into the music community but you see it in T.V. shows and ‘comedies’ – those digs and disrespectful asides about the fine nation. In terms of music, journalists around the U.S. owe need to do more to promote Canadian music. Get over the inter-nation rivalry and appreciate just how many stunning musicians there are right next to you. Canada is a much more sensible and warm nation than the U.S. (certainly true since Trump came to leads the country) and should be given the respect it deserves. I know Bree Taylor will play across Canada but you feel she should have the door opened in the U.S. California is somewhere she dreams of (we all do) and I envisage her playing across the state throughout 2017. Likewise, there is a huge market on the East Coast and states like New York. Such a world of American possibilities for Bree Taylor – she deserves all of them. I am not sure whether she has a U.S. tour planned but Europe would love to see her. London and the U.K. will open their doors – no Trumps-tyle immigration rules here! – we love to hear amazing international musicians perform on our shores. I could name half-dozen venues that would put her up. Maybe costs and time squander such wide ambitions but she should consider coming here for the summer – we do have one or two days when the sun comes out and the temperature is high. I talked about the great band of female songwriters creating big movements and helping (re)shape music. Taylor is among them and one of the most impressive I have heard. Her inspirational messages and social media support is reaching a lot of people and making them feel less alone. It is rare finding a musician who things of others and keen to lend them their heart – Taylor, for that reason, should be on everybody’s playlist.

I’ll end things by circling back to Canadian music and those acts coming out of Toronto. I talked about some of the great Hip-Hop artists adding vigour and street-grooves to the city (thanks to NOW Toronto for their tips). The Sorority are, as their name applies, a band of women – with a sisterly bond – that hit hard with their debut single, Undun. They first formed as part of Team Backpack’s first all-female Canadian cypher for International Women’s Day and realised they had that deep and profound bond. Following their debut single, they found that spirit and affection was long-lasting so are continuing to make and plan music. I suggest you keep a look out for the girls and what they are about this year. This year, Mustafa the Poet is going to unleash an E.P. that has, as rumour has it, Kanye West as a producer. He is a fast-rising Regent Park-raised young man who has impressed many. He released a Spoken Word album back in 2014 but is now committed to Hip-Hop. Step away from that genre and you can see what a spectrum of sounds is shining from Toronto. Pick a Piper is an act I am excited about and sure will continue to thrive this year. On 24^th of this month they release their second album, Distance. Caribou drummer Brad Weber, with bandmates Angus Fraser and Dan Roberts finds globe-hopping sounds and sage collaborations (Geographically Opposed brings New Zealand’s Bevan Smith (of Ruby Sans) lending vocals) mean it will be a fantastic L.P. That is just the tip of (a ginormous) iceberg that shows just how impressive and world-class Toronto music is. Bree Taylor is one of the acts we should all familarise ourselves with and follow. Her latest single is an anthem for everyone – not just those who doubt their worth and struggle with physiological problems. It is, as we need from 2017, a gorgeous song that promises more to come. When it comes to Bree Taylor’s latest statement, it is…

AS near-perfect as you can get.

[soundcloud url="https://api.soundcloud.com/tracks/306006104" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

_______________

Follow Bree Taylor

 

Official:

http://breetaylor.com/

Facebook:

https://www.facebook.com/BreeTaylorOfficial/

Twitter:

https://twitter.com/thebreetaylor

Instagram:

https://www.instagram.com/breetaylorofficial/

YouTube:

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

SoundCloud:

https://soundcloud.com/bree-taylor-4

INTERVIEW: HEZEN

INTERVIEW:

  

HEZEN

__________

I must confess, right from the offset, Sarah Hezen…

seems like my perfect woman. It is almost as though she has been created in a biometric laboratory to my specifications: although her immense humanity and heart – combined with Gallic passion and enormous intelligence – could never go into anything/anyone synthetic. Her music tastes are exquisite – name-checking In Rainbows as one of her favourite albums means she is alright by me! Couple that with her incredible beauty and amazing musical talent and you have someone heart-breaking, soul-nourishing and incomparable.

I speak to HEZEN about her music and how she likes London life – the Paris-born musician moved here and certainly feels synchronised to the beat and drive of modern London existence. In addition, she discusses her latest E.P., Stigma; tackling unconventional, possible taboo themes and comparisons to Björk – an artist she admires and sources as a heroine. I ask her to select a song to close the review (another perfect selection does not help with the whole wish-I-could-marry-her-now conundrum) and what she has planned for the rest of this year. Make no mistake about it: HEZEN is an artist I am very keen to review!

___________

Hi HEZEN. How are you? How has your week been?

Hi! I'm good thanks. Very tired after the E.P. launch (and release) but very happy! I'm writing from Budapest - where I'm taking a few days off. It's sunny and cold and peaceful: exactly what I needed.

For those new to your music can you introduce yourself, please?

My name is Sarah Hezen. I'm French and currently living in London. I'm a songwriter and a music producer - and my solo project is called HEZEN.

Stigma is your latest E.P. and boasts some wonderful songs. Oil Fire recalls Massive Attack and Thom Yorke (among others). It was created on your iPhone – a macro lens and some awesome post-production. What was the inspiration behind the song?

Thanks for the amazing comparison: these are my favourite artists! I have no idea where Oil Fire came from, to be honest. I remember the lyrics flowing out, and in ten minutes, it was done. That must have happened to me only three times ever! I was trying to make sense of a lot of things in my life and I think I needed to talk about resilience. But I wanted to peek into the mind of my character and reveal how these hopeful thoughts could also be just a coping mechanism.

There's a very dark alternative interpretation to the lyrics “It's only water on an oil fire”: the fire could either represent the strength to fight back, to grow and heal; but it could also be the fire that's hurting inside.

In the video, I wanted to create that same uncertainty, visually. The cracked skin is either an armour, a thick layer that protects what's vulnerable inside, but it's also a raw and claustrophobic envelope.

[youtube https://www.youtube.com/watch?v=x4jsTKHPPYM&w=560&h=315]

The Girl You Want is one of the standouts. It looks at women as objects: the way they are reduced to meat, essentially. Do you think there is sexism in music and how important was it addressing the issue of sexism?

There is sexism everywhere; you cannot escape it. We're talking about centuries of culture and behaviours and stigmatisation and thinking modes deeply ingrained. Everybody is sexist, me included. What's important is acknowledging our bias and correcting it. For that to happen, we need to talk about it: open the conversation in both directions and I think art, in general, is a wonderful way to ask questions and provoke a debate.

As your music does tackle some lesser-heard subjects: do you feel too few other musicians document subjects like violence and sexism?

I think they're difficult subjects that can put people off because it can often sound like ‘us’ versus ‘them’ - which is not the point at all, on the contrary. I'm criticising a system, not people. But it's not going to work with everybody, which is fine. Also, it's not a very ‘sexy’ subject! But pain, anger, misunderstanding and frustration have created the most amazing protest songs in the past, so I believe sexism and violence are great material. I think lots of artists are very vocal about sexism (Beyoncé, Björk; Grimes, Madonna; FKA Twigs...) and I feel very lucky to live in a time when these things can be talked about and challenged in the mainstream discourse - because it definitely changes things.

Try Me is a cautionary tale with a nice twist. In terms of vocals; it a seductive and arresting performance. Have you any particular vocal idols or standout singers you grew up lionising?

Lots of singers had a massive impact on me when I was growing up; especially in my teenage years.  Sia with Colour the Small One and Tori Amos with Little Earthquakes were big influences – I was fascinated with their quiet-singing and the emotion that came in it. I was also very shy and hated the idea that someone could hear me singing and playing the guitar, even my sister, so I only sang very, (very) very quietly, late at night. Their lyrics were also very dark and personal and it resonated very strongly with me. I've always been a little bit Emo...

I fell in love with Thom Yorke's voice back then too as well as his songwriting. For me, all these artists have a very original way of using their voice and their melodies are often striking and unexpected - which really is something I love.

[soundcloud url="https://api.soundcloud.com/tracks/210899631" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Smoke & Mirrors closes Stigma and is your most epiphanic moment. Can you remember creating the track and what led up to its birth?

Smoke & Mirrors is about closure, about acknowledging what makes us, us: the sum of experiences we went through that partly defines who we are. The track refers to a very profound experience I had a few years ago when that acknowledgement happened. It kind of ripped a veil and made me realise all the things that were keeping me from being who I wanted to be. It's the last track I wrote for the E.P. and I felt like dedicating it to this moment; all the other tracks relate to experiences which shape the individual - whether it's caving in or pushing back; Smoke & Mirrors is a realisation of these forces and the realisation that we can decide to let them define us or not.

You are based in London but hail from France. What compelled the decision to move to London and how does our capital compare to ‘home’? Are there more opportunities for you here?

I came to London for the first time when I was twelve (with my family) and I remember falling in love with the city. Since then, I knew I wanted to live here.

When I got an opportunity to study here in 2010 I jumped on it. I have never regretted it.

What struck me the most when I arrived in London is the feeling that you can achieve whatever you put your mind to if you work hard. I couldn't really tell if there are more opportunities here than in Paris because London is the place where I started working seriously on my project. There's just a vibe that happened to coincide with what I was looking for when I moved here - which hasn't gone since then.

I detect the bravery and innovation of Björk in your music. You, like the Icelandic icon, address tough themes and create wonderful electronic soundscapes. Who are the artists that have compelled you most?

That's an amazing compliment, thank you! As a matter of fact, if I had to choose one artist who has had the most impact on me and on the aims I have as an artist it would be Björk. She is my absolute hero, in every aspect of her art: the visionary aesthetic of her production, the visual universe she created; her choice of themes which are both intimate and political... she is an extraordinary human. She has this incredible ability to transcend time and genres and that's what I hope I'll be able to achieve one day. She also has a special place in my heart since I read her interview on Pitchfork two years ago, The Invisible Woman. I think it's safe to say it changed my life.

You launched Stigma at The Finsbury (London) recently. What was the reaction like there and do you have any more gigs coming up?

It was the first time we played the E.P. live - so the pressure was high - but I think we did really well. I really didn't expect so many people to turn up. One thing that really moved me is that a girl I met at the Finsbury (four or five years ago at a gig I played there) came all the way from Edinburgh to see us! That was pretty special.

Coming up, we're playing a gig on March 28^th  at The Victoria in Dalston for a night called ROAR - that supports emerging female artists. Really looking forward to it! Keep an eye on the HEZEN Facebook page for more.

[youtube https://www.youtube.com/watch?v=voMsS6XVun4&w=560&h=315]

I have seen so many great reviews for your music – from some established publications and websites. Is it quite daunting hearing such acclaim and what has been your fondest memory (to date) as an artist?

I was a bit anxious when I released the songs that no one would like them – I confess I am not the kind of person who creates just for the sake of it.

I write songs because I want to move people. So, if it doesn't, there's no point. I didn’t expect anyone to talk about it, so I've been amazed by the response.

My fondest memory when it comes to putting my music out there is probably the reaction I got from Adam Hill from Alphabet Bands. I contacted him when I released the music video for The Girl You Want last year and I don't think I've ever had such beautiful words written about my music ever. He wrote more reviews about the other songs later; all equally amazing. I've been in touch with him since then and his support means a lot to me.

The way you make music and record is groundbreaking and refreshing. Conventionality and predictability are not in your lexicon. Do you think you’d be a lesser artist (or less free) were you record and create music the same as everyone else?

I don't think what I do is ground-breaking. I definitely get inspiration from artists who paved the way before me. But I do try to make sounds and melodies that aren't too predictable.

Ultimately, I want to provoke feelings within people, so I think the Pop song structure offers some familiar ground.

Then it gives me more freedom to experiment with chord progression, beats and sounds. That's where all the fun is for me. I get bored very fast of what I do and I get very annoyed at myself when I realise that I'm reproducing a recipe that I've done before. So, there's a lot of disappointment and frustration when I write. But it's worth the thrill I get when I come up with something I didn't expect. I don't think there's a way - that artists use more than any other - to create music though so I'm not sure I'd be a lesser artist if I was using another way. I hope I'll be using lots of ways!

If you had to take three albums to a remote island, what would they be and why?

Heligoland by Massive Attack. I cannot get bored of this album. It was released shortly before I moved to London so I was a really good mental place - knowing that a new and exciting chapter full of possibilities was about to start for me.

The Magic Flute by Mozart. I've been listening to this opera since I'm a kid and it's had a huge role in the style I've adopted (blending orchestral instruments and electronic sounds). I still can't sing the Queen of the Night Aria though; despite practising for years in the shower...

In Rainbows by Radiohead. Pure beauty.

PHOTO CREDIT: Isaac Murai

Are there any new artists, either locally or mainstream, you suggest we check out?

There are many amazing ‘female producers’ emerging these days and it's really exciting: Sevdaliza, Tsar B and Tallisker to name a few. I also discovered Gaika last year who I think is awesome. I saw him at the Roundhouse in an immersive show: he was singing from a small stage in the centre of the room and invited people to walk in circles around him. There was something very religious to it; I really loved the idea.

What advice would you provide any young songwriter coming through right now?

For me, the hardest thing you have to deal with when you're a songwriter or an artist in general is dealing with the anxiety (that you've done your best work) and that you won't be able to write again.

It's a lie. But it needs constant reminding because you'll so easily forget that you've been through this before and that you broke that wall many times. Last year, I kept a diary to keep track of the periods during which I felt dry - as well as the breakthroughs - with a description of the joy and transcendental thrill it gave me - it helped a lot. It's about remembering these moments and remember that's why you write.

Finally, and for being a good sport, you can name any song (not yours as I’ll do that) and I’ll play it here.

Laura Marling – Soothing

I heard this track recently on the radio and it left me breathless.

[youtube https://www.youtube.com/watch?v=eCS4OTgaHeM&w=560&h=315]

______________

Follow HEZEN

Facebook:

https://www.facebook.com/sarahezen/

Twitter:

https://twitter.com/sarahezen

Instagram:

https://www.instagram.com/sarahezen/

SoundCloud:

https://soundcloud.com/sarahezen

YouTube:

https://www.youtube.com/channel/UC1VY5Fm-JPsveG6f8uTM2mg

FEATURE: Introducing: Gemma-Louise Doyle

FEATURE:

 

Introducing:

 

 

Gemma-Louise Doyle

_________________

THERE are some definite rewards being a journalist…

but there are enough negatives. Appreciation, from the people you review and feature, can be hard to come by but I guess that is part of the trade. One would think, after expending so much effort on a piece, a cursory ‘thanks’ would not be a struggle. I have assessed so many artists who do not share my work or take the trouble to read it – small wonder many of them break-up or fall out of music soon enough. Having a musician who actively encourages others and posts inspirational messages is a rarity. Musicians, by and large, focus on the songs and have very little time to engage in anything else. It is the demands of the lifestyle but those who do go that extra mile should be applauded. Gemma-Louise Doyle is someone I have been following a long time and is a woman whose backstory is worthy of a silver screen work-up. The London-based crossover artist speaks six languages and has a fully-trained four-octave voice. Aside from her range of fantastic cover versions, she releases her own material and has just released the album, Inspire (more on that later).

Right now, Gemma is happy and contented what she is doing but that was not always the case. As a young high-school student, she was diagnosed with a terminal illness and given a very bleak prognosis. Her parents were given the call that anyone would dread: Gemma was given mere hours to live. Overcoming such long odds is rare but recovering and growing to become a successful international artist is unheard of. That is why I wanted to feature her on these pages. Whilst Gemma was in hospital, she realised her singing brightened people’s days and made them better. Since a youngster, she had battled to be accepted; coped with bullying at school and had to deal with a lot of prejudice. Even in those early years, the start-in-the-making bonded with the stage and found a natural affiliation with singing. Maybe a coping mechanism in those early days: when lost in song, there were no troubles and any stress – it was all about the performance and speaking to the audience. It is a mantra and discipline she maintains to this day. Growing up in the north, there were few opportunities to perform. Gemma herself was a shy girl but maintained that goal: to have the courage to get on stage and amaze her friends. It wasn’t until the age of seventeen she plucked up the fortitude to regularly performed  - including talent shows and being ‘spotted’ by an experienced bass player (she began singing whilst testing her first P.A. system at a Lancashire basement store and that was that). The experience she gained as a teenager was invaluable and provided the push she needed.

[youtube https://www.youtube.com/watch?v=re0_s5NIHOs&w=560&h=315]

It is all well me quoting backstory and providing a biography but it only gives you a small window into an amazing performer and human. Putting aside Gemma’s upbringing and musical progress, it is prudent I drill down to why Gemma is so special (to so many). When producing inspiration videos and posting messages to her website you are humbled by a person who has endured a lot of tests and doubts. The fact she is able to provide such stirring and thought-provoking messages is no trick or publicity stunt. Gemma is always thinking of others and keen to spread love and well-being. How many people do you know who actively do that? Maybe some do that have a lot of time on their hands and are paid to do such things. There are very few professionals, especially in music, that engage with their audience in such a personal and profound manner. As I say, you can follow her on social media and check her website for updates and latest messages. I am often confused by musicians’ lack of connection with their fanbase. It is all very well providing music and fulfilling the professional contract but there is an inherent social one. You do not see many artists taking the trouble to engage with all their fans and ensuring they are okay – sending messages out there to inspire and uplift.

It is the music itself that, perhaps, leaves the biggest impression on those who follow Gemma-Louise Doyle. Performing as far as Las Vegas and the U.S.; Gemma has performed on prestigious cruises and global events. She performs to motivate and touch people around the world. Music, to her, is not just a career and way to utilise talent. She is very much in love with the craft and uses her incredible talent to influence other people and make them more ambitious and fulfilled people. So far, Gemma has performed thousands of shows and recorded five albums – Inspire being her latest. Original music is constantly being developed and her cover versions, Run being the most affecting and recent one that floored me, are hailed and legendary. She has that operatic range but is capable of switching between genres at will. When you get a singer with such a range they normally confine themselves to Opera or certain genres. That fear of crossing over and experimenting is often too lofty for many to negotiate. Gemma’s upbringing, where she was exposed to a lot of different music, means she is effortless when tackling a Pop number or reinventing a heavier, more Rock-based number. You only need to hear a few notes to realise Gemma is very much the real deal. She is no talent show wannabe – designed to sound like a chart act with no personality – and has a huge and infectious personality. All of this blends into the music which is unlike any you have ever heard. Make sure you order Inspire and see what I am talking about. From her original records to covers-only discs like Venture: you get a full insight into a special talent who has a lot more to say.

[youtube https://www.youtube.com/watch?v=YqEZ1OqQUAk&w=560&h=315]

I am excited to see where Gemma-Louise Doyle heads through 2017. She continues to produce inspiration messages and has a busy diary ahead of her. On 22^nd, Gemma plays London’s Primo Bar and will be every Wednesday of this month. There is a lot more to come and I recommend everyone follow her. I know there will be an original studio album in the works as Gemma is keen to pen new songs and get her voice on the page. Whatever you look for in music, you will find all of it in Gemma-Louise Doyle. She is an artist that is there for everyone and wants nobody excluded. This attitude to music will see her go far: she has already come a long way and survived. The fact she is still with us is remarkable enough but (Gemma) will not stop there. Last year was a busy and exciting one but 2017 is going to be pivotal. Not only are there gigs and chances to perform around the world but there will be plans in Gemma’s head. Of course, her messages of inspiration will come but music is always at the forefront. Following from Inspire’s release, where does she go from there? Maybe some original music or an album of covers? Perhaps an E.P. will come or a couple of singles? Whatever she has in mind I, like so many out there, will follow her and...

WATCH her fly.

[youtube https://www.youtube.com/watch?v=bIzasI3pyWI&w=560&h=315]

__________________

Follow Gemma Louise Doyle

 

Official:

https://www.gemma-doyle.com/

Facebook:

https://www.facebook.com/gemmalouisedoyleprofessionalvocalist

Twitter:

https://twitter.com/gemmaldoyle

Instagram:

https://www.instagram.com/gemmalouisedoyleofficial/

SoundCloud:

https://soundcloud.com/gemmalouisedoyle

YouTube:

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

TRACK REVIEW: Rose Betts - Orange Trees

TRACK REVIEW:

 

Rose Betts

  

Orange Trees

9.6/10

Orange Trees is available at:

https://soundcloud.com/rosebetts/orange-tree-ep-master

GENRES:

Folk; Singer-Songwriter

ORIGIN:

London, U.K.

RELEASED:

23^rd September, 2016

The E.P., The Stars Look Down, is available at:

https://itunes.apple.com/gb/album/the-stars-look-down-ep/id1147993391

______________

YOU might think, with another female singer-songwriter presented to me…

I would have very little in the way to talk about – original points at least. I will come to look at south London as an area for great music – where my featured artist is based – and the understated aspect of knee-buckling vocals; have a look at those components that leads to a successful career with a little bit about the type of singer-songwriter I am tipping for success. I always follow London artists and am interested how different parts of the capital make music. In terms of the East, you have some great Electro.-Pop and more variation than other parts. I guess music reflects the culture and population of a particular area. There are differences between what you hear in northern parts compared to that in the west. I know plenty of bands that are based out of south London and seem to vibe from its cosmopolitanism people and wonderful landscape. I highlight this part of London because it is, to me, the most varied and consistent. I tend to find (artists here) have that extra level of quality and more diversity in their music. Maybe it is where they are geographically and the counties that neighbour them; perhaps the wonderful venues that are there or something else. Take it back to London as a whole and it is clear the city is really stepping up and producing some world-class new musicians. I know other areas of the U.K. are strong and impressive but none quite like London. Again, maybe sheer size and population numbers mean that is always going to be the way but I think not. Most of the U.K.’s music labels and media down here and the population in the city seem to inspire something in musicians. Recently, I have reviewed artists away from the capital but it is good to be back.

Considering Rose Betts; she seems to be someone who is perfectly suited to London and its demands. She released her E.P., The Stars Look Down, last year – the fact I arrive so late is because of a busy diary – and is primed to take full advantage of London. Here, we have some incredible places to perform and a real sense of community. Down in south London, there are wonderful little bars and cafes that would be suited to her music. In addition, you could see her playing at larger spaces like Windmill Brixton in years to come. I love London and all it has to offer but it can be difficult seeing which artists have genuine potential and those that are merely promising. Last year, I tipped upcoming names like Billie Marten for success because of a number of reasons. Riding high in the mix is that insanely beautiful voice of hers – that makes every note sound completely entrancing and hypnotic. Rose Betts has a similar ability and it is a talent reserved for a limited few. We look back at music history and see those artists blessed with a spellbinding voice and take it for granted somewhat. Maybe I am biased but that is the quality I look for when reviewing a new artist. The voice is that thing that is rather subjective but you always know when you have discovered a brilliant one. So-called ‘talent shows’ are producing artists with overrated voices and muddying the musical water. Those proper musicians that do things honestly, and have a genuinely special voice, are the ones we should be proffering. Betts has a mix of classic singers and contemporary stars but is very much her own woman. I know Betts has been working in music for a while but no amount of training and practice can produce a voice like hers – it is something inexplicable and divine. Critics have highlighted it and used all types of words to explain it. I mention the relevance of the voice because it can make seemingly ordinary music extra-terrestrial and world-class. Betts, fortunately, does not make average music: her latest E.P., The Stars Look Down, ranks as one of 2016’s most impressive E.P.s by a new artist. I will be focusing on one song (Orange Trees) but have been blown away by the entire work. Before I continue my point, and raise a new one, let me introduce Rose Betts to you:

“Currently residing in South London with her band she’s been tirelessly refining her skills and taking SOFAR Sounds by storm. Far more than stunning vocal delivery, Rose is a multi-instrumentalist whose fingers dance across piano keys like rays of dappled light on water. No wonder – she’s been playing since she was 6, an innate ability that once unlocked began to rapidly flow. The eldest of 4 – including her twin – she grew up in an unusual musical household where singing at the dinner table, sleeping on the floor of Proms and being chucked out of Cathedrals’ for unauthorised singing were the norm… Now in her early twenties with no formal training to speak of, Rose’s many artistic talents came naturally. Where many of her peers are plugged into tech, Rose is plugged into the physical world. Taking inspiration from the rain running in SW12 gutters, the moon rising over Camberwell and winter in a bustling city. There’s an unshakable, wholesome quality about Rose that makes her music, her sound and her presence feel and sound so wonderful. She writes alone, but when she plays to an audience she brings them together with soaring melodies and beautifully crafted lyrics that not only capture the imagination but connect with the soul. This girl and her piano defiantly blur genres, demand attention and for a minute, make you forget the mania of modern life. For Rose and her band, the future is wide open. 2016 will see her first official EP release sometime in the summer”.

There are so many things to recommend about Rose Betts as a human. From a purely non-musical standpoint, she is one of the most striking and beautiful women in music and marries that beauty to her music. In terms of star quality, she can take to the stage and seduce any crowds ably. In terms of personality – that which matters most – she is eager to connect with her fans and has a down-to-earth nature that you fall in love with. Her social media pages are constantly updated and she is always keeping fans abreast of what’s going on. At the moment, her E.P. is being promoted and Betts is looking back at the wonderful gigs she performed at last year. Among them was her time at Union Chapel (supporting The Milk) and you know she is going to go all the way. The singer-songwriter market is one of the busiest around and that is true for its female artists. Betts’ band comprises Mel Underwood ad Pete Morrisby. She has already wowed large sectors of London but is not going to rest there. What I love about Rose Betts is she is organised and completely committed to music. You hear so many musicians that expend little effort on their social media outlay and provide thread-bare insight. Betts gives us a full and frank biography and all her social media links. I know many musicians that come into music with some great songs and plenty of energy. Soon enough, they start to tire and cannot keep up with the demands and fast-paced nature of the industry. It is sad to see but one should be aware of the hazards and strains music provides. Rose Betts has that wide-natured social media portfolio and a really impressive and eye-catching official website. In addition, you have regular updates and plenty of great photos – quite the reviewer’s dream! That is what really stands Betts out to me: she makes her music and personality accessible but leaves enough room for the individual to interpret and speculate.

Before coming to Rose Betts’ music, I will look ahead at this year and see what is going to shape the landscape. I mentioned how I’ve tipped singer-songwriters like Billie Marten and feel her, and mainstream artists who sound like her will do the best work this year. Rose Betts can be included in that comparison and is an artist who will be creating big steps through this year. In terms of the mainstream, I have already suggested Laura Marling’s forthcoming album (Semper Femina) will be this year’s best. Perhaps a bold and foolhardy but consider this: she has been away for a couple of years and has never dropped a step. There are other big albums out this year - Queens of the Stone Age rumoured to be back – but I can see nobody challenging Marling for that album of the year honour. I feel the world in 2017 will focus on artists that provide a bit of comfort and beauty – against a wider world that is wracked by uncertainty and conflict. I know Trump and Brexit are still big talking points so music must respond to these crises. Last year, fantastic artists such as Beyoncé created some spectacular work. There was an emphasis, in 2016, on music that addressed vital points and challenged political corruption. Her album, Lemonade, looked at love and infidelity but took the time to talk about racial issues and things happening in the U.S. I feel 2017 will have a different demographic and demand: primed at Acoustic/Folk music and a certain sense of grace. This is where Rose Betts comes in. She is one of the leading names in the underground and I feel she can ascend to the mainstream in years to come. You just feel Betts has all the components and attributes to make changes in music and put her stamp on it. The earliest steps are positive and if she continues this way I predict some really special things.

The Stars Look Down is the latest work from Betts but not her only creation. She is adept when covering other artists and shows what an interpretive talent she is.  A few weeks ago, Betts covered Jimmy Eat World’s Hear You Me. Putting her own spin on it; it’s a fantastic version and shows just how comfortable Betts is when tackling other people’s songs. She can pretty much take on any genre or artist and provide her unique stamp on it. That is a hard talent to hone and one that should not be understated. Betts’ constant work and live performances at SOFAR Sounds has helped and meant she is a more confident and assured performer than she was at the very start of her career. Saying that, I Can Never Give My Heart has thumping, pulsating chorus notes and that smooth, raw vocal. It is the contrasts in Betts’ voice that makes that song so essential and nuanced. There is a raspiness and soulfulness to the performance. You get blindsided by the percussion which is bellicose and proud. The beats thud as Betts’ voice rides high. It is a fantastic song and one that could have fitted in an E.P. Maybe it did not fit the tone of The Stars Look Down but is a fantastically professional and confident song. Demo cuts like Recovery and Row sound complete but, as Betts would confess, perhaps not fully formed enough to appear on an E.P. Nevertheless, these songs are the girl at her piano and singing her heart out.

They are more stripped and intimate than I Can Never Give My Heart and would benefit from a studio work-up. I would like to see Row and Recovery appear alongside one another if only as a single/double A-side. Maybe that will be a consideration but it shows just what range Betts has. She is a songwriter able to create wonder in a number of different circumstances. Whether looking at love or the wider world, she is captivating. Changing Days is another highlight from her new E.P. – a song that had a music video filmed last year. It is a skipping and fast-moving song that has plenty of hooks and a catchy chorus. Betts’ voice is proud and reflective as she looks at the changing skies – not sure whether it is light and dark – and the changeable nature of the outside world. It has a stop-start quality that takes the listener by surprise. The chorus is flowing and river-like whereas the verses more considered and paced. Across the E.P., you get a sense of what Betts is inspired by and the kind of topics key in her mind.

Orange Trees gives shivers right from the off. The vocal has a little hint of Amy Winehouse in the duskiness and smoky side. I mention Winehouse with no exaggeration: she is someone hard to top and few artists can naturally replicate the late, great Soul artist. Not that Betts is trying to copy Winehouse but has that similar power and whiskey-soaked tone. If Winehouse got that rasp through hard living; it is the struggles and pains of life that influence Betts. The leaves are falling from the orange trees; there is smoke in the air and a weight of sadness. The vocals never begin too burdened or affected but have a distinct burden they are carrying. “Put on your shoes/In the dead of night” the heroine asks and it gets the imagination working. After the natural world impressions of the first couple of lines, it is to domestic urgency and mobility that one turns. The twist and storyline turn takes the mind from one interpretation to another. I was thinking about – after hearing the first words – a rumination on nature and times passing as a metaphor for life and how it is ever-changing. Now, I look elsewhere and think about love and discovery. “Wait for me” it is said by Betts. When delivering those words, there is elongated magic and spine-tingling beauty. You feel the words rush from her heart and through the veins. The moon shines and the heroine is looking across the land. Maybe she is calling to a man or someone who is distant from her. Whether it is a long-distance relation or something else every listener will start to draw their own conclusion. The leaves have fallen but the heroine wants her subject to meet her there tonight. It is a romantic and yearning passage that continues that stretched, evocative vocal delivery. With little more than the vocal (at this point) you are mesmerised by the gorgeous sound. Betts’ voice has power and purity with a heavy dose of vulnerability and uncertainty.

Maybe there is a history between the two: at once, you are hooked by the story and keen to follow it on its path. All manner of declarations and imagery is represented as the song progresses. The birds will fly and the ground will keep feet planted; our heroine’s heart is on her sleeve and she is keen to meet her suitor. Lesser artists would have employed cliché lines and some rather uninspiring sentiments. That is not the case with Betts whose poetic pen and unique approach makes the story and song so deep and rich. You swim in the vocals and let them take you along but are keen to unpick the words and what they represent. The heroine is holding back words and has things she needs to say. You can hear the weight of her voice work through the composition and strike with intention. Few singers have the same prowess and potency as Rose Betts. Throughout the song, you are awed by the ability of her vocal and the incredible melodies. Betts’ band members provide support and help convey the emotions of Orange Trees. It may have been one night – referring to the romance or the effect her sweetheart had – but has been a transformative experience. That night “caught in my heart” and has been life-changing. The chorus is the most affecting and startling aspect of the song and something that never grows tiring. With each utterance of the chorus, you hear new things and its relevance grows. I have grown a bit sceptical of a lot of love songs and how intent and meaningful they are. I hear too many plodding lines and songs that are not delivered from the heart. It is easy to be jaded but my reticence stems from a very real place – artists not really creating anything new or delivering music that stays in the mind. It is impossible not to be buckled and floored by Betts’ vocal delivery and the pictures she paints. As the song ends its dying moments, there is no let-up in the force and brilliance of Betts’ vocal.

Here is someone who has worked hard on her voice and always bringing something new into it. Other songs across the E.P. elicit different reactions. Orange Trees touches you deep and gets into the soul. It is an intriguing track that reveals new things every time I heard it. At first, I was taking it all in and stunned by the incredible voice. The next time I listened to it, the lyrics came more to the fore. That is the marker of a great song: one that unfurls over time and never sounds the same. It is a hard feat to pull off by one Betts does with ease. By the end, you wonder whether things worked out and that orange tree meeting ever took place. The leaves have fallen and time marches on: the seasons are growing cold but there is something burning in the heroine’s heart. As I type this, having completed listening to Orange Trees, I am listening to Fleetwood Mac’s Dreams – after writing a piece about the album yesterday. There are familiarities between the songs: certainly in the expressions and dreaminess. Nicks’ song has an optimistic current but looked at disconnected love and some turbulence. It is her voice that manages to transcend the song from mere brilliance to something otherworldly. The percussion and guitars elevate the song and are the perfect accompaniment to a divine song. Rose Betts’ Orange Trees has a fast-beating heart and firm resolve. By the end of Orange Trees you come to your own conclusions and hope things worked out well. In any case, it is a fantastic song from an E.P. full of beautiful moments. Rose Betts is a fantastic talent who cannot be easily compared with anyone else and shows just what a force she is.

Orange Trees is, to me, the defining moment of The Stars Look Down but is not the only jewel. In fact, every song from the E.P. resonates and creates reaction. You view the E.P. as a whole but can well isolate the song and see different positives in each. There are few songwriters that have that beautiful voice and all the colours it possesses. It might be a little pretentious unwrapped and decomposing a voice but (the voice) is much more complex and deep than anyone would imagine. Her E.P. is a wonderfully solid and compelling collection of songs that sees it creator very proud. She should be very proud as people are responding to it and really getting involved. I have seen reviews for The Stars Look Down and there is that consensus:  a gifted singer and someone who can write striking and immediate melodies. That is something I missed out on at the top of this review: the way Betts writes songs and the type of music she creates. In terms of subject matter, she takes influence from the rain pattering in SW12 – the manor and Muse – and some key truths. Betts writes about love and her own life but is much more imaginative and poetic than the majority of songwriters out there. You get, with her music, a real tangibility and physical nature. One immerses themselves in the songs and is powerless to resist the velvety vocals and detailed songwriting. Penning lyrics that are relatable and complex is a hard task but something Rose Betts seems a dab hand at. Sol songwriters have that inherited loneliness and have to entertain themselves a lot. Sure, Betts has her band and support of musicians but when it comes to creating those songs, there is no other voice in the mix. Perhaps that is why so many promising songwriters are falling by the wayside: the solitude and struggle creating solo causes them to rethink and buckle. Conversely, there are those who feel too many other people spoils a song – a case of too many cooks as it were. That seems to be the case for Betts who has free reign to create her own world and tell her story. She lives in a bustling and startling city that will never, ever be boring. There is always inspiration and events happening: you get a real sense of London’s pace and personality in her music.

I mentioned how last year was a productive and memorable one for the young heroine. She performed at some gorgeous venues across London and that is something I envy. As a ‘failed’ songwriter – much more comfortable as a journalist – I was always eyeing those intimate and close-quarters venues. That might not be the right word but you know what I mean. Places like Union Chapel – where Betts played last year – are immaculate, evocative and truly wonderful. I do not envy artists that place big stadiums and festivals because they lack the character and intimacy that can enthral a crowd and ingrain fond memories in the mind. Betts will get a chance to play like-minded dates throughout this year. I do not know whether she has played at St. Pancras Old Church or Ronnie Scott’s’ but those are spaces I would love to see her play. In fact, she does not really need my guidance as last year saw Betts sell-out the Courtyard Theatre and launch a video at The Ivy! Orange Trees, which she performed at Courtyard Theatre, was picked up by Edith Bowman and championed by BBC Radio 2. Not bad going for an artist so young and still making their way into music. Refining her skills, Betts has owned and stunned SOFAR Sounds and has covered much ground in London. As we are in this fresh year, it might be worth looking at where Betts is headed. Sure, she will be busy in London as there are plenty more spots she needs to visit. Being in the south of the city, there are some great places and she has tonnes of wonderful little venues on her doorstep. Brixton is a key territory and Clapham is vital too. I would expect more attention from national radio and demands from up and down the nation.

There is something about Rose Betts’ music that seems perfect for the modern world: it eradicates and mutes the mania and takes you somewhere safer and better. The strains and stresses of love are dissipated and, like a soothing balm, you feel better and less harrowed. There are few musicians that have that ability and do we need it these days! Betts has an incredible voice and soaring melodies; there are those incredible songs and a general aura of calm and beauty. I mentioned how 2017 will be defined by artists who help nullify the terror and volume of the modern world. We are in a rare position where there is less certainty and more division than any other time in living memory. Music is not responsible for solving the world’s problems or making them seem irrelevant. What is does is provide a universal space for safety and purity. There are no ills and agendas; politicians laying down their will or any bad blood. Music is going to be more and more important through this year so artists are stepping up and responding to that trend. Rose Betts released her E.P. back in autumn but has plans for this year. I would expect new music to come: if that is another E.P. or L.P. I cannot be certain. There is so much support in her camp so you feel something will arrive before the year is through. Big radio stations are supporting her and some of the most prestigious and finest venues in London have already welcomed her in. I can see Betts taking her music further north. Manchester is a city many new musicians are putting on their agenda and for good reason. Not only is there an incredible music community there but some brilliant venues. Whether Betts has considered Manchester or not; she would find many fans waiting there. Likewise, thinking internationally would be sage. Her music is utilitarian and capable of enticing and amazing audiences around the world.

America would be a great country for her to play – better get there quick before Trump bans people from every nation entering the U.S.! I can imagine Rose Betts doing a mini-tour of America and finding some hungry support there. Whatever is afoot for Betts, you know she will have a golden future and continue to plug. I shall return to my earlier points and wrap things up. I talked about London and how it varies between boroughs and that is evident in the type of musicians coming through. In East London, I tend to find more Electro.-Pop acts and artists at their most cosmopolitan and variegated. That side of the capital has a reputation for being overly-gentrified and priggish: quite hipster-ish and ultra-trendy. As such, the music you get from there – a lot of it but not all – reflects the looks and D.N.A. of East London. North London is a bit grittier and ‘real’ but has that slightly highbrow side to it. I have seen a lot of bands come from there that marry Rock and Alternative but take little bits from their neighbours in the east (of London). Over in the western quarter, there is, I would say, the majority of new music. In terms of my reviews, I am seeing a lot of fantastic artists come from west London. Sound-wise, there are more bands than solo artists (I would say) but perhaps less variety than, say, East London. That might be a generalisation but I see contrasts and differences with every area of London. It is interesting to see how music changes as you travel. Cover only a few miles of London and the musical backdrop does vary. South London is my favourite area of the capital as there is that real boiling pot. There is edgy and captivating Urban music – the best Grime and Hip-Hop stems from the south – and some truly fantastic Pop. Folk/Acoustic artists like Rose Betts are less rare but you have a range of styles and genres that is surely inspiring her. She seems happy in south London and exploring the city through her music.

That music will only get stronger as the months progress. The Stars Look Down is a stunning E.P. that has been praised by critics and created huge reactions in everyone who hears it. I urge you all the check it out and discover the fantastic talent and gorgeous voice of Rose Betts. She will take her band around London and get her music out to the people of the U.K. I am excited to see where she can go and just how far she can reach. Her website and social media is full and updated: ensuring fans are connected and informed when they need to be. It might seem like a small point but one a lot of new artists overlook. It is vital you have information about yourself and your social media links together so the new hunter is more likely to stick around and investigate. If you have a Facebook page with no biography and very little information then why would you take a big interest? With Rose Betts there is a determination to get as many people into her camp as possible. She will not fail in her mission. Orange Trees is a song I could not resist reviewing as it has already been highlighted by BBC Radio 2 and many others. Get onboard a singer-songwriter with a big future ahead. Rose Betts is not your average songwriter and is someone I see hitting rarified heights very soon. The Stars Look Down prove she is no mere mortal, which, in a fraught and fractious world, is demanded. Beautiful, seductive music that takes your troubles away is…

WHAT our world needs right now.

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Follow Rose Betts

 

Official:

http://rosebetts.com/

Facebook:

https://www.facebook.com/rosebettsmusic

Twitter:

https://twitter.com/rosebettsmusic

Instagram:

https://www.instagram.com/rosebettsmusic/?hl=en

SoundCloud:

https://soundcloud.com/rosebetts

YouTube:

https://www.youtube.com/channel/UCODfMAtXkhQ9D4UaZrT-PAw

FEATURE: Rumours at 40: The Facts and the Friction

FEATURE:

 

 Rumours at 40:

 

 

The Facts and the Friction

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THOSE who say “time really flies” have no idea how true that is…

in the world of music. I often look at albums and songs I adored growing up and cannot believe how long ago that is – or how old I am! Music seems to operate in some sort of weird time warp or on a different calendar. I remember listening to Rumours as a child and following it through my 20s and 30s. It is an album that was blighted by drama – Christine McVie defined the recording sessions as nothing but drama and arguments – and it is a surprise it got made at all. Given the band’s two couples – Christine McVie and her husband John; Lindsey Buckingham and Stevie Nicks – were embroiled in fights and conflict would have been enough to derail any recording process. As it was, the album WAS made and stands as one of history’s greatest. Before looking at the background and its songs; Steve Nicks wrote Dreams in Sly Stone’s bed whilst credits his dyslexia for Go Your Own Way’s unusual drumming rhythm – there are a lot of other little-known facts you might not know about Rumours. Lindsey Buckingham’s sonic perfectionism meant his guitar was restrung every twenty minutes during Never Going Back Again; The Chain – the legendary epic and only song credited to all five band members – has Christine McVie’s song Keep Me There is at the core and was the foundations – before other members of the band piled in and added their ideas to the song. John McVie’s ten-note bass passage tees the song whilst Fleetwood’s impassioned percussion gives it its drive and fervency. Aside from the music-related tidbits, the infamous extra-marital affairs threatened to split Fleetwood Mac for good. Not only did some of the songs blatantly put these affairs at their heart – Christine McVie’s You Make Loving Fun about the lighting technician she was in a relationship with; Lindsey Buckingham’s Go Your Own Way – a kiss-off and screw-you to Stevie Nicks. Nick’s Dreams – perhaps the centrepiece and most astonishing song on the album – struggled to get made and studio time was hard to come by as Buckingham’s iron first ruled the production.

The fact it did get made (with doubts from the band and a lack of enthusiasm) gives Rumours pristine beauty and haunting etherealness – plenty of hopefulness and intricate beauty. Affairs and cocaine were as prevalent and in-demand as was musical impetus and dedication to the music. We all know about the splits, rifts and Mick – quite often the fifth wheel who had to ensure the coldness and immense friction; although his marriage was on the rocks and he had an affair with Nicks around this time. Even before the album started recording, there were problems and press intrusion. Inaccurate reporting and inflamed hyperbole – Buckingham and Nicks rumoured to be parents of Fleetwood’s daughter, Lucy after they were pictured with her – was intransigent and scandalous at the very least. In spite of this, with speculations the original band members would return to the fold, the band came into the studio with plenty of stigma in their blood. Keith Olsen was fired as producer – who put percussion and rhythm low in the mix – and the McVies formed Seedy Management: a company that put the band’s interest first and ensured recording sessions would begin on a good footing (sound-wise at least). Soon enough Buckingham stepped in and took control of the recording sessions. He wanted to make a ‘Pop’ album which was at odds with other members of the band – who came from a Blues-Rock background and favoured a looser and less disciplined style of recording. Buckingham’s discipline, vision and ultra-precise methodology and studio set-up were unique and inspired. Buckingham and McVie crafted the guitar-and-piano combinations together whilst John McVie played his bass facing Mick Fleetwood’s drums. Buckingham’s configurations and dynamics meant the band members were focused: instruments arranged to create the best sound, and in a way, ensure the warring band members were not (physically) too close to one another.

[youtube https://www.youtube.com/watch?v=6ul-cZyuYq4&w=560&h=315]

Recording at Record Plant, there was not a lot of after-recording socialising. Cocaine binges and frosty relationships meant the individual members were isolated throughout much of Rumours and lead to sleepless nights. If The Beatles breakdown and fall-out created one average album (Let It Be) and a Abbey Road’s genius relief – know this would be the last time they recorded together – Rumours’ music was astonishingly focused and inspiring in spite of all the problems. Critics do not rate the album a work of genius in order to pander to trouble musicians and emphasise with their demons: they do so because the music is consistently brilliant. If you did not know about Fleetwood Mac’s backstory in 1977, you would assume Rumours was the product of a happy and together band in inspired form. Aside from The Chain – all members coming together in an anthem for unity and holding on – the remaining tracks were written alone by songwriters Christine McVie, Lindsey Buckingham and Stevie Nicks. If Nicks’ Dreams seems like a message to keep focused and do not give in – it has a breakup and heartbreak at its centre. The members of Fleetwood Mac were oblivious to the true nature of their (wracked and pain-stricken) songs until hindsight provided clarity. Perhaps mired in stress and fear; the full truth and meaning of the music was revealed and apparent after release. Try and make an album like Rumours today and it would simply not work. For a start, musicians are not as enigmatic and fascinating as the American-British alliance. Tabloidisation and stamped-out predictability has rendered character and obsolete – there are certainly no inter-gender bands like them that could pull off such a recording feat in the face of impossible odds. Despite Nicks’ hostility towards Buckingham – or his towards her more accurately – he still had a knack of making Nicks' songs sumptuous and beautiful (credit to their creator for bringing them to Buckingham already gorgeous and fertile). Yes, there was enormous self-indulge and excess during recording that threatened to mire productivity.

[youtube https://www.youtube.com/watch?v=mrZRURcb1cM&w=560&h=315]

The open-ended budget meant late-night parties would last to the wee hours and sleep was an elusive construct. The band would finish drinking and snorting, being in a desperate, zombie-like state, and get straight down to recording. It became apparent the most productive results occurred under these conditions – perhaps the band numbing their peripheral senses and full acuity helped from a musical standpoint. Talk all you like about legend, folklore and technical specifications: it is the music, pure and simple, that is the child. You can talk about conception, parental rights and whatever: the final product is what matters and damned to the petty squabbles around it. The music is near-perfect. You talk about albums that are beyond criticism and should be preserved forever: Rumours is on a very elite list. Perhaps The Beatles and Led Zeppelin are the only other bands who could add their names to that list. Rumours was, given the civil wars and uncivillsed bitching, the most consistent and focused work of the band’s career. The follow-up – the double album, Tusk – contained filler and was too bloated but did have a solid amount of brilliance. Rumours was a make-or-break album that circumvents history and social protocol and is simply wonderful. The interplay between the three vocalists – Christine McVie, Stevie Nicks and Lindsey Buckingham – is stunning and the affection between them heartwarming. They were, and still are, brothers and sisters. Even at their most tense and uncertain, the respect they had for one another as musicians outranked any personal beefs. Buckingham’s crisp, clean and assured production makes songs like Don’t Stop infectious, luminous and endlessly catchy.

[youtube https://www.youtube.com/watch?v=TytGVo1O3_w&w=560&h=315]

Go Your Own Way is, in my view, the best song on the album and benefits from a truly astonishing vocal turn. The Chain is a remarkable compartmentalisation that is, ironically, the song of unification and brotherhood. It’s rumination and mixed D.N.A. shouldn’t work but sounds utterly natural and beguiling. Dreams is that somnambulistic and divine Nicks hymn; whilst McVie talked about Mick Fleetwood in Oh Daddy – ‘Big Daddy’ was the band’s nickname for the drummer – with Nicks providing the final line: “And I can't walk away from you, baby/If I tried”. Perhaps a shot (from McVie) at the direction Fleetwood was taking the band, or a subtle illusion to their impending affair (Nicks' line). Gold Dust Woman documents the struggles (Nicks) faced in L.A. – a harsh metropolis where stranger sneers are more common than affection and commonality. McVie came into her own as a writer and penned the hair-raising, transcendent Songbird – a little prayer from the keyboardist and a song about nobody and everyone. If the band’s two female writers were at their peak Lindsey Buckingham was stealing the limelight. Not only was his leadership and production a major factor in Rumours’ success but his bittersweet songs were scene-stealing. Go Your Own Way and Never Going Back Again are obvious in their derivation but, mythology and cynicism aside, are incredible works of music. Second Hand News is the acoustic opener that starts things off wonderful; Buckingham’s hand in The Chain cannot be understated. The songwriting credits – Buckingham had three solo credits from eleven; Nicks; McVie four – makes the album a democracy and collaborative thing (rather than one member taking all the attention).

There are few albums as enduring as mysterious as Rumours. It is a fascinating album in terms of its production and behind-the-scenes revelations but even more so from a musical perspective. The rumours and explosions might have salivated the mouths of the press but the band were keen to bridge the divided and come together to create a truly wonderful album. That is exactly what they did in 1976. When the album was released a year later, contemporary critics were raving. They noted how the music was directly propelled by inner-turmoils and romantic entanglements. As I said, most bands would be unable to separate life from art whereas Fleetwood Mac were all too aware of the reality of their situations but used it to create some of the finest music of the 1970s. It is radio-friendly and shiny; it has gloss and immaculate production but plenty of emotions and contradictions. The vocals, especially from Stevie Nicks, range from wailing and harrowed to sensual and alluring, whereas the compositions and song structures are immaculate. There is not a song immune from high praise and the album is an extraordinary testament to a group of musicians who found love and common ground in the middle of divorced relations and drug-filled chaos. The fact a butterfly emerged from a dystopian chrysalis is a story in its own right – why has nobody made a film/drama about Fleetwood Mac’s astonishing story?! Magazines, websites and music fans constantly place Rumours near the (or at) the top of their greatest albums polls. Musicians around the world have been inspired by the music and continue to source it forty years down the line. There are few albums as long-lasting and nuanced as Fleetwood Mac’s masterpiece. It is a wonderful record and one that began life rather auspiciously.

[youtube https://www.youtube.com/watch?v=pcawnRIyeok&w=560&h=315]

From its rocky birth, it was doubtful how Rumours would be received and where the band headed next. The fact they are still performing together today can be rooted back to 1976/’77. Music overrode everything and they knew, when recording the album, there was respect and affection in the camp – that unbreakable connection and professional admiration could never be broken. As The Chain states:

“And if, you don't love me now You will never love me again”.

The feuding couples might have taken their love elsewhere but the love the members had for the band shines on every song. Forty years from its release, we are still enthralled by the drama and hedonism of the recording sessions; the fascinating lyrics and story of three unique songwriters hitting their peak – a five-piece at their strongest when in the studio. On its big 4-0, go listen to Rumours and discover the one truth: this is an...

ALBUMi that will continue to influence and seduce for many more decades yet.

FEATURE: Mine’s a Double! The Greatest Double Albums of All Time

FEATURE:

 

 Mine’s a Double!

  

The Greatest Double Albums of All Time

_______________

THE reason for writing this feature is because I am discovering…

fewer and fewer new artists releasing a double album. To be fair, the ‘art form’ is not a common one but there is a reason for the surfeit: the sheer risk and cost associated with releasing a double album. You have to be VERY sure the material is worthy and people are going to sit through it. There have been some awful attempts at a double L.P. – I shall not name those culpable – but some wonderful examples.  I look at the artists who have damned the odds and produced a double album that has stood the test of time and amazed fans – going down in history and showing it is (sometimes) worth taking a gamble.

______________

Outkast - Speakerboxxx/The Love Below (2003)

The fifth album from the U.S. Hip-Hop duo spanned over two hours but is seen as a truly revolutionary and year-defining record. We all know Outkast are capable of producing a world-class album but eyebrows were raised when Speakerboxxx/The Love Below was announced – could they sustain their magic and brilliance thirty-nine tracks? As double albums go: that amount of tracks is almost unprecedented. Each member of the duo took one side of the album. Big Boi’s Southern Hip-Hop Speakerboxxx was influenced by P-Funk whilst André 3000’s The Love Below joined Pop, Funk and Jazz together in an eclectic, one-sip-and-you’re-pissed concoction. Critics hailed it as imaginative, visionary and ambitious. It was mentioned in the same breathe as Sign o’ the Times and The Beatles because of its scope and influence: Outkast creating the Hip-Hop equivalent.

[youtube https://www.youtube.com/watch?v=EAgfrE28gpc&w=560&h=315]

Prince - Sign o’ the Times (1987)

The aforementioned Sign o’ the Times was Prince’s ninth album and followed up Parade – a record that was brilliant but not acclaimed as widely as one would think. His rejoinder was the first album following the disbandment of his backing band, the Revolution. Recording sessions were so fruitful, Prince decided his next album would be a triple-disc release. That was culled to a double after negotiations with the record label. Unlike some albums, there is little indulgence and fewer filler numbers – in fact, there are no filler tracks at all. Prince’s one-man band abilities and sheer confidence reigned throughout. Maybe Prince would create tighter and more focused records but he would never make something as wonderful. Sign o’ the Times was, if you think about it, the perfect template for Prince. An artist as cross-pollinating and far-reaching, at the best of times, was constricted by the limitations of a single album. Sign o’ the Times stands as a true masterpiece and the finest thing the late Prince ever lent his name to.

[youtube https://www.youtube.com/watch?v=W7dJXvUJtuY&w=560&h=315]

Sonic Youth - Daydream Nation (1988)

The Alternative-Rock band’s fifth album was recorded in New York and released by Enigma Records. It was their last recording before they signed to a major label and received huge praise from critics. Considered to be the pinnacle of the band’s career: it fulfilled the band’s fullbore aesthetic and indulged their variegated and broad emotional palette. Few albums of the 1980s were as spectacular, influential and profound. The song’s compositions were varied and textured whilst the lyrics switched between mature reflectiveness and emotionally-charged. It’s radical, political edge stunned critics at the time. It is hard to say how important the album is – and how many bands were compelled to record music because of Daydream Nation – but Sonic Youth laid down an astonishing album. Many would have liked it stretched to a triple album but that might have been excessive. It only has twelve tracks but longer numbers – The Sprawl and Total Trash – exceed seven minutes whilst the finale, Trilogy, is nearly fifteen minutes in length. An essential album for those who appreciate genius music – not just reserved for Sonic Youth fans.

[youtube https://www.youtube.com/watch?v=p4z62VrXAlM&w=560&h=315]

The Rolling Stones - Exile on Main St. (1972)

Later, I will include a classic double album by a legendary British group: there is a lot of debate whether Exile on Main St. equals that particular album. Released back in 1972, it was The Rolling Stones’ tenth album and blended Blues, Soul; Country, Gospel and Rock elements. Initially subject to mixed reviews – critics at the time not sure what to make of it – it gained enormous retrospective affection. It has gone on to be considered one of the greatest albums of all time; even if there was a feeling (in 1972) there was inconsistency in to be found. A lot of the songs have a black mood but there are some truly extraordinary, energised moments. From Rip This Joint to Tumbling Dice: Exile on Main St. is a visionary work from a band who, by many, were questioned. Some wondered whether The Rolling Stones could truly ROCK. Jagger’s voice is at is cynical, cocksure best (filled with ennui and nuance) whilst Richards’ riffs are at tight, funky and electric best.

[youtube https://www.youtube.com/watch?v=NehZl_X3hjQ&w=560&h=315]

Bob Dylan - Blonde on Blonde (1966)

Talk about legendary artists as you have to think of Bob Dylan. His seventh album started under auspicious circumstances. Recording began in New York (in 1965) and continued until the following January – the result of that was only one of the album’s tracks (One of Us Must Know (Sooner or Later) was recorded. Relocating to Nashville, together with some top session musicians, the remaining tracks were laid down. Blonde on Blonde concluded a remarkable trilogy for Dylan: Bringing It All Back Home and Highway 61 Revisited the other two, peerless masterpieces. Blonde on Blonde’s lyrics mixed the colloquial and visionary; emotional and romantically sweeping in places. Not only was Blonde on Blonde one of Rock’s first double albums but it is, in many people’s minds, the best. Dylan was pleased with the results as it contained that bright gold and metallic sound. The fourteen months between Bringing It All Back Home and Blonde on Blonde is unparalleled in terms of quality and scope – unequalled by any other artist since then.

https://open.spotify.com/track/7tJQ4Ekp2vN3NlI3vJJW3v

The Clash - London Calling (1979)

The Punk-Rock legends’ third album was released in 1979 by CBS Records. Like so many albums included on this list: genres switch and there is an ambitious mix of sounds and musical ideas. London Calling addresses social displacement, unemployment and racial conflict – drug use and responsibility was also touched upon. From Lover’s Rock’s messages of safe sex to the anthemic rally of the title track; it is an album that has defined the decade and continues to influence bands. It has sold over five-million copies and is thought of as one of the defining records of the Punk era. London Calling captured The Clash’s energy and primal urges; their loud and vital voice and social consciousness. If previous albums (from the band) focused on British sounds and ideas: London Calling incorporated more American sounds and suggestions. Rebellious, romantic and exhilarating: a true one-of-a-kind treasure from one of Britain’s greatest bands of all time.

[youtube https://www.youtube.com/watch?v=wqcizZebcaU&w=560&h=315]

LCD Soundsystem – LCD Soundsystem (2005)

This is the first inclusion that comes with a caveat: the standard release of LCD Soundsystem’s debut is a single-disc release; the double-disc version is the one that I am looking at. For a debut album, released a two-disc version might be risky and cocky. James Murphy’s extraordinary songwriting defined an album that was applauded by most critics. Some felt there were weak moments and unfocused asides but many, who listened closely, recognised LCD Soundsystem as underground hipsters and classic hit-makers. The first disc contains James Murphy-only material whilst the second disc featured singles released since 2002. It was a history of the band: their past and present mixed together in a wonderfully intriguing record. It has gone down as a modern classic and is constantly featured in magazines’ list of greatest albums of the decade (2000s). With LCD Soundsystem teasing new material this year; their incredible debut is a benchmark they will struggle to equal.

[youtube https://www.youtube.com/watch?v=j_n1xvMgsUc&w=560&h=315]

Bruce Springsteen - The River (1980)

There are few better ways to start the decade than a double album from The Boss. It is his only double release but with confidence high, and Jon Landau as producer, it was always destined to go to number one – hitting the top spot on the Billboard 200. Upon its release, critics vacillated and struggled to convey their feelings into words. The River is a sojourn through Rock’s history and, as Melody Maker saw it, like "taking a trip through the rock 'n' roll heartland as you've never experienced it. It's a walk down all the streets, all the places, all the people and all the souls that rock has ever visited, excited, cried for and loved." Songs like Independence Day and Ramrod were leftovers from his previous album - Darkness on the Edge of Town - but there were plenty of new songs to be discovered. The fact tracks such as Point Blank sound essential and irreplaceable is testament to Springsteen’s assurance and songwriting talent. The warmhearted and astute intelligence of its author runs through an album that takes us through America’s heartland and through its darkened back streets Critics have referred to it as a milestone and unbeatable work and they are quite right. Springsteen continues to record to this day but has never sounded as meaningful and mesmeric than he did here.

[youtube https://www.youtube.com/watch?v=nAB4vOkL6cE&w=560&h=315]

Jimi Hendrix - Electric Ladyland (1968)

The third album from U.S.-U.K. Rock band the Jimi Hendrix Experience was produced by Hendrix and met, upon its release, with muted acclaim. Electric Ladyland spent two weeks at the top of the American charts and spent six weeks on the British charts. Synonymous with hits hellfire, revelatory cover of Bob Dylan’s All Along the Watchtower; you will find few greatest-album lists that do not include Electric Ladyland. Some reviewers felt the album was too dense and lacked any real structure. Some tracks were singled as being muddled and forgettable – it did not receive the contemporary praise it warrants. It is another one of those albums that has gained a legacy retrospectively. Certain albums that are strange and against the grain of the time – Beastie Boys’ Paul’s Boutique springs to mind – take years (or decades) to make their mark. Electric Ladyland showcases the full extent of Hendrix’s powers and beguiling talent. A groundbreaking work of brilliance from a band of brothers uncompromising and titanic.

[youtube https://www.youtube.com/watch?v=IZBlqcbpmxY&w=560&h=315]

The Smashing Pumpkins - Mellon Collie and the Infinite Sadness (1995)

Produced by frontman Billy Corgan; The Smashing Pumpkins’ third album is a twenty-eight-track opus of incredible scope and wonderment. Led by single Bullet with Butterfly Wings, the album shot to the top of the Billboard charts and spawned a number of singles. It has sold over ten-million units and considered one of the finest albums from the 1990s. Many would question the audacity of a group including twenty-eight tracks on an album. The fact there are no weak moments is backed by a record which sees the U.S. band present their most engaging and ambitious work yet. Billy Corgan’s unique and exceptional songwriting is given room to breathe and explore. Mellon Collie’ helped reshape the face of Alternative-Rock, almost single-handedly. It is always a risk releasing a double album – regardless of how good you are – but The Smashing Pumpkins had no fear.

[youtube https://www.youtube.com/watch?v=8-r-V0uK4u0&w=560&h=315]

Led Zeppelin - Physical Graffiti (1975)

If The Smashing Pumpkin’s created one of the mid-‘90s’ best albums then Led Zeppelin surely did the same for the mid-‘70s. Physical Graffiti is one of those albums impossible to ignore or dislike. The band recorded eight new songs for the album at Headley Grange but stretched the album by including unreleased tracks from earlier recording sessions: one outtake from Led Zeppelin III and three from Led Zeppelin IV – three from Houses of the Holy. Released whilst Led Zeppelin were undertaking their tenth concert tours of North America; the band were hardly in the mood to slow down. Physical Graffiti proved to be one of Led Zeppelin’s biggest releases and reached number one in the U.S. Their double album brings together the pastoral Folk of Led Zeppelin III together with the straight Rock of Led Zeppelin II and IV. Kashmir is the standout track: a biblical sandstorm made epic by John Paul Jones’ stunning string arrangement.

[youtube https://www.youtube.com/watch?v=ZDwotNLyz10&w=560&h=315]

Stevie Wonder - Songs in the Key of Life (1976)

Songs in the Key of Life has influenced so many musicians. Elton John is one of those that has taken from the album and incorporated elements into his work. Prince called it the best album ever recoded whilst overs have lined up to heap similar praise at its door. The album was the culmination of Wonder’s so-called ‘classic period’ – quite a way to sign-off. No doubting Songs in the Key of Life’s ambitions and aims: Wonder wanted to create something truly timeless and immense. He did that it is no surprise the album was his most successful commercial release – reaching the top spot of many critics’ polls. Critics noted (how the album) looked at periods of Wonder’s life and feelings of the artist. In 1977, Wonder was nominated for seven Grammy Awards – including Album of the Year. As was covered by George Michael and Mary J. Blige whilst Coolio ‘reworked’ Pastime Paradise into the epic Gangster’s Paradise.

[youtube https://www.youtube.com/watch?v=KWhMyOs0pCQ&w=560&h=315]

Miles Davis - Bitches Brew (1970)

When Bob Dylan went electric people freaked out: when Miles Davis turned to electronic instruments, there was less of a protest. He dabbles with electric during In a Silent Way and used electronic piano and guitar on that release. Eager to change his sound and evolve; Davis rejected traditional Jazz templates and utilised a looser, improvisational style commonly found in Rock. Bitches Brew was Davis’ first gold record and is seen as a progenitor of the Jazz-Rock genre. Bitches Brew won Grammy Award for Best Large Jazz Ensemble Album in 1971 and changed the face of Jazz. Davis changed the rhythm section for the album and used two bass players (one on bass guitar; the other double bass) and two to three drummers. The rhythmic section was in the centre and responsible for the subtlety, beauty and drama critics picked up on. The imaginative and cinematic scores crossed boundaries and helped bring, up until that point, Jazz deniers access into the genre. Those who find traditional Jazz rather boring and stuffy were drawn by Davis’ magnificent work throughout Bitches Brew.

[youtube https://www.youtube.com/watch?v=ibanLlREjTk&w=560&h=315]

Jeff Buckley - Live at Sin-é (Legacy Edition) (2003)

Before I get down to the finest double album ever I want to look at my favourite: Jeff Buckley’s New York-based gem, Live at Sin-é. In 1993, Columbia Records – who signed Jeff before he made Grace – released a four-track E.P. that showcased Buckley’s interpretative talents and singular talent. The label decided to release a two-disc version of two separate recordings at the coffeehouse – taped over two afternoons in 1993. It is not just the cover versions that struck a chord. Included in the covers were versions of tracks by Billie Holiday (Strange Fruit) and Bob Dylan (If You See Her, Say Hello and Just Like a Woman). In the intimate surroundings, the young Buckley was at his most comfortable and natural. Limos were lining up the block to see the young master – record executives fighting to get that wet signature on their contracts. Live at Sin-é finds Buckley interacting with the small crowd – ad-libbing and cracking jokes and shooting the breeze- armed only with his trusty Telecaster. Soon-to-be-released songs like Grace and Last Goodbye (titled Unforgiven (Last Goodbye) on the live album) were taking shape: a snapshot of someone still finding their true voice but perfectly capable of seducing when portraying someone else’s. As live albums go, it has to be right up there – indispensable for every much fan out there.

[youtube https://www.youtube.com/watch?v=__uu9kNBDS0&w=560&h=315]

The Beatles - The Beatles (1968)

The Beatles’ eponymous ninth studio album was revolutionary for so many reasons. Aside from its all-white cover – mimicked and copied by many artists since – its sprawling, scattershot collection of songs was unheard of by bands as popular at The Beatles. Most of the songs were written during a Transcendental Meditation course in Rishikesh, India between March and April 1968. If there was harmony during the retreat to India; relations had soured to irreconcilable levels by the time the lads got into the studio. The constant presence of Yoko Ono caused umbrage among the other members – who were concerned she was trying to break up the group. The paranoia of McCartney, Starr and Harrison went into Lennon’s inclusion, Everybody’s Got Something to Hide Except Me and My Monkey. Starr left the band in 1970 (but returned) and disputes between long-time producer and the band carried into the recording of Let It Be – the penultimate record but final release from The Fab Four. The lack of creative focus was the album’s raison d'être – a definition that divided many critics who bemoaned the kaleidoscopic and unedited final result. Despite the inter-group tensions, McCartney and Lennon showed why they were the world’s greatest songwriters. Lennon’s contributions – Glass Onion, Happiness Is a Warm Gun and Julia the finest – and McCartney’s songs – Back in the U.S.S.R., Blackbird and Helter Skleter the standouts – were supported by one Ringo Starr song (Don’t Pass Me By) and several George Harrison songs –none that matched Abbey Road’s defining statement, Something. What remains is an album that divided critics at the time but (has since) seen The Beatles declared one of the greatest recordings in music history.

https://open.spotify.com/track/0fDmdWRuV1mWwfn1NaoE67

FEATURE: The February Playlist: Vol. 1: So Far, So Okay…ish

FEATURE:

 

The February Playlist

 

 

Vol. 1: So Far, So Okay…ish

______________

WE have made it into 2017’s second month without…

IN THIS PHOTO: Salt Ashes

a major celebrity death (not in music anyway) and relatively few atrocities on the world’s stage. That might change, but for the moment, there is a bit more hope on the horizon – regardless of Trump and his wackier-by-the-day policies. The first instalment of The February Playlist is as rich and full as any I’ve ever collated. Included are new tracks from Bob Dylan, Kate Tempest and London Grammar; a song from M.I.A.’s 2007 album, Kala – as it celebrates its tenth birthday – and a selection from Fleetwood Mac's Rumours (its fortieth birthday is today). Also, I select a cavalcade of sumptuous new music from mainstream idols and underground diamonds. Take a list through the A, B and C-List selections and enjoy a veritable mouthful of incredible sounds.

____________

 

London Grammar – Big Picture

[youtube https://www.youtube.com/watch?v=RbUMKenn5l8&w=560&h=315]

Depeche Mode – Where’s the Revolution?

[youtube https://www.youtube.com/watch?v=UpuaPfOuxB0&w=560&h=315]

Bob Dylan – I Could Have Told You

[youtube https://www.youtube.com/watch?v=BJdKQ92-H_c&w=560&h=315]

Kate Tempest - Europe Is Lost

[youtube https://www.youtube.com/watch?v=QSVyyykaEOo&w=560&h=315]

Liv Dawson – Searching

[youtube https://www.youtube.com/watch?v=v17xcEuXfas&w=560&h=315]

Izzy Bizu – Talking to You

[youtube https://www.youtube.com/watch?v=OqA58IGylGw&w=560&h=315]

Lisa Hannigan – Undertow

[youtube https://www.youtube.com/watch?v=lSnaQAv77JE&w=560&h=315]

Ryan Adams – Do You Still Love Me?

[youtube https://www.youtube.com/watch?v=GzZ7HvSnDQo&w=560&h=315]

The Divine Comedy – To the Rescue

[youtube https://www.youtube.com/watch?v=FyH6bnt56mU&w=560&h=315]

M.I.A. – Paper Planes

[youtube https://www.youtube.com/watch?v=71iJyO5brR8&w=560&h=315]

British Sea Power - Bad Bohemian

[youtube https://www.youtube.com/watch?v=ueYkok5Oph0&w=560&h=315]

Maggie Rogers – On + Off

[youtube https://www.youtube.com/watch?v=cdIBxhONpC0&w=560&h=315]

Sampha - (No One Knows Me) Like the Piano

[youtube https://www.youtube.com/watch?v=_NSuIYwBxu4&w=560&h=315]

Iggy Pop – Gold

[youtube https://www.youtube.com/watch?v=DpI9Cckh1tc&w=560&h=315]

Missy Elliott (ft.Lamb) – I’m Better

[youtube https://www.youtube.com/watch?v=TwyPsUd9LAk&w=560&h=315]

Blondie – Fun

[youtube https://www.youtube.com/watch?v=sJfyvGbjh3c&w=560&h=315]

Fleetwood Mac – Dreams

[youtube https://www.youtube.com/watch?v=mrZRURcb1cM&w=560&h=315]

PINS (ft. Iggy Pop) – Aggrophobe

https://open.spotify.com/track/1HeSsmUn5vZMGYFn8w8XMx

Emeli Sandé - Highs & Lows

[youtube https://www.youtube.com/watch?v=p_OlhrBEISw&w=560&h=315]

Mariah Carey (ft. YG) - I Don't 

[youtube https://www.youtube.com/watch?v=oiQ68AW0LMY&w=560&h=315]

Future Islands – Ran

[youtube https://www.youtube.com/watch?v=BGi-wJP1q6o&w=560&h=315]

Blanck Mass – Silent Treatment

[youtube https://www.youtube.com/watch?v=Gi8QMSMb-Bs&w=560&h=315]

James Blunt - Love Me Better

[youtube https://www.youtube.com/watch?v=RFHHEac83B8&w=560&h=315]

NF – How Could You Leave Us

[youtube https://www.youtube.com/watch?v=wOzQMCyPc8o&w=560&h=315]

Tennis – Modern Woman

[youtube https://www.youtube.com/watch?v=o6O0mQ5Smxs&w=560&h=315]

Summer Moon – Happenin’

[youtube https://www.youtube.com/watch?v=JDxS1WqGh7g&w=560&h=315]

Father John Misty - Two Wildly Different Perspectives

[youtube https://www.youtube.com/watch?v=BT2-0y1542I&w=560&h=315]

Linnea Olsson – Hall of Tragedy 

[soundcloud url="https://api.soundcloud.com/tracks/305208317" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Fast Romantics – Why We Fight

[youtube https://www.youtube.com/watch?v=eli2I7mMvb8&w=560&h=315]

Skip Marley – Lions

[youtube https://www.youtube.com/watch?v=t6Y7yQIZT4Q&w=560&h=315]

Brooke Candy (ft. Sia) - Living Out Loud

[youtube https://www.youtube.com/watch?v=UdhwZQEtuww&w=560&h=315]

Soen - Sectarian

[youtube https://www.youtube.com/watch?v=11CvvggCPrI&w=560&h=315]

Lower Than Atlantis – Boomerang

[youtube https://www.youtube.com/watch?v=X-_GFbUKSyY&w=560&h=315]

J Alvarez (ft. Lapiz Conciente) - Los Del Torque

[youtube https://www.youtube.com/watch?v=bcdr_wMkwcc&w=560&h=315]

Ariana Grande (ft. Future) - Everyday

[youtube https://www.youtube.com/watch?v=LELFIuhSPCI&w=560&h=315]

Blossoms – Honey Sweet

[youtube https://www.youtube.com/watch?v=tbTmNXbH_Rs&w=560&h=315]

Deap Vally - Critic

[youtube https://www.youtube.com/watch?v=E8xs1mOrSj0&w=560&h=315]

Cold War Kids – Love Is Mystical

[youtube https://www.youtube.com/watch?v=Qbe3oSfUG00&w=560&h=315]

Ansel Elgort – Thief

https://play.spotify.com/track/3BtA1koBtnClfirgg4BpjI

Vali - Ain't No Friend of Mine

[youtube https://www.youtube.com/watch?v=5Y6e_T0ySmE&w=560&h=315]

Bipolar Sunshine – The Scientist

https://play.spotify.com/track/4Fmh543L8tFPlhaVdVRU5i

Molly Kate Kestner – Prom Queen

[youtube https://www.youtube.com/watch?v=RjdM78QEXCc&w=560&h=315]

The New Respects – Money

[youtube https://www.youtube.com/watch?v=OurlVR1xJOw&w=560&h=315]

Formation – A Friend

[youtube https://www.youtube.com/watch?v=m-bph5TLxvc&w=560&h=315]

Shaggy - That Love (Tropixx Remix)

[youtube https://www.youtube.com/watch?v=mCYMnfFm48s&w=560&h=315]

The Mowgli’s – 4AM

https://play.spotify.com/track/6ZIFaKXP0zqSlPu9lffBTz

Less Than Jake – Bomb Drop

[youtube https://www.youtube.com/watch?v=6lkc_eEYKP4&w=560&h=315]

Tribe Society – Secrets

https://play.spotify.com/track/332kjIokSlHaFf7yuDz2hH

Cosima – To Build a House

[youtube https://www.youtube.com/watch?v=CQtNUhJzdUA&w=560&h=315]

Little Big Town – Better Man

[youtube https://www.youtube.com/watch?v=ph9NQ8ASmX4&w=560&h=315]

The Menzingers - Thick as Thieves

[youtube https://www.youtube.com/watch?v=w_YXaO53mTg&w=560&h=315]

Borussia – Kinda Love

[youtube https://www.youtube.com/watch?v=tlri3hJr9Iw&w=560&h=315]

Fionn Regan – The Meetings of the Waters

[youtube https://www.youtube.com/watch?v=AzUZhdVHSUo&w=560&h=315]

Salt Ashes – Save It

[youtube https://www.youtube.com/watch?v=wFeyprhY4E0&w=560&h=315]

Louis the Child (feat. Evalyn) - Fire

[youtube https://www.youtube.com/watch?v=AIrlVwxziFE&w=560&h=315]

Imagine Dragons – Believer

[youtube https://www.youtube.com/watch?v=oF9ky9Rs4dg&w=560&h=315]

Vanbot - Collide (Krasnoyarsk)

[soundcloud url="https://api.soundcloud.com/tracks/302953527" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Vuurwerk (ft. Khazali) – Face It

[youtube https://www.youtube.com/watch?v=wexpXFR891Q&w=560&h=315]

Sälen – Heartbreak Diet

[soundcloud url="https://api.soundcloud.com/tracks/304278258" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Father John Misty – Ballad of the Dying Man

[youtube https://www.youtube.com/watch?v=QVaafph6HSQ&w=560&h=315]

Frances – No Matter

[youtube https://www.youtube.com/watch?v=V_ohpzP5saw&w=560&h=315]

Afi – Aurelia

[youtube https://www.youtube.com/watch?v=_ZpiUC3QDX4&w=560&h=315]

God Damn – It Bites

[youtube https://www.youtube.com/watch?v=YQH8Wf9tHy0&w=560&h=315]

Wolf Alice – Silk (From the T2: Trainspotting Soundtrack)

[youtube https://www.youtube.com/watch?v=mEASmSwndnw&w=560&h=315]

Communions – Come On, I’m Waiting

[youtube https://www.youtube.com/watch?v=dy-Dvw1TTlg&w=560&h=315]

Frenship – 1000 Nights

[youtube https://www.youtube.com/watch?v=2HnaFtTV1wA&w=560&h=315]

SonReal – No Warm Up

[youtube https://www.youtube.com/watch?v=xOn_b8JsMPI&w=560&h=315]

Alex Dezen – Holding on to You (Holding on to Me)

[youtube https://www.youtube.com/watch?v=y05aBBnTQkE&w=560&h=315]

Big Sean – Moves

[youtube https://www.youtube.com/watch?v=6DLifNnJ3vk&w=560&h=315]

Homeshake – Khmlwugh

[youtube https://www.youtube.com/watch?v=wbdYcgmys5I&w=560&h=315]

Big Wreck - Skybunk Marché

[youtube https://www.youtube.com/watch?v=kwLh7hKTLLc&w=560&h=315]

Ezi Emela - Chineke Meh

[youtube https://www.youtube.com/watch?v=fokMWiEl4hw&w=560&h=315]

Porcelain Raft - The Poets Were Right

[youtube https://www.youtube.com/watch?v=IkB1ZLDGoe0&w=560&h=315]

Jain - Heads Up

[youtube https://www.youtube.com/watch?v=bbNqtsN-lV0&w=560&h=315]

Rolling Stone P - Calvin Klein

[youtube https://www.youtube.com/watch?v=-MhWNyB2m1Q&w=560&h=315]

Syd – Body

[youtube https://www.youtube.com/watch?v=P7kW3Q46UUc&w=560&h=315]

Secret Company – Alive

[youtube https://www.youtube.com/watch?v=AYmXmk8LqpY&w=560&h=315]

Thieves Like Us – Broken Mirror

[youtube https://www.youtube.com/watch?v=uzmGvi0rPtw&w=560&h=315]

Pia Mia - We Should Be Together

[youtube https://www.youtube.com/watch?v=qdR1Vr9TM2k&w=560&h=315]

Betty Who – Some Kinda Wonderful

[youtube https://www.youtube.com/watch?v=eGEI_1nzp3I&w=560&h=315]

Lucy Mason – Hunger

[youtube https://www.youtube.com/watch?v=eOIQbb5fQg4&w=560&h=315]

Jocelyn Alice – Bound to You

https://play.spotify.com/track/6MIwdFXHnImyz1TmsuUrEB

Ariana Grande and John Legend - Beauty and the Beast (From Beauty and the Beast)

[youtube https://www.youtube.com/watch?v=vScUbKoE-qs&w=560&h=315]

Surfer Blood – Frozen

[youtube https://www.youtube.com/watch?v=9T7nAldxSFo&w=560&h=315]

August Alsina – Drugs

[youtube https://www.youtube.com/watch?v=PPUdX8v8u0U&w=560&h=315]

Stormzy – Big for Your Boots

https://play.spotify.com/track/6WWHtYGEr1KCD4rELMVvaM

Post Malone (ft. Quavo) - Congratulations

[youtube https://www.youtube.com/watch?v=SC4xMk98Pdc&w=560&h=315]

AMI (feat. What's UP) - Un actor

[youtube https://www.youtube.com/watch?v=zL4KhnPl-0M&w=560&h=315]

Gothic Tropic - How Life Works

[youtube https://www.youtube.com/watch?v=HqLzB2saxrw&w=560&h=315]

Alex Lahey - Wes Anderson

[youtube https://www.youtube.com/watch?v=oAQNnd7QIkk&w=560&h=315]

Syd Arthur - No Peace

[youtube https://www.youtube.com/watch?v=lmDnL8byUAw&w=560&h=315]

Carousel Kings - Bad Habit

[youtube https://www.youtube.com/watch?v=NpOhloXjY-A&w=560&h=315]

The Sherlocks - Was It Really Worth It?

[youtube https://www.youtube.com/watch?v=lathEIl1fko&w=560&h=315]

Sampha – Reverse Faults

https://play.spotify.com/track/5IRLnB7JqTMcIlMtE0Rcuv

Sinkane – Telephone

[youtube https://www.youtube.com/watch?v=ojFqFU5KZIE&w=560&h=315]

Lupe Fiasco – Wild Child

[youtube https://www.youtube.com/watch?v=xCiGck634dM&w=560&h=315]

Tei Shi - Keep Running

[youtube https://www.youtube.com/watch?v=QwEieJWAbls&w=560&h=315]

Mondo Cozmo - Sixes and Sevens

[youtube https://www.youtube.com/watch?v=xPMbUDwsz20&w=560&h=315]

Teen Daze – Cycle

[youtube https://www.youtube.com/watch?v=mV9S773bxk4&w=560&h=315]

Digital Farm Animals (feat. Hailee Steinfeld) - Digital Love

[youtube https://www.youtube.com/watch?v=TqHcLKyTZ90&w=560&h=315]

The Sadies - Another Season Again

[youtube https://www.youtube.com/watch?v=SqYWl49j6GE&w=560&h=315]

Brutus - Drive

[youtube https://www.youtube.com/watch?v=mVXYDQkvtec&w=560&h=315]

Zak Abel – Unstable

[youtube https://www.youtube.com/watch?v=G8KwNLoTiQc&w=560&h=315]

Chilly Gonzales and Jarvis Cocker – Tearjerker

[youtube https://www.youtube.com/watch?v=DR0pFvWRLaQ&w=560&h=315]

Noga Erez - Pity

[youtube https://www.youtube.com/watch?v=RcYNoy0J6MM&w=560&h=315]

Carly Pearce – Every Little Thing

[youtube https://www.youtube.com/watch?v=7RUZ2AL9QcU&w=560&h=315]

Youngr Kutle Khan - Out of My Mind

[youtube https://www.youtube.com/watch?v=2nqPHtVYWvQ&w=560&h=315]

Alxxa – Nobody

[youtube https://www.youtube.com/watch?v=mdb_ri5jLrU&w=560&h=315]

Maejor – Vibrations

[youtube https://www.youtube.com/watch?v=dp4U1YfrAeg&w=560&h=315]

Stanaj – Changed

[soundcloud url="https://api.soundcloud.com/tracks/303640814" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

IN THIS PHOTO: London Grammar

I am looking forward to the next week as there are some seriously incredible songs unfolding. I know there are whispers and rumours (of what’s to come) but we will all see just what comes about very soon. There'll be some incredible mainstream gems and those rare, blink-and-you’ll-miss-it songs. Music is proving to be a very calming and pleasant influence. Keep your mind sharp and look out for a new bucket-load of fresh tracks this time next week!

TRACK REVIEW: Blänk - This Journey

TRACK REVIEW:

 

Blänk

 

 

 

This Journey

8.5/10

 

This Journey is available at:

https://soundcloud.com/grindrecords/this-journey

GENRE:

Hip-Hop; Electro.-Pop

ORIGIN:

Atlanta, U.S.A. / Sápmi, Sweden

RELEASED:

2016

______________

LAST time around, I looked at the importance of reviewing artists from parts of the…

PHOTO CREDIT: Albin Holmqvist

world separate from the U.K. Today, and rather wonderfully, my featured act has roots in Sweden and the U.S. Before I come to the American side of the trio, I wanted to have a look at Swedish music and acts the national press are tipping for big things this year. Ja Ja Ja has selected their five acts (from Sweden) we should be following this year. If we stereotype Swedish music as a “relentless stream of electro-pop” – as the site claims – Elliot is the other side of that. He makes weird and dreamlike Pop that has a sworded and odd side but has enough intrigue, musicianship and seduction to lure listeners in and get them hooked. He is someone I have not heard of and am fascinated by. It is true Sweden has a reputation for endlessly cheery Pop music – perhaps they have not shaken that label since the days of ABBA (or the earliest incarnation of The Cardigans – even if their most upbeat albums were done ironically). Elliot is the antithesis of that cliché: making songs that have darkness and a seedy underbelly. It is a glorious mix of emotions and ideas that definitely stands out. Except more from him throughout the year: a young man who could well find himself championed by U.K. stations. Skott is someone I am well familiar with and have been promulgating for a number of months now. The striking Swede has been championed by Katy Perry and included on many people’s (including myself) lists of ‘Ones to Watch’. Skott’s music is Pop on a huge scale; Folk and Electronic blends light the fuse and set off explosive chorus and sing-along anthems. She is represented and celebrated in the U.K. and shows what Swedish music is all about.

PHOTO CREDIT: Albin Holmqvist

Although she is, perhaps, more celebrated in the U.S. and U.K.; the fact she hails from Sweden will have many looking at the country and Skott-like artists coming through. I shall not go through everyone on the list but wanted to mention Hater. Based out of Malmö – showing there are plenty of awesome musicians from outside of Stockholm – the four-piece amazed with their debut E.P., Radius. Their sharp and stunning Indie songs have captivated their home nation but are catching the eye of listeners further afield. I hope the band perform some gigs in Britain as they would find a very willing and loyal audience here. I know they are plotting new material this year but should be on everybody’s list of great bands to watch in 2017. That small selection shows how fertile and varied Swedish music is. Perhaps there are still a lot of elliptical, multicoloured Electro.-Pop artists but that is not the entirety of Swedish music. There are some fantastic Rock bands and incredible Folk artists; a band of endeavouring Hip-Hop artists. I will come back to this topic – and look at some more Swedish artists set to make waves through 2017 – but will introduce Blänk to you:

“Split between Atlanta and the remote northern parts of Sweden - commonly known as Sápmi, the hip-hop meets electro-pop trio Blänk are currently getting ready to release their third album ‘Weary Soul’. Touching on topics such as self-destruction, angst, hope, and finally acceptance, the new record is as much uplifting as it is lachrymose, focusing on emotional emancipation and taking control of your own life.

With their last two albums ‘You’ve never been to Sápmi’ (2009) and ‘Only Built For Northern Lights’ (2015) earning the trio acclaim from across the US and UK, Blänk have gone from strength-to-strength with each release. It is obvious that their evolution across their work, influenced by friends from across the music scene (they collaborated with Noonie Bao on their last record), has transmuted their sound towards their most mature and consummate release yet. This record now sees the trio go it alone bearing brutal yet charming honesty and an empowering confidence”.

I’ll get down to investigating the trio soon but am fascinating by their ties to Atlanta. You might think Georgia (U.S. state) was baron with regards music: that is where you’d be wrong. If you think about all the legendary artists who are based here you see just what a scene there is there. Metal band Mastodon are from here; so too is the band, Gnarls Barkley. The Coathangers and Royal Thunder are two fantastic groups from the city. To my mind, the two finest Atlanta-based bands are Arrested Development and TLC. You cannot hear a selection of the 1990s’ best tracks without one or two tracks appearing from both acts. It is the Hip-Hop/Soul flavours of Atlanta that really compel me. Blänk split their time between Sweden and Atlanta and have taken a little bit from each area. They have the Hip-Hop credentials of Atlanta with the traditional Electro.-Pop brilliance of Sweden. Putting those genres together might be a risky venture, but when it comes to Blänk, you have no average band. Their U.S.-Swedish D.N.A. is interesting but their sounds and genre combinations are even more fascinating. I have listed some great artists from Atlanta – and some wonderful new Swedish acts – that shows what is happening in those places – where Blänk are playing and the kind of artists surrounding them. In terms of upcoming Atlanta bands, Quiet Hounds are definitely worth your time. Their live performances might be rare – information and artists courtesy of https://www.thrillist.com/lifestyle/atlanta/the-new-atlanta-bands-to-watch-in-2016 - and their mask-covered faces spike intrigue yet the guys have shown they are much more than novelty. Their 2015 five-track release, Shake Don’t Shatter, was well received and provided the band a mass of new fans. Last year might have been fairly quiet, in terms of taking step forward, but this year will be a crucial one for them – expect new material and announcements soon enough.

There are a lot of great artists putting Atlanta music on the map – including a real wave of fantastic black Soul/Hip-Hop musicians. In a nation divided by a dictatorial president, it is pleasing discovering a lesser-represented corner of America unchanged and undeterred by prevailing winds of fear. Brittany Bosco has a productive 2016 and lends her intoxicating voice to trance-like, head-swiveling Hip-Hop beats. Once referred to as a cyborg version of (the late) Aaliyah: the young innovator – no shake having anyone compare you to Aaliyah – is throwing that backhanded compliment off and stepping out on her own. Before I move onto my next point, I’ll end this section (on Atlanta acts to follow this year) with Boog Brown. As I stated about talented, rising black artists: Brown is a commanding and mesmeric rapper who hails from Detroit – she calls Atlanta home these days. She is a Hip-Hop artist that boasts that rare combination: a sweet, can-go-anywhere-it-likes voice and knowledge of the genre. She provides phat beats one moment; something more restrained and nuanced the next. Her voice is chameleon-like and capable of going from a silky, rich tone to an authoritative, declarative strike. She is, like other acts I have mentioned, someone we need to see in the U.K. It is clear Georgia is proud to have her and falling for Brown’s incredible songs. I know she will be a future mainstream star so it gives me pleasure seeing her continue unabated and committed. Maybe other areas (of the U.S.) have a larger and more diverse Hip-Hop scene but Atlanta is one of the most underrated and potential-laden areas. The city, and the county of Fulton, might have voted (sanely) for Clinton last year – even if the state voted for Trump – so I am always happy to back musicians coming out of Atlanta. The sheer vibrancy and range of sounds pulsating from the city have compelled a mass of new, hopeful bands.

I wanted to bring up the genres of Hip-Hop and Electro.-Pop, not just because of Blänk and what they are doing, because of a class-leading album celebrating its tenth anniversary: the unstoppable, unstoppable Kala. Hounslow-born M.I.A.. created a Hip-Hop/Pop/World classic that brought in tropical sounds with jagged beats and progressive, unpredictable compositions. Kala blended cultures and addressed themes of alienation – at a time when many Americans felt alone and jaded – one of the reasons the album did so well over there. As it turns ten, and Americans feel even more afraid and alienated than they were ion 2007, the album picks up new relevance. It spoke for the world back then – and raised some very key issues; addressing vital themes – so it should be given a whole new lease of life given the ascension of Trump. More than anything, its chemical explosions and cross-pollinating ambitions amazed critics. Few artists, up until that point at least, has fearlessly paired so many genres and made it work. Thinking about the album made me yearn for M.I.A.-like acts who have the bravery and talent to fuse Hip-Hop and Electronic ideas together with other genres and cultures. Whilst Blänk might not be as acclaimed and up there with M.I.A.’s masterpiece – do not rule against them creating something as profound – but I can detect comparisons. Hip-Hop, like so many other genres, has to fight for an equal vote and proper appreciation. There are so many ‘niche’ genres; each trying to up its converts and create a genuine movement. Some sides of music – Grime is one example – are gaining traction but still not as mainstream-accepted as one would hope. I think that about Hip-Hop. The genre has been alive and burning bright for decades now. From Beastie Boys swaggering into music in the ‘80s through to the best Hip-Hop albums of the 1990s – Nas’ Illmatic; Dr. Dre’s The Chronic – right through to last decade’s best – Jay Z’s The Black Album; Stankonia by Outkast;  Kanye West’s Late Registration – there are some world-class, extraordinary records in there. Hip-Hop masterpieces of this decade – Kendrick Lamar’s To Pimp a Butterfly; Frank Ocean’s Channel Orange – are still inspiring new artists but the genre itself is not as well-regarded and proffered as it should. 2016 helped in a sense – Beyoncé, Frank Ocean and Kanye West all busy and staggering - but there is a lot of work still to be done.

I will get down to reviewing This Journey shortly, but before then, I am reminded of emancipation and taking control. The band’s forthcoming album, Weary Soul, explores looking at life’s highs and lows as a collective – not just items on a tick-sheet. We experience wins and losses. Rather than celebrating victories and commiserating defeat; we must recognise everything is part of a whole – for better or worse. The album reads like stages of bereavement: tragedy, denial; loss and acceptance all feature on Weary Soul. It is a deep and detailed work that deals with so many important issues. None of the topics addressed in the album is dealt with a gossamer touch. The band ensures they provide complete dedication and conviction to every song/theme. It is unusual finding a group that has that intelligent, quasi-philosophical lyrical bent; whose compositions are quite fun and rousing. That dichotomy and unusual marriage is solid and works very well. You are invested in the stories and words but fascinated by everything happening in the background. In fact, the trio seamlessly merges their aural colours with the eventfulness of the lyrics. I do like hearing about traditional themes in music – romance and heartache – but there is a part of me that can grow weary of this. Blänk have enjoyed a fairly long career and, of course, look at love and its fractious senses. Importantly, they shine a light on life as a whole: do not just look at events as pass/fail; they are all part of a bigger picture or collage. Yeah, there are some bad times and some good – each is as relevant as the other. There is, as the band state, a collective weight. Peaks, valleys and wins are all part of an interconnected pattern. Weary Soul takes time and investigates depression and loss. You get triumphant times and some really provoking ideas – making you think about your own life and how you view it.

I am impressed by bands who improve album after album. In music, the debut can be a tricky proposition. You have to cement a sound and ensure you do not sound too much like anyone else. Of course, there is the temptation to include your influences (on the debut record) but ensure there is a degree of commerciality and accessibility. If you survive that and manage to get fans behind you; it can be exhausting equaling that debut – or topping it – and creating something progressive but familiar. Then, if you survive that marathon, it is on to the next album. Blänk opened their account with 2009’s You’ve Never Been to Sápmi and laid down an impressive and consistent record. A six-year gap ensured before the sophomore release, Only Built for Northern Lights in 2015. The progression from those two albums shows a band influenced by their music peers and inspired by their time on the road. They collaborated with Noonie Bao on Only Built’ and expanded their songwriting and lyrics – an L.P. brimming with confidence and exceptional production values. Now, the guys are sparing no time getting that third album out there. Given the amount of bands coming out right now; you cannot afford to leave a six-year gap between too many albums and expect to be remembered. Fortunately, the Swedish-American band are in fine form and determined to get their new music out to the masses. We often take for granted how hard it can be to remain consistent, relevant and changeable. So many artists start with a great debut and struggle to follow that with something new and solid. Likewise, there are those that improve other time by making changes to their music and experimenting. Blänk are at their peak and proving they have the legs to go all the way in music. Whether there is another album/E.P. planned later in the year I am not sure but would not rule out new music being in their mind.

PHOTO CREDIT: Albin Holmqvist

Looking back at the band’s work and you get a sense of where they came from. Áurinko Rising Again was released four years ago and is one of the most colourful and alive E.P.s I have heard. Across the five tracks, you get plenty of percussive pummel, spirited, explosive electronics and fantastic vocals. Noonie Bao joins them on Do This Thing: a chugging, propulsive Electro.-Pop number that braces out of the gates and never relent its charge. Seaside is another interesting track from the E.P. and has a far-off, dreamy vocal. There is a sense of being caught in the machine or adrift at sea. The song is not as energetic and bold as Do This Thing but is a more relaxed and sensual number. It proves how rounded Áurinko Rising Again and what a depth the trio has. Only Build for Northern Lights arrived two years later and showed new direction and inspiration. From female-led Electro.-Pop, here there is a definite flavour of Hip-Hop. The vocals are more urgent and tough whilst the compositions are more street-wise and swaggering. Of course, there is sweetness in moments – the male-female vocal dynamic provides balance – and there is more of an American influence – whereas earlier work has its heart in Swedish Electro.-Pop. This Is BlÑnk is a fast-charged, businesslike mandate that comes with cool: the hero “taking a second” smoking and drinking; the canvas is blank and there is a lot of intrigue as to the derivation of the song. You are drawn by the accelerated, slick raps and tight, focused beats. The band changed from a Pop outfit with their songs sounding one way to changing things only a couple of things later. Their newer work - and This Journey - is great but one hopes they look at bringing back in some of that Electro.-Pop sound – to give their songs a bit more contrast and lightness. What they have now is strong – their latest single proves that – but one gets a definite sense of the U.S.

Sometimes there is a sense of the generic and predictable in some of their moves – the processed vocals and familiar lyrics – but it is when they utilise all their members and dig into their past, they really distinguish themselves. If you have that Electro.-Pop past then use it. Undergoing such a radical shift in a short space is brave and shows a need to evolve but it has (almost) come at the expense of their identity and what made them special in the first place. This Journey shows huge promise but their earlier work is more engaging and populist than their more recent creations. That can all change, and their new album sounds like it is their strongest yet, but I don’t want Blänk to forget who they are and why their music is so popular. Maybe bringing in some of their early E.P. sounds together with the Hip-Hop moves would work better. As I say, what they have now is great and it definitely stands apart – sometimes it lusts too hard after the U.S. market and does not differentiate itself from the already crowded Hip-Hop market.

The hero, in the early stage of the song, destroys himself and brings himself back up. In the initial seconds, there are some processed vocals (which are hard to understand) and a definite sense of meaning and motivation. If you are not a fan of Hip-Hop, it might take a little while to bond with the song but those who are familiar with the genre will find familiarity and something they can bond with instantly. That idea of rising up and having to overcome obstacles is a sentiment that carries on throughout the song. You can get invested with the song right away as it does not push the listener away. Essentially, it welcomes you in and asks you to emphasise with the hero. He loves this ride and would not change anything but is facing his fair share of problems. Having to tackle any hurdles that come his way, you can sense that strain and stress come through in some of the vocals. Backed by strong and combustible electronics, it is a song that never lets go. Before I continue on and portray all the (many) strengths of the song, a few of the negatives. The title (This Journey) is one you might expect to hear from a reality show contestant. ‘Journey’ as a cover-all word is one of the most unpleasant aspects of the modern age. Everything is a ‘journey’ and it does give things, like a music career or medical procedure, a sense of pretentiousness and nausea. That word was never overused in the past and it is an unfortunate modern invention. I respect the band and what they are saying but the second I hear the word ‘journey’ employed in this context it makes me lose a bit of respect. Similarly, there is an overly-familiarity with regards the sound and lyrics.

The processed vocals are a staple of the Hip-Hop market but would be good to hear less of it. Bringing in Öhman and adding a female dynamic would have given some smoother, sweeter vibes to really give the song an extra layer of something. In addition, the trio wants to establish themselves as a new and original force but, at times, stick too closely to the mass of chart-made acts that do not remain in the mind. The guys have that incredible Electro.-Pop past so mixing that more into a song like This Journey would elevate it and really make it stand from the crowd. That said – and the trio must think I’m giving it a bashing – there are vastly more positives than negatives. The trio is phenomenal and means every word and deceleration. Weary Soul will, one hopes, brings their former self into music more and This Journey is a solid and impressive cut. Things are a “work in progress” as the hero says and a bit of a project. It is clear music and success is the goal and achieving that means everything. You can really buy into what is being said and why – if sometimes decipherability is a bit of an issue. What I loved about it was the fact it makes Hip-Hop more accessible and introduces me to a side of music I do not often listen to. I tread carefully and tend to avoid a lot of the weaker, mainstream examples who would be mocked by the likes of Kendrick Lamar and Kanye West. Blänk sit on the credible side of the fence and ensure their drive and connection comes through strongly. The track becomes more interesting and strong just before the two-minute mark. Our man wonders about his role on the planet and wonders whether it is worth the effort. Yes, there are some tough times and reality checks but battling those and remaining focused ensure you get where you need to go.

The fizzing electronic undercurrents and stringent foreground beats are designed for those who know Hip-Hop and have that knowledge: if you are new to such territory then you will not be disappointed. What connects me to the song, detraction aside, is the will and foresight of the lead. There is never a sense of submission and retreat. He knows the future is going to be uncertain but is prepared to take it by the scruff and challenge it. You are in his corner and alongside him as he spits rhymes and proclamation. The vocal does alter towards the end (Öhman comes in) and the beats get tighter and stranger. Rather than create a song that is plodding and generic, we get something a lot more endeavouring and dynamic than one would expect. Blänk have that extraordinary past and authority and ensure it runs through every second of This Journey. I was never bored or switched off from the song and was following it to the final moment. It is wonderful seeing a trio like Blänk shift their sound but retaining what made them special and noticeable in the first place. If you are a newcomer to Hip-Hop and Rap then take it gently and investigate This Journey. It might take a few listens but the song will get to you and resonate. The drawbacks I have highlighted are valid and clear but they are very much the minority voice. I am impressed by the group and how they continue to shift and grow. I said, and will go on to say, how Weary Soul is a development and a definite progression for the trio. That is what they hoped for and This Journey is one of their most arresting and hopeful songs yet. It has caution and reservation but an abiding feeling of ambition and confidence. That is what you want from any song and is something that will define their forthcoming album. As I said, it would be good to see some of their Electro.-Pop spirit more firmly in This Journey but is something that will be might be rectified in future songs. Kudos must be given to the U.S.-Swedish force and another accomplished and strong number that shows they have a big future ahead of them.

Blänk are making a name for themselves across the U.S. and U.K. right now. Obviously, spending time in Atlanta has opened their eyes to the fantastically broad and community-heavy music scene. They vibe and take from the brilliant Hip-Hop movement there and sprinkle in that magical Swedish Electro.-Pop fairy dust. There is a blend of multi-coloured upbeat and reflective shadowiness. The contrasts are what makes the trio such an intriguing proposition. Before I come to my conclusion – and reintroduce my original points – it is worth casting our thoughts ahead and seeing what is coming for Blänk. The band have already garnered support from some really impressive sources: The Line of Best Fit, Pigeons + Planes and Clash among them. Their last two singles have accrued over twenty-thousand plays on SoundCloud – that number is ten-times larger on Spotify. The guys mean business and have a special chemistry. There is something about the music that is connecting with listeners around the world. The kind of people listening to their music are not just Hip-Hop/Electro.-Pop lovers but those who cast their net much wider. I know 2016 was a big one for them but it seems like this year will be even more memorable. Of course, their new music is going to help and they will be performing to new crowds. I hope they have some time to drop in on us here and play to the British crowds. They have a transferrable sound that will find very few resistors. I know London, as I say with a lot of reviews, is perfectly placed to have them stop off here. Venues are busy and ready so they should consider doing quite a few shows here. This Journey is an apt title for a trio embarking on something quite exciting. They have already covered so much ground on previous albums and Weary Soul looks set to best them all. Hubris and pragmatism go alongside darkness and pain (on the new L.P.). I can hear the band move forward and sound more confident than they ever have.

Sweden’s contribution to music is axiomatic and unquestionable. From classic bands through to relatively new artists such as Lykke Li and Tove Lo: a nation that continues to amaze and inspire. True, a lot of their artists do fall into that stereotypical trap: it will be a combination of Pop and Electronic music. Miike Snow, Robyn and Elliphant – three quite new musicians from Sweden – certainly fall into that mantle. Toss in Maja Francis, Noonie Bao and Zara Larsson; Veronica Maggio, Dungen and Frida Sundemo – a list of talent who, broadly speaking, perform those genres. Even legends like ABBA, The Cardigans and Neneh Cherry (who was born in Sweden before moving to Britain) worked within Pop confines but created music with real range and nuance. Looking at the new Swedish talent worth watching, the poll-makers have been a little quite this year. I have mentioned Ja Ja Ja’s recommendations but there are not many others making predictions. What Sweden is proving – because Blänk have Sweden in their blood – is how adaptable and boundary-less the music is. You cannot look at the nation’s musicians and assume they will all sound like ABBA or The Cardigans. If you are proffering London and Los Angeles and its diversity then you cannot overlook Sweden. Atlanta, a single city and not a nation, is much more proactive promoting their finest musicians. Gucci Mane, Black Lips and B.o.B. are three names that have helped put Atlanta on the musical map but there are so many newcomers who will continue that great work. Over the last couple of years, not necessarily new to music this year, we can expect good things from Abra. Since her 2015 debut L.P., Rose, her ‘80s-Pop-meets-sensual-and-soothing-moderntiy in a clash of late-night ruminations and for-the-moment dancefloor jams. She is someone continuing to produce music tinged with eccentricity and style. Heavy Eyes are a band I am excited to hear more from. The result of broken bands – Kidbrat and Novus among them – a solid Garage four-piece has survived. Out of the ruins, the band have packed out local venues and toured the South and look set to make another big statement in 2017 – following their incredible three-track debut E.P. back in 2015.

Similarly – thanks to http://immersiveatlanta.com/artists-to-watch-in-2016/ for the tips – Mothers supported a raft of national acts throughout 2015, and since then have been – although based in Athens they represent Georgia pretty damn well; in addition to Atlanta – playing some rather high-profile gigs. They have already performed at SXSW and are another band ready to create new music very soon. Sea Ghost’s have ensured Pop-Punk is kept alive and spirited. The genre has been derided and overlooked the last few years: Sea Ghost infuses optimistic in their music and ensures any Trump-induced misery is combatted with some fine music. Their debut L.P., SG, helped redefine Power-Pop and brought their music to the masses. I am excited to see how the band reacts to Trump’s presidency. If ever a band were needed to help banish depression and uncertainty they are it. Finally, and before I make my point, Waking Astronomer have grown from an unsure, hard-to-nail force – one single in 2015; their debut L.P. last year – to a defined and multi-talented group. As you can see, from that brunch-like appetiser of a list, there are some fantastic acts coming out of Atlanta and Georgia. I mentioned earlier how the city has provided some phenomenal Hip-Hop and Rap over the years but there is plenty of music being made there now. Blänk are fans of Atlanta’s rich Hip-Hop past but are very much in the moment. The fact they splice Pop and Electronic music shows they are listening to what is happening in Atlanta and parts of Sweden. I have talked for long enough so shall wrap things up. This Journey is a wonderful peak inside Weary Soul – their forthcoming album out in March. I am looking out at music and trying to examine all the artists who will make a big noise in 2017. Blänk are a trio who will continue to make music for years to come. They improve and grow with every album and have plenty more inspiration left in them. How that presents itself will be interesting to see and I’ll make sure I keep my eyes alert. Another week, another great band in front of me. With regards the U.S.-Swedish force, they are three people…

PRIMED for better things.

[soundcloud url="https://api.soundcloud.com/tracks/293112535" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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PHOTO CREDIT: Albin Holmqvist

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INTERVIEW: Blaise Pascal

INTERVIEW: 

 

Blaise Pascal

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RELATIONSHIPS and the pain of being separated…

is a common source of inspiration for many songwriters. Blaise Pascal’s latest track, I Can’t Wait, looks at a long-distance love and the excitement of an impending meeting – seeing the girl after so long away. London-based Pascal is a Future-Soul artist who will soon be supporting Izzy Bizu: not bad for someone who is about to release their debut E.P. I Can’t Wait borrows a melodic hook from Billy Cobham’s Heather – used in the Hip-Hop classic 93 ‘til infinity by Souls of Mischief – and is out tomorrow. I was keen to see how Pascal was feeling ahead of the Shepherd’s Bush Empire gig on 15^th February (supporting Izzy Bizu) and what other plans he has for this year. He talks about his dance background and why he is so keen to support fellow musicians.

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Hey Blaise. How are you? How has your week been?

I’m good. I’ve had a lovely week. After spending some time in ‘The Cave’ (studio) writing; it was my first time performing live with the Iluvlive house band at the Underbelly in Hoxton. Great vibe, great band! Really enjoyed myself.

For those new to your music can you introduce yourself, please?

I like to think that my songs are an invitation to lift one's spirits. I’m a big fan of following my heart and I like to speak of real issues that people endure collectively through our own individual experiences.  I like to look for the common thread that runs through us all and speak of it.

I feel that when I write from a place of self, I will resonate with others better.

I like to work with my team as part of a collective as there is so much wisdom to be reaped - through my manager & label partner Steve Marshall (Canned Heat Records) and my talented producers Mushtaq and Jonny Mead. We cross-pollinate between styles such as Soul, Reggae and Hip-Hop (with an Electronic Future feel).

I Can’t Wait is your new single. It samples the melodic hook from Billy Cobham’s Heather (used in Soul of Mischief’s Soul classic, 93 ‘til infinity). What inspired you to mix those sounds and would you say you have an experimental approach to music?

Mushtaq (producer of the E.P.) has a fountain of knowledge and collectively we wanted to experiment and find our own way. We decided that an homage to oldskool Hip-Hop would be a cool thing to do - so  Mushtaq re-played the Billy Cobham lick.

 [soundcloud url="https://api.soundcloud.com/tracks/304605273" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Based around the idea of a long-distance relationship – being apart from your girlfriend but excited to see her – was it a difficult song to write? Do you source a lot of influence from love and its many different sides?

When I write it’s like therapy for me. It’s what keeps me sane. I’m all about love and appreciation and betterment. Manifesting these songs help me exercise out old facets of myself. The messages come from my mess - and examining the light and dark side of love as well as other things.

The single is from your forthcoming E.P. What can you tell us about it and the type of songs featured?

These songs are a window into where we were at the time we wrote it. It was during a time when I started to look at the world through new eyes and with new understanding. (I was) becoming more conscious of the bigger picture of man's true potential when we invest our energy into love and positivity. There seems to be many disconnected diseased minds, backwards peddling; using control and domination.

The E.P. exposes this negative behaviour and what happens when we choose to follow the love of going backwards instead of moving forwards with positivity - and transmuting fear into love.

On 15^th February you’ll be supporting Izzy Bizu at Shepherd’s Bush Empire. Have you met Izzy before and are you a fan of her music?

I haven’t met her before and ‘I Can’t Wait’ to! She seems so lovely and I’m loving her song White Tiger! Tune!

 

That gig must play large in your mind – an incredible space to perform in. How are you feeling about the performance and does it rank as the most exciting dates you will ever play?

I’m feeling really positive about the gig to come. I am really enjoying playing with the live band and want to make the most of it. You never know when the rollecoaster will stop so I’m going to hold on for as long as. Venue and crowd-wise this will be my most exciting gig to date for sure!

Before entering music, you graduated from Sylvia Young and were offered a scholarship at Rambert School of Contemporary Dance and Ballet. Is dance something you are still pursuing and how does that experience help with your songwriting and performances?

I am now totally immersed in music and do yoga regularly to keep my body and mind open and chilled out. The Dance exploration and experience I have had has been a massive part of my development for music too.

It has been so wonderful to express myself as a dancer and take the unique perspectives that I gained whilst choreographing and creating through a physical form.

Whereas now I let that same expression come through the timings, melodies and messages in my songs. The freakier I was as a dancer, the more vocabulary I gained as a musician - which gave me confidence to explore and search for more options and perspectives in my music. I am one, so both forms of expression feed each other. Having more self-awareness of how I share my energy has really helped my live aspect as well.

Whilst a dancer, and travelling on the road, you completed your debut album, Wild Life. How much of the album’s sound was dedicated to that itinerant nature and how to view the album looking back?

Wild Life was a wonderful project that I wanted to keep as live as possible. I had something to prove to myself.

The songs are like a collection of daydreams that felt very real to me. I assembled a team of seasoned session musicians and creatives/producers and it was made as a labour of love and not really considered for any bandwagon. It turned out to have proved to be a good springboard for me to be discovered by Canned Heat Records.

 

After the E.P. is released, what plans do you have for the rest of this year? Any plans to tour abroad or record another album?

Since the writing of the E.P., we have already completed writing an album's worth of demos. and are continuing to write and prepare for our live shows. My life is music: I’m just surfing the wave and hoping to reap what we sow.

You have a lot of faith and love for fellow musicians. In that spirit, you founded Acoustic Roots. Can you tell us a bit about that and how that is going at the moment?

Acoustic Roots was created by artists (and with guidance of other music industry expertise) and was supported by the local community to provide a platform for emerging artists. We got to enjoy many wonderful up-and-coming artists and had a lot of fun doing it. However, we are on pause now as it took a lot of time and energy to upkeep and I now want to channel all that energy solely into my career. I look forward to rebooting it at some point in the future.

If any musicians wanted to get involved with the project, how might they go about doing that?

Acoustic Roots is currently on pause. Always open to collaborations as sharing the love is the way forward. Come to a gig and say hello.

 

If you had to choose just one album that has been most inspiring to you (as a musician) which would you choose?

Jeff Buckley’s Grace. Awesome.

Are there any new artists, either locally or mainstream, you suggest we check out?

Darren Flynn, Izzy Bizu; Ava Lily and  Joshua Kyeot

What advice would you provide any young songwriter coming through right now?

Spend time finding out who you are through your writing and trust that you are exercising your demons and slowly finding enlightenment through self-discovery.

Do it for the right reasons - like personal truths, observations that will bring a perspective that lift your own spirit, and in turn, the listener.

That’s what I’m into. Go within and follow your own intent and be brave. Love yourself and trust in something bigger than you - like nature or a higher purpose other than personal gain.  Law of attraction will present you with opportunities. Stay open-minded, optimistic and stay present. Keep doing what you love with love and appreciation.

Finally, and for being a good sport, you can name any song (not yours as I’ll do that) and I’ll play it here.

Bobby Caldwell - What You Won't Do for Love

[youtube https://www.youtube.com/watch?v=8NQ-Bk63Hs8&w=560&h=315]

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INTERVIEW: Kylie Hughes

INTERVIEW:

 

 

Kylie Hughes

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THIS is my second L.A.-based interview of this evening…

but concerning an artist very different to my previous interviewee, JoLivi. Kylie Hughes has just released the video for her new single, Take Me Anywhere. Working with producer Mike Shimshack; the two have created a song of immense depth and passion. Originally from Malibu, Hughes sourced from the laid-back vibes of home to create her first E.P. As she explains in this interview; there is not a hugely vibrant scene in Malibu: one has to traverse to Los Angeles to find more life and after-hours activity. In addition, I learn why Hughes came to be a songwriter and how important imagery is to her (and the music). She talks about how her nation is shaping up to life under President Trump; the musicians that influence her most and some local artists we should check out.

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Hi Kylie. How are you? How has your week been?

Hey! Been pretty good. Had a pretty mellow weekend with a fun photo shoot in the middle, but overall, low-key.

For those new to your music can you introduce yourself, please?

Hi! I’m Kylie and I’m a singer-songwriter, strawberry-blonde (because the third thing is supposed to be creative). I’m a California native that cheats with Nashville from time to time. I like to make music for everyone that’s autobiographical, accessible for everyone’s taste in music but has a ‘Pop’ sensibility. I like to be sarcastic and playful but can also be serious… if I must ;)

You are from Malibu, California. I know L.A. (especially) has a rich and varied music scene. What is the vibe like in Malibu and how does it differ to other parts of California?

The “Music Scene” in Malibu is growing but mostly underground.

There are not a lot of venues or instances to go out in Malibu and see good music. Malibu is very much a sleepy beach town that goes to sleep no later than ten. But the underground part comes from artists that are creating in their home studios and intimate circles.

A lot of Malibu artists are actually playing out in Los Angeles and larger cities. However, Malibu in its history is an Artist Colony so you have a lot of creative people in the community that are more than willing to collaborate and inspire each other.

2014 was the year you came into music. What was your reasoning behind becoming a songwriter and what kind of material were you writing back then?

I have been writing and recording my own music since I was thirteen but when I commercially released my last E.P., I aimed to create a new sound for myself. I have always been musical and creative, so after I graduated school with an advertising degree, I wanted to put that branding to use. The ‘sound’ I invented was a blend of California, Pop and Americana. It was fun writing and directing a video around the general theme of the beach. But even while writing those songs, I was also writing material closer to what I will be releasing soon.

[youtube https://www.youtube.com/watch?v=L-TbrcCqOgA&w=560&h=315]

Take Me Anywhere is one of your newer songs. Can you tell us about it and what influenced its creation?

Take Me Anywhere was inspired by the adventure component in my real relationship.

We always have a bag packed and I wanted to write a song, and then make a video, that reflects exactly what we are doing every other weekend. I definitely get the travel bug after only a week of being home but I think it’s a good problem to have.

You worked with Mike Shimshack on that track. What was it like working with him? You two ever worked together before?

Take Me Anywhere was actually our first collaboration so we worked really well together (haha). He was one of my first co-writes when I came to Nashville too! He’s the man.

Can we expect any new E.P. or album from you this year?

YES! A full album is in your future.

Imagery and distinct fashion seem to, in a way, define your music and aesthetic. In terms of your look: was that inspired by Malibu or your parents? It seems to have a 1960s' vibe which I find interesting.

I think that as a creative person, you go through different seasons of things that inspire you. Being from a beach town, there will always be a part of my music and style that is laid back, but living in L.A., you gotta keep up with the times!

My style has a large spectrum and it’s fun to look in your closet and kinda say: “Who do I want to be today?” That helps a lot with writing too: being a character or bringing out another side of you in a song, like the serious/moody side or sassy/bitchy side. It’s important to find that signature style but, for example, today I’m probably dressed like a 1990s'/2000s' Grunge kid; if I were to write a song inspired by that, I’d probably sound like Avril (Lavigne).

Your music has gained attention from the likes of Examiner and K-CAL. Many people do not realise how challenging music can be. Has it been difficult getting exposure and attention or have you found a lot of support in the music community?

It has been a challenge but I think the key is to have a really great team. There are just so many of ‘us’ trying to do the same thing. It’s impossible to be everywhere as an independent artist so sometimes it’s best to work your own niche.

In terms of the musicians you grew up listening to; which have been the most influential in terms of your own music?

Always gotta throw it back to Michelle Branch. She was the first one to fan the flame and the dream. I love how Taylor Swift has changed her sound so many times while also maintaining a high bar for her songwriting. I don’t know: I just like music that’s good and different. I love those songs that make me stop and Shazam, you know? Stop me in my tracks.

In a similar sense, which albums do you hold dearest in terms of their power and relevance to who you are as a musician?

The most recent album where I was like, “damn”: Kacey Musgraves’ Pageant Material. The songs are all so strong, so delicate; so well-written and (so) clever. I just love the restraint she has on her songs too where, because of their ‘Pop potential’, an artist or producer may be tempted to make the songs a lot bigger. But she doesn’t and it was the right decision and the songs are timeless.

It seems like 2017 will be a busy and exciting one. Any plans on coming to the U.K. and playing over here?

Send me a ticket! I’ll come!

I ask this of American artists I interview but what is the feeling in the country now Trump has been elected? Are there are a lot of nerves in the county or is music immune from a more widespread fear and anger?

You could say there is a lot of inspiration in the air (haha). What's great about music is that it unites people and it doesn't care which party you are a part of - because as an artist you want to identify with the individual and those joys or struggles that are universal. Music is like alcohol in a way because you can use it to self-soothe or even forget. Music isn't immune to current events but it's a great place to 'get away'.

Are there any new artists, either locally or mainstream, you suggest we check out?

If you haven’t exposed yourself to Shakey Graves, do that. I also LOVE Goodnight, Texas and I got to hang out with them recently. They rock. I also have the pleasure of playing with other musicians that have their own bands and music projects. One that is gaining notoriety is Sleep Machine and they really, really rock.

What advice would you provide any young songwriter coming through right now?

Keep on putting “feet to pavement” as they say.

Keep writing and performing because it only takes One Great Song to break as an artist or (get) a shout-out from Taylor Swift’s Twitter… whichever comes first.

Finally, and for being a good sport, you can name any song (not yours as I’ll do that) and I’ll play it here.

Wannabe – Spice Girls - because I’m feeling cheeky ;)

[youtube https://www.youtube.com/watch?v=gJLIiF15wjQ&w=560&h=315]

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Follow Kylie Hughes

Official:

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INTERVIEW: JoLivi

INTERVIEW:

 

 

JoLivi

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I have interviewed and reviewed a lot of artists who are based in….

Los Angeles: none that moved there from Hawaii. I was unsure whether Hawaii has a big music scene. Fortunately, JoLivi was on hand to correct me – explaining there is a range of musicians playing in the state. She talks about the music climate in L.A. and discussed her new single, Love Who You Wanna Love. What’s more, the young star reflects on her choice memories from last year and whether she is coming to perform in the U.K. JoLivi’s experiences, both bad and good, have enforced her songwriting and guide her as a lyricist. I was excited to find out what inspired her and how she is doing; what she has planned for the remainder of this year – and how she wants to be a strong voice for women around the world.

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Hi JoLivi. How are you? How has your week been?

Hey! I’m doing wonderful! Thanks for asking. My week has been crazy. We just finished wrap on my music video for Love Who You Want to Love!

For those new to your music can you introduce yourself, please?

Of course. I’m JoLivi: born and raised on the island of O’ahu, Honolulu. I went to college at Colorado State University, and after I graduated, I moved to Los Angeles where I have been pursuing my career ever since! My music is a little Alternative, R&B and Electro.-Pop.

You are based in L.A. but originate from Hawaii. How does the music scene differ in both areas? Is there an active music climate in Hawaii?

Hawaii is huge for music. A lot of talented musicians and artists are from there. You know like…BRUNO MARS! The genre of music is local-based; Hawaiian/Reggae. My grandfather was also a musician and sang Hawaiian music.

What are the biggest differences you have noticed in L.A.? Are you very inspired by the people and the city?

What I find fascinating about L.A. is that nobody is really from there: everyone is there to pursue a dream.

In a lot of industries besides the arts, you get to meet people from all over the country and the world.  ‘Transplants’ they call us (L.o.L.).

Your songs deal with love and hardships. It is quite a common commodity in music. How would you say your music differs from your peers?

I probably wouldn’t say it differs when it comes to hardships. Artists tend to be very emotional humans. We wear our hearts on our sleeves. We write songs about what we experience and what we feel our listeners and fans will relate to. Of course, we write about the same kind of heartbreak but we all experience it differently – our stories are all one of a kind.

The videos for the tracks Games and Chains have been viewed thousands of times. Is it quite daunting getting that sort of feedback and numbers?

It’s incredible that I can write songs that people can connect to. It’s therapy for me to get all that emotion out. My main goal in this art is to put my experiences in music and let others laugh to them…or cry…or dance!

[soundcloud url="https://api.soundcloud.com/tracks/293516318" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Love Who You Wanna Love is your current single. Can you tell us the inspiration behind that song?

In any circumstance, I believe everyone should love who they want; change how they must and be whoever they aspire to be. Just being able to live without judgement is how I see the future.

[youtube https://www.youtube.com/watch?v=uxoJMQAOzuo&w=560&h=315]

It follows your E.P., Just for You. How does the E.P. differ from your earlier work? You have faced tragedy and relationship breakup. Is it a darker work than your earlier material?

My earlier work was before the storm. It’s that feel-good music. The driving to the beach; no care in the world kinda music. Just for You was written about the three years I spent in a relationship that was probably always destined to end. I don’t believe anything I write is necessarily darker but it’s definitely more emotional and lyrically deeper.

You have said (in interviews) you want to be a strong voice for women. Do you think there are enough similar-minded artists out there? Do female artist get overlooked and discriminated against would you say?

I want to be a strong voice for anyone and everyone! I do feel close to my WOMEN because we do go through tough times. If we cry we are too emotional; if we don’t cry we’re not womanly enough.

If we stand together we look like we are whining… I mean it never ends. WHY can’t we just be!?  As women in this industry, we also have to be sexy enough or funny enough. WE SHOULD JUST BE GOOD enough. No matter what.

Which singers and artists have inspired you most in your career so far?

James Taylor. Always has been! I grew up listening to him; inspired by his lyrics and his guitar playing.  And of course my girls: Bonnie Raitt, Carole King; Aretha Franklin, Billie Holiday; Nina Simone, Sia; Beyoncé, Alanis Morissette…I could go on forever.

With music, I feel it always depends on the mood you’re in or the things that are happening in your life – or in the world at the present time.  If you asked me this after my breakup I’d probably say no music (L.o.L.). It was so hard to listen to anything without being reminded of the good times and the bad.

2016 was a busy and memorable one for you. Which memories stand out from the year?

Radio tours; Chains‘ release; Love Who You Wanna Love‘s release. My amazing team growing and growing. The discussion of the future and all of the beautiful people I would love to inspire through my music.

Obviously, you have new music out but what other plans do you have for 2017? Will you be touring the new E.P. a lot?

TOURING, for sure.

I will definitely always have the last E.P. as songs I’ll sing but I’m hoping to finish another E.P. in the next few months.

I am sure many in the U.K. would love to see you perform. Have you played here before and is it somewhere you are thinking of visiting?

I studied abroad in London and performed at the Fringe Festival in Edinburgh. It’s a magical place (the U.K.). I hope to be able to have the opportunity to do a world tour (or just to perform there).

Are there any new artists, either locally or mainstream, you suggest we check out?

My wonderful and talented friend Rilan. His passion for music inspires me all the time. We have collaborated a few times but have yet to produce a track. I’m hoping for a lot of that this year!

What advice would you provide any young songwriter coming through right now?

Never be afraid to be vulnerable in your music: the best work comes from your most trying times.

Whether happy or sad: give everything you have.

Finally, and for being a good sport, you can name any song (not yours as I’ll do that) and I’ll play it here.

(L.o.L.) That’s a hard one…hmm…

Let’s do With Every Heartbeat – Robyn

[youtube https://www.youtube.com/watch?v=smKf_cQCdeo&w=560&h=315]

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INTERVIEW: Bisola

INTERVIEW:

 

Bisola

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IT is tricky defining what really makes an artist stand…

out from everyone out there. Similarly, it can be a right pickle deciphering what separates a really great song from an average one. For me, personally, I look for something life-affirming and uplifting. If you are in a similar mainframe, Bisola is the musician for you. Honing her skills since the age of thirteen; the London-based singer-songwriter released her debut E.P., Holding on to the Light, in 2013 – it was met with huge applause and positive reviews. Million Miles is her new track and signals future release: a moment of musical brilliance capable of entrancing every listener. I was eager to learn more about the woman behind the music. Bisola talks about her upbringing and musical progression; where she is heading this year and a little insight behind Million Miles.

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Hi Bisola. How are you? How has your week been?

It’s been non-stop actually since the single came out: lots to do around promoting the single. It’s funny. It’s been a lot of work to get the music recorded, music video and (completing) promo shoots. Once the track has been released, I’m still working just as hard, if not harder

For those new to your music can you introduce yourself, please?

I’m a singer-songwriter. My thing is inspirational and positive music. I like to call my sound 'Soulful-Pop': especially once you hear the tracks on my new E.P. There’s a more mainstream Pop edge to the songs but they still maintain a soulfulness. I think what really defines my music is that I always have a message encouraging people in some way. I try to shine a light ‘in the darkness’.

You have been recording music since the age of thirteen. Were you always interested in music or was there a particular person who got you into it?

I remember my grandma taking me to church when I was (something like) four or five years old. I just remember thinking the music was so beautiful and something about it captured me.

That’s one of my earlier memories of music. I’ve always had a deep connection to it; almost like it’s part of my D.N.A. I’m always humming and listening to music - even if I’m not writing.

Your debut E.P., Holding on to the Light, was released in 2013. How do you think you have changed as an artist since then and what was it like having an E.P. out there?

I’ve definitely pushed myself to newer heights in this new E.P. Lyrically and arrangement-wise, there’s definitely a real sense of maturity and progression when you listen to it. The other big difference with this album is that it’s more personal than past works as I (really) share some of my own personal experiences - which is interesting as I’m naturally a very private person but I really felt like these songs needed to be out there.

[soundcloud url="https://api.soundcloud.com/tracks/169409326" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

The Impossible followed that E.P. and reached number five on the Indie Charts. It won huge plaudits from critics. What was it like receiving such accolade and what is the inspiration behind the song?

I was really chuffed the song did so well and that people really responded so positively to it. I wrote this song while on the beach in Miami. I’d just completed a trip around the world. I travelled for about three months just chilling and exploring the world, and while on that beach in Miami, I was thinking about how fortunate I was to have been able to do something like this - that people only dream and wish they could do but never do. I didn’t think it’d be possible either but I’d got to a point in my life earlier that year where I just felt fed up of ‘the rat race’. You know; you wake up, go to work; come back home, sleep; go to work; same routine over and over.

I was thinking there’s got to be more to life than this. I didn’t have much money saved up or anything, but the moment I made up my mind to chuck it all and go travelling - things literally fell into place to make it happen.

The lesson I learnt from that experience was changing our lives and our circumstances often start with a decision.

If I didn’t make that decision to pursue my dream of travelling around the world I don’t know if the song would ever have been written - so I’m really grateful that I didn’t let fear hold me back. I hope that this inspires someone to go do that thing they’ve been putting off for so long because they think they don’t have what it takes or whatever.

Million Miles is your new song. Can you tell us the story behind it please?

The story wasn’t anything spectacular – I wish I could say otherwise. I realised one New Year’s Eve that I’d not written a single song that year and I decided there and then I wasn’t going to go into the next year without getting a song completed. I already had a melody for the chorus recorded on my phone - a long time ago and - I decided to work with it; something just kept nudging me in the direction of it being a love song. With me not being the world’s most romantic person, I decided to ‘borrow’ the words that couples often say as their wedding vows (when getting married). The song just kinda went from there. I’m particularly excited about it as it’s a lot more up-tempo than the other stuff I’ve written in the past.

[youtube https://www.youtube.com/watch?v=NUOxM_GPV2o&w=560&h=315]

What was it like working with producer David Ezra on the track?

Amazing! I love that guy! He and I crack each other up so much and we’re always teasing each other endlessly. He’s a brilliant producer but I’ve also got strong ideas about what I want my music to sound like; so we’re always going back and forth trying to convince each other on who’s right. He’s definitely someone I’d like to keep working with in the future and I highly recommend him to anyone looking for a good-quality producer. He’s very professional and reliable, which for me, is really important – it’s the little things as they say.

The music video seems like it was quite fun to shoot. Whose concept was the video and is that a side of music you enjoy being involved with?

I worked with a bunch of lovely guys up in Manchester who runs a production company called Video Inc. They were really enthusiastic, and more importantly, cost-effective for the final product. We came up with the concept collaboratively. I definitely wanted to convey the wedding vow element to the song as well as (wanted to make sure) it was ‘PG-13-friendly’ as I wanted the video to appeal to everyone. Overall, it’s great to have a music video as people love visuals and it really does bring the song to life; but the process to get one done can be hard work – it didn’t help that the day we did the shoot it was freezing cold. I couldn’t feel my toes and fingers at one point! (ha ha). But I’m really pleased with the video. Everyone says it looks great.

Lessons My Mama Taught Me is your upcoming E.P. (out in March). It has quite a sassy, home-grown title. Are there home truths and cautionary tales on the record? What kind of themes and sounds can one expect?

Yeah. It’s a tribute album to my mum who sadly passed away last year. Although the songs were written at different points before and after she left us, the collection of songs takes the listeners through a journey around the themes of maximising our time and talents; not procrastinating and not being afraid to tell someone how much they mean to you.

London is an important city to you – and one you have performed in a lot. What is it like being a musician in London and how inspiring are the people to your music?

London’s probably the best place to be for music right now. So many venues offer live music and want live music than ever before.

Funny enough, I recently moved just outside London (‘cos it’s so expensive) but I’m in London pretty much every day for work and performances - nothing else really compares to it. I heard Ed Sheeran moved to London before he hit the big time as he realised that’s where he could get the opportunities for his music to be heard – clearly it worked!  I think one of the things that make London so great for music is that it’s so diverse and people are open to giving people a platform to share it.

Your music and voice is really smooth and sensual but has a real power and flair to it. Who were the artists you were brought up and inspired you early?

Whitney, baby! (Whitney Houston). I used to practice singing just like her when I was growing up and hitting all the high notes. Also, Mariah Carey was another artist I used to try and emulate. I think in their prime they were such massive singers and were so good. I thought: yeah I wanna sing like that. They really inspired me for sure. I was also fortunate to have been involved in singing in church for a good few years as that really helped me discovered my own voice and build confidence in my performances

Are there any musicians around at the moment really exciting you that we should all know more about?

I’ve been talking a lot about JP Cooper. He’s starting to get his break – he had a number one track with Jonas Blue last summer and he’s on an upward trajectory. I think what’s exciting about him is that he’s been around for years and years just plugging away and doing his music and not giving up - so it’s so encouraging to see things really starting to happen for him. It certainly gives me hope to carry on what I’m doing!

Looking back on your career to date, which memories stand out as especially memorable?

I think my favourite memory is when I had my launch gig for my first E.P.

The way the E.P. happened was such a quick and amazing experience and so many of my friends turned up to support me on the night – many of them didn’t tell me they were coming: they just showed up at the end of the gig and I was like “whaaaa!”. It was special.

This year has only just begun but you must have plans ahead. What are you most looking forward to or hope to achieve in 2017?

I’m definitely looking forward to the E.P. (coming out) in March. I actually wanted to originally release it in September last year but then the process took a little longer than I anticipated, and in the end, I decided to move it to January. Good thing I did as one of my favourite tracks on the E.P. was written in November and that would’ve missed the E.P. - had I gone with my original September release. Everything really does happen for a reason

What advice would you provide any young songwriter coming through right now?

Never stop writing! Share your music as much as you can - as that’s the way you grow - you discover your own sound and style and can carve out your own niche to set you apart from the crowd.

With platforms like YouTube you don’t even need to leave the comfort of your own home to share your music. Also, if you can learn to play an instrument (if you don’t already play one) that definitely helps.

I originally didn’t play any instruments when I started writing songs as a kid, but over the years I’ve picked up the guitar and it’s really helped me with writing better songs. I’ll let you into a little secret: I learned to play the guitar from YouTube! (ha ha). I’ve had a handful of lessons with a tutor to help me polish up some elements but I don’t know if I’d have ever have stuck at it if it wasn’t for YouTube. I could learn at my own pace and in my own way.

Finally, and for being a good sport, you can name any song (not yours as I’ll do that) and I’ll play it here.

Emeli Sandé's My Kind of Love. That’s a great track

[youtube https://www.youtube.com/watch?v=r_siYfZDh5w&w=560&h=315]

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Follow Bisola

Official:

http://bisolamusic.com/

Facebook:

https://www.facebook.com/Bisolamusic/

Twitter:

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SoundCloud:

https://soundcloud.com/bisolamusic

YouTube:

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

TRACK REVIEW: Alluri - Evari Kosam (For Whose Sake)

TRACK REVIEW:

 

Alluri

 

 

 

Evari Kosam (For Whose Sake)

9.2/10

Evari Kosam (For Whose Sake) is available at:

https://www.youtube.com/watch?v=gVKabVJElp8&feature=youtu.be

GENRE:

Indie

ORIGIN:

London, U.K.

RELEASE DATE:

2^nd November 2016

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IT is not often I get to review an artist who…

creates something truly universal – singing in another language and offering the listener a glimpse into a rather exotic and different world. Before I come to that (and my featured artist) I wanted to talk about different cultures and travel – and how that can inspire music – in addition to solo artists sourcing from different decades and genres. I will finish by having a look at the different ways songwriters are projecting love and documenting relationship breakdown. One thing that excited me about discovering new music is the places I get to ‘visit’. Although Alluri is based in London, his Indian heritage directly feeds into his music. It has been a while since I’ve reviewed a foreign songwriter so this will be quite interesting. It can be argued how much of one's culture goes into music – how much of it is enforced by commercial ideals and pressures. I see a lot of artists writing about home and sourcing inspiration from where they live. That not only makes music more personal and flexible: you get a real sense of who the musician is and where they come from. When I’ve reviewed artists from around the world, with each, I get a striking blend of national identity and familiarity. I hate artists that replicate others and simply do what everyone has done before. It is so lamentable and means music becomes over-stuffed with generic and formulaic songs. When you come across a foreign artist; there is instantly something unexpected and curious. In the past few months/year, I have looked at acts like Vanessa Forero – who has Colombian heritage and uses native instruments in her work – in addition to Mexico’s The Peppersplum. With each, I was treated to some ‘mainstream’/everyday sounds but got a real taste of where they came from and the environment they grew up in. That was most striking and pure with Forero - who champions the use of odd and strange woodwind in her music.

She takes from her Colombian lineage and introduces the listener to the kind of instruments she heard as a girl. That can seem like a risky venture in music. If you subject the listener to something rather strange then that runs the risk of them looking elsewhere. One would feel, when hearing about Colombian pipes and instruments, there was a touch of World music about things – a genre that has always struggled for acceptance. True, there was an element of that but you got Pop, Soul and Indie within her music: every track has a different skin and only employed Colombian instruments as a backdrop and emphasis. Hyderabad is the capital of southern India’s Telangaa state. It is one of the most upscale providences of India and houses the technological hub that drives the nation. In addition, it boasts many upscale shops and restaurants; historical sites such as Colconda Fort and a sixteenth-century mosque. Although around thirteen-percentage of the metropolitan area are composed of slums – those living well below the poverty line – Hyderabad has a rich and mixed musical scene. Dances like Kuchipudi and Bharatanatyam styles are popular (in Decca especially). Western and Indian popular music are favoured in addition to Filmi music - all of the historical, cultural and cosmopolitan blends would have inspired the young Alluri. Before I continue my points, let me introduce him to you:

“Born and raised in Hyderabad, London based Alluri’s latest cut Evari Kosam (For Who’s Sake) is a flawless demonstration of how the music world is a truly universal sphere, which exists only in the cultural blend that shapes its very existence.  

After digesting a diet of classical music as an early teen, an impressionable Alluri’s real music education began after he was gifted a guitar. Immersing himself an artist at a time, he learnt the guitar through the versatile catalogue of British indie of the 80s very finest. With Morrissey proving an overriding influence, it was his introduction to artists like The Doves on his relocation to the UK to study that really fuelled the singer/songwriter within.

A diarist to his core, Alluri’s songs wrote themselves during a six month travel break between completing his Masters in Finland and returning home to India. Contemplating a return to the setting that shaped him, travelling allowed him to assess how he had changed, provoking the realisation that in London he had been something of an outsider in cultural terms, while simultaneously feeling fully at home in aspects of British life.

Sung in Telugu while boasting a vintage, British sound, Alluri’s Evari Kosam (For Who’s Sake) is the culmination of his journey to date. The original demo was immediately picked up by legendary producers Tommasso Colliva & Massimo Martelotta (Muse).. With Telugu being so similar to Italian, Tommaso instantly bonded with the track, infusing his polished production style with Alluri’s raw songwriting talent. The new single represents a sonic shift in Alluri’s sound, employing an anthemic brass section & piano textures to enchanting effect. The haunting visual, is the brainchild of Indian director Reema Sengupta, Who says: 

“I wanted to make an awkward mood-piece of a lonely young man reeling from a break-up; and the sleeplessness, binge-eating and self-doubt that come with it. The protagonist sits in his own mindspace, littered with the little things he is holding on to - remnants of an ended but far-from-forgotten relationship.”

I love that idea of ‘Indian Indie’ as a concept in music. I have reviewed an Indian artist before (Antriksh Bali) who hails from Delhi. Coming from a different region of India, it is interesting seeing how someone like Alluri differs. I do love to mention influences and inspirations as a way of explaining a musician. In terms of Alluri, you get that distinct flavour of home with a mix of more universal artists. In various songs, you hear acts like Pink Floyd and Doves and get a sense of what influenced the young man. Evari Kosam (For Whose Sake) is performed in (Alluri’s) native tongue, Teluga. I admire an artist who retains their national identity but mixes that with other sounds. In the case of Alluri; he is influenced by British music and a range of different acts. I mentioned Doves as one source of inspiration. Those ‘90s/’00s Indie acts are big in his mind. The way Doves could project epic soundscapes and sheer intimacy within the space of a single song is something that has compelled Alluri. So too are the older gods such as Pink Floyd whose experimentation and tripped-out corners have oozed their way into Alluri’s sonic palette.

What I love about Alluri’s songwriting is the fact he does not shy away from recognising where came from. Vanessa Forero, whom I mentioned earlier, sings songs in Spanish and is keen to recognise where she came from and who she is. Alluri does not completely fill his music with Western sounds and try to fit into the pack too obediently. That would be quite a worry were that the case. So many musicians are moulded into something chart-ready and commercial – it means you get a mass of musicians who are following directives and making the most consumable music possible. The bold and brave artists are those that take risks and remain loyal to their instincts. It would be understandable was Alluri to produce a modern-day version of the bands/acts he grew up listening to. If you make music in the U.K., it can be challenging deciphering what the people want and whether certain sounds will be accepted. Fortunately, the people are responding to Alluri’s music with gusto and taking it to heart. It is some of the most fascinating and genre-less as you are likely to imagine. I mentioned how it was ‘Indian Indie’ but that would do it a disservice. It is much richer and more intriguing than that: a blend of Eastern wisdom and sounds together with a more familiar Western vibe. Every review I tackle I am looking at a musician’s influences and seeing whether they come into their own music forcefully. We all have those acts that really compel us but, if you are a musician, you have to be quite subtle when it comes to incorporating that into songs. Alluri has that distinctive British sound but ensures Evari Kosam (For Whose Sake) cannot be compared with any other song. It is a fascinating piece that has already received impassioned reviews and got to the ears of the biggest tastemakers in the U.K.

Before I come to look at the song itself – and the back catalogue of Alluri – I want to talk about love as an influence and the ways in which it is represented. I have heard so many songs that investigate break-ups and heartache but do so in such an insipid way. When I hear Alluri’s music and look at his past; you get a sense of a young man who has felt the sting of betrayal but eager to document that without falling into clichés. Many artists simply follow tropes and fill the songs with lazy lines and some rather uninspired sentiments. That can put off many people and is something we want to see less of. Sure, love is an important concern but it is the most common one in music. If everyone is writing about it that means it becomes harder and harder providing original aperture and revelation. Alluri has looked at love in his repertoire but never sounds like he is following others or reading from a manual. You get words from the heart together with some very deep language and well-crafted lines. Hats go off to him, but in a larger sense, it is his music and personality that really get to me. He has that Indian heritage but is based out of London. The young musician has soaked up all the capital has to offer but ensures the music keeps his home and heart strong and undiluted. He is a man who has a strong personality and resolve but has that tender and venerable side. All of this comes through in music but it is the compositional experimentation that elevates things above the regular and routine. Splicing together Eastern sounds (from southern India) together with British suggestions is a rather tasty and spicy treat. I would expect Alluri to keep recording and producing music for many years to come. His current single proves he is one of the most promising artists around. Those that create something genuinely new and original are to be commended – it becomes harder as time elapses. When you have that ‘genre-less’ sound already established, it means critics and listeners are going to be hooked and fascinated. I cannot wait to see where Alluri goes and just how far he can take his music.

I will investigate Evari Kosam (For Whose Sake), but before then, I shall have a quick look at Alluri’s back catalogue and how it compares. It’s With You is taken from the Who Are We? E.P. and looks at a beast being woken. Whether looking at love or a new bond, all the dreams (of a heroine I assume) have entered the hero’s world. There is that immediacy and drive throughout the song. This is evident in the composition which pairs hard-hitting, punchy percussion with twirling guitar notes and a distinct skip in the step. It is an implacable song that fights for submission and love. The girl is maybe unwilling to give herself fully to our man but he will not rest. That determination is underpinned by a composition that remains spirited and rich throughout. It is a fantastic song that gets into the head for a number of different reasons. The composition alone has enough energy and catchiness to captivate every listener whilst the lyrics talk of a man who is trying to make things happen and fighting against a sense of reluctant perhaps. This Life has a 1990s feel and a sense of fear running through. Alluri knows there is hate and uncertainty in the world and paints a very realistic picture. What you get from the song is hopefulness and a need to stand together. It has that Oasis-like anthemia swagger with a touch of The Beatles perhaps. Those snarly and electric guitar lines recall the 1990s legends whereas the abiding messages look back at the ’60s and a need to join together and stand tall.

The entire Who Are We? E.P. has a defiance and fantastically rousing sound – this comes through clearly in This Life. It is not quite as instant and immediate as It’s With You but it (This Life) has a fantastic chorus which sticks in the mind for ages. It is a more slow-burning song that reveals new ideas and pleasure across time. Even though it is a three-track E.P., there is so much ground covered. A fantastic accomplishment that has that very British sound to it. Evari Kosam (For Whose Sake) retains the British sensibilities but changes its themes somewhat. There were some negatives and relegation on the E.P. but that need for betterment and improvement comes through. The latest track is more reflective and down but there is still room for light and life. The biggest change – from the E.P. to Evari Kosam (For Whose Sake) – is the sounds and lyrics. Alluri brings more Indian sounds to his current song and shows he is always adapting and keeping fresh. If he were to pen another Who Are We? song then that would be troubling. What we get is a natural development but retention of that established sound. The fantastic guitars and percussion notes are there together with the assured and defined vocal. Bringing in a different language can be risky – and maybe seem strange to new listeners – but you get such an accessibility from Evari Kosam (For Whose Sake) few will walk past. It is a song that gets into the mind and compels you to listen time again.

Evari Kosam (For Whose Sake) spares no times with handshakes and awkward introductions. From the opening notes, you are straight into the song. The vocal comes in very quickly and is backed by a rather delicate piano sound. Unlike the E.P. – which was more bombastic and Rock-based – here there is more demure and calm. Our hero sees a girl is coming home but questions whether she has come back for him. “You smile like a machine” (translated) is a line that suggests her heart is not in things. Having left work and home – coming back somewhere she once called home perhaps – there is not the sort of warmth and happiness one would expect. Maybe rekindling a romance or seeing a former sweetheart is too painful. Dredging up those memories has caused a rather awkward situation to become palatable. The silences and smiles seem like the natural reaction given the situation. Maybe there was love but things became too hard to continue. The hero is examining every side and wondering why the girl is here. Before you settle into the comfort of piano and soft vocals, you get a blast of horns and an accelerated tempo. It is magisterial and regal; the drums roll and the brass reaches the sky. Juxtaposing a rather nervy and tense session of reflection; the composition acts like sunshine and support. It gives the song its much-needed sense of safety and provides positivity. Given the gravitas and seriousness of the words, one would need something to balance that out. Luckily, the music provides that and is a rather unexpected treat. Alluri is just a speck in the girl’s eye – maybe she does not even think about him. Conversely, our man cannot stop thinking about her. She infests his waking life and infuses his dreams without any consideration. It is the imbalance and tension that comes through sternly in the vocal. You can hear that emotion and fatigue; the need for answers and that desire to rekindle things. Maybe mistakes were made but there is a real desire to get back to better times.

After the first verse, we get some wordless chanting (from the hero) and a continuation of the composition. Those horns seem warmer and more enriching. Like someone walking into the sun - seeking some nourishment and truth - it is a blissful, candid sound. You get immersed in the notes and swim in its mix of caramel-smooth romance and tender kiss. It is an austere sound too and one which prompts reflection and self-assessment. The hero is pacing the room and seems lost at the moment. With hissing percussion and relentlessly rousing brass, it is as though this is a vital punctuation. In the song’s video, the hero is putting on a bow-tie and there is a drink with two straws. It seems like an important date beginning or a chance to broker some sense of reconciliation. In scenes of binge-eating and sullen expression, the lyrics talk of the hero becoming a “mobile kitchen”. He is getting into a state and cannot overcome the memories of the girl. This excessive eating is down to the girl: he cannot forget what they have together and how things ending. Rather than move on, he is self-destructing to an extent and trying to find answers in food. This idea of the other half moving on is enforced. She might be eating out and enjoying the company of another man whilst this man stays home alone and has only himself for company. He wonders whether she thinks of him and whether there is any memory she holds dear. You can hear the tears being fought but there is a slight hopefulness in the voice. Maybe not prepared to give up the fight, Alluri is remembering all the good times that came before. You get a sense of Doves’ 2002 album The Last Broadcast in some aspects. The horns remind me of the Cheshire band. The way they climb and fly brings light and physicality to the song. It is one of the most addictive and standout parts of the song. The notes intertwine and swoon; they strike with the percussion and stand alone, proudly. Few artists have the confidence to step away from vocal and lyrics for so long and let the music campaign. Such is the ability of Alluri, you have a song that says what it needs to in a short matter of time and then lets the music expand that point. Here, Evari Kosam (For Whose Sake) is defined by its blunt and heart-aching thoughts and sumptuous composition.

Alluri is a slave and someone who is held captive by these thoughts and pain. The girl is not thinking of him the way she should and that is causing stress. Spring will arrive, as it is said, when she looks at him and provides a human touch. The final seconds keep the composition going and offer chants and exclamation from the hero. It is fascinating seeing how Evari Kosam (For Whose Sake) develops and changes as it reaches the end. The song’s first half presents the lyrics and the pain Alluri feels. The second deals more with the music and expanding on those thoughts. The music is the extension of the lyrics and provides a new way of explaining the deep emotions and regrets the hero feels. Maybe the lyrics (and translation) may not instantly hit everyone but will become clearer and affective when you play the song more. Although some of the translations are not perfect; you get a real sense of what is being sung and the feelings portrayed. Alluri has gone through a painful split but wants answers. Whether he got them I am not sure but hope he did. Evari Kosam (For Whose Sake) is clearly painful from Alluri’s perspective but is fascinating from the listener’s viewpoint.

I have talked about various different themes – and how they relate to Alluri – and will return to those in the conclusion. I want to look at Alluri and where he might head in 2017. Evari Kosam (For Whose Sake) is released on Killing Moon and was picked up by legendary Muse producer, Tommasso Colliva. Those names alone suggest the music is rather stealthy and exceptional. The likes of Colliva would not pick up a song that was anything less than inspiring and awesome. Luckily, Alluri has crafted something wondrous and thought-provoking. Talking about the song, Alluri assessed it in these terms:

“I wanted to make an awkward mood-piece of a lonely young man reeling from a break-up; and the sleeplessness, binge-eating and self-doubt that come with it. The protagonist sits in his own mindspace, littered with the little things he is holding on to - remnants of an ended but far-from-forgotten relationship.”

That synopsis might sound off-putting and odd but it is one of the most honest and real representations of love you can imagine. Many songwriters, when looking at break-up couch it in oblique sentiments and ambiguity. You get quasi-poetic expressions and stereotypical couplets. Essentially, real emotions and feelings are buried in digestible soundbites and made-for-radio quotations. Alluri has no such desires (to follow the herd in such an obvious way) and creates a song that is real and naked. We can all relate to the self-destructive nature of the protagonist. It is such an evocative and tense piece but has enough light and accessibility so it does not scare listeners off. Alluri is, essentially, a diarist and documents his trials and tribulations on a regular basis. When coming to London, Alluri felt like an outsider and has to assimilate into a new nation. That can be hard for the best of us but for a musician, it can be even more difficult.

Not only do you have to adjust in terms of language and culture but you have to sell your music to a foreign audience. Things are different here (compared with India) so it has been a tough right-of-passage. Luckily, Alluri has had the opportunity to go back home and been touring around India. The raw expression and polished sound of his latest single is the bond of a fantastic Indian songwriter and a well-heeled, expert producer. I hope Alluri spends a lot more time in the U.K. as there is a lot for him to learn. In that, I mean there’s a wealth of venues to tour and stations to crack. I could see his music appearing on a station like ‘6 Music who always take risks and are one of the most wide-ranging and multi-cultural stations in the world. Evari Kosam (For Whose Sake) is a gorgeous and memorable song that deals with some tough times. The fact Alluri sings in his native tongue means it is much more personal and distinct than you’d imagine. That is a good thing and means there is going to be that demand out there. Where he goes from here will be interesting. Following his Who Are We? E.P., I guess it may be a little while before a new one is released. Maybe he will be thinking of an album but I do not want to put ideas into his head. Whatever is planned it will be great seeing a singular young artist take flight and make his next move. So far, he has settled in London but has that huge support back home. I am always searching for artists that have that special something about them: with Alluri, you get that in spades! He is going to keep on recording music and surely looking for gigs around the country. I have mentioned Vanessa Forero a lot: someone who has a similar discipline and approach to music and been getting gigs around the U.K. I hope Alluri looks beyond London and gets his music out there. I know there will be cities and towns who will welcome him in and provide a keen ear. That is going to be in the future, but for now, Evari Kosam (For Whose Sake) is where he is and what he is about.

I’ll end by revisiting my themes of national/international mixtures and influences; take a quick peek back at new and interesting ways of portraying love. Alluri has a population of nearly seven-million (a metropolitan population even larger) and is the sixth most-populous urban agglomeration in India. It where Alluri comes from and inspires his music and voice. Having kept that identity and heritage in his current song – choosing to sing Telugu and proud – it means you get a real and vibrant sound of India coming out. I have always yearned to make my blog more international and take in more foreign artists. A lot of the time, I get to here British artists, and whilst that is great, I am denying myself a large part of the world. I do not get to hear too many Indian-based musicians so it has been a treat getting to hear Alluri. His upbringing and tongue can be heard all over his current single. It has got me interested in India as a nation and what other artists are playing there. As I stated earlier, this is only the second time I have reviewed an Indian act. Maybe there are not that many indigenous artists or those that have that Western, British sound. Sure, there will be a lot of Indian acts in a very traditional sense. How well they could ever translate beyond the country’s borders is a gamble. It is heartening discovering a young man who does not abandon his roots to fit into the British music scene. He grew up, like a lot of people in India, with those British acts and classic legends. From ‘00s Indie to ‘70s Prog.-Rock; the young man was treated to a real spread of sounds and veritable banquet of possibilities. I guess that is one negative of Britain. We do not really have a ‘native’ or traditional sound like India. In terms of instrumentations and genres, there is nothing distinctly British. With India, you have that different languages and dialects but a national sound that is very much their own – the U.K. has to make do with mongrel sounds and universal genres. Alluri brings the spice, sentiments and sensations of India into a less romantic (but more commercial) British template.

Let’s round this up by taking a look at influences and giving relationship breakup a new perspective. Alluri has mentioned Doves as an influence which is something you do not often see. Perhaps not a big takeaway from Evari Kosam (For Whose Sake), you do get embers of the sadly-rested northern band in the song. The way instruments represent emotions; the sweeping score and direct, earnest vocals can be applied to both Alluri and Doves. Aside from that band, it is clear the London-based musician had a childhood filled with some truly exceptional music. I hear too many new musicians take inspiration from the same acts. It means, when they head into music, you have a mass of artists all saying the same thing and sounding very similar. It also means you have less distinction and, if you are one of those acts, are going to have a very difficult life – perhaps not survive as long as a truly original act. Alluri realises this and is not going to make the mistakes many others have. You get Indian influences but not so many it pushes listeners away or is too divisive. Likewise, when employing British influence, there are not too many obvious examples. Together, you get a song/artist that has the capacity to remain for a long time and bring his very special sound to the masses. I cannot wait to see if Alluri tours widely this year or has any more music left in his locker. Already catching the eye of some big magazines/websites; that will be very pleasing to someone keen to play music for as long as possible. The reason he is remaining in the critical consciousness is because of the unique way common issues are addressed. Not only do you have that flavoursome, multi-cultural sound but words that give a new angle to a commonplace concern. We have all been, in some form, victim to love and the cruel heart is possesses. Whether that is unrequited yearning or a full-on break-up – we have all been through the mill at least once. Alluri takes the muse and does not apply the same shades as everyone else. You get a very personal and uncommon experience in his music. It is as though the music has been ripped from a diary – such is the language and vivid expressions. There is something very human and unambiguous about the music. Many artists cram their heartbroken mandates with clichés and really boring lines. It might sound cruel but if you are going to tackle something as every day and over-familiar as heartbreak then make sure you provide a new slant on the issue. With Alluri, you have a man who brings such vibrancy, fascination and personality into his music. Many have tried to be as daring and unique as Alluri (but failed). He is very much…

THE real deal.

[youtube https://www.youtube.com/watch?v=gVKabVJElp8&w=560&h=315]

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FEATURE: Pop Goes the Theory: The Rise and Rule of the Female Solo Artist (Part One)

FEATURE:

 

 Pop Goes the Theory:

 

 

The Rise and Rule of the Female Solo Artist (Part One)

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THIS will be, like so many others, a feature I intend to extend across…

PHOTO CREDIT: Josh Shinner

a few editions. Last year, I was amazed by some rather wonderful female solo artists. Billie Marten, who I will bring back into this feature, was my standout: creating the majestic Writing of Blues and Yellows and still scurrying around my brain without any desire to relinquish its tenancy. I shall leave her until last because I wanted to select a few other artists worth watching – from mainstream-approved stars to some upcoming sensations. Jones (or ‘JONES’) is the moniker of Cherie Jones-Mattis and is housed on the 37 Adventures Records label. The Alternative-Pop singer-songwriter arrived in music in 2015: her extend play, Indulge, was named after her debut single and showed her to be one of the most promising young artists around. New Skin is her debut album and has drawn comparisons with the likes of Lykke Li and Yukimi Nagano. She teamed up with Shy Luv on the new single, Shock Horror! You can watch the video with Karma Kid and see just what all the fuss is about.

The London-based musician has a big future ahead and is an artist I’m tipping for great things. I have read interviews she’s conducted and (Jones) comes across as honest, earnest and open.

Last year, she amassed huge followers on social media and wracked up an impressive amount of Spotify plays. 2017 looks set to be even more exciting as she has the task of following up New Skin. I cannot wait to see where she goes and just how far she will progress.

[youtube https://www.youtube.com/watch?v=4i7ribdfufM&w=560&h=315]

Izzy Bizu is an artist that I have been following a while and another unique and fantastic talent. She was labelled BBC Introducing’s standout of 2016 and rightfully so.

A Moment of Madness is her debut album (released last year) and boasts a cavalcade of bright and hopeful songs. We all heard White Tiger do the rounds on radio and T.V. Bizu was shortlisted in BBC’s ‘Sound of…’ 2016 poll and saw her introductory L.P. score impassioned reviews and common praise.

Sometimes sharp-tongued; the young Londoner is a peppy and chatty woman who can never be accused of being ordinary and unspectacular. She is not your average Pop/Soul star for sure. She is warm and welcoming but has that distinct Landaan accent. Relocating to south-west London after spending her childhood in Ethiopia, her mother’s homeland, and Bahrain – where her father was working at the time. By her teens, she was sneaking into clubs and fell into a typical teenager lifestyle. There is still evidence of that now – occasionally boozy trips abroad – but Bizu has the discipline and attitude to succeed and remain. If her debut album has too many hints of Amy Winehouse, her songwriting and backstory hardly compares with the great, late legend. In fact, there is something cosmopolitan, town-straddling and ethereal about Bizu. Her music looks at love, regrets and fuc**** up but is very much her own voice.

[youtube https://www.youtube.com/watch?v=t1tYtNlcBOY&w=560&h=315]

Jorja Smith found herself included on BBC’s ‘Sound of…’ 2017 and was one of a host of female artists tipped for greatness. Maggie Rogers – someone I will include in a future edition – but does not possess the same magic and mystique as Smith. The Walsall-based teenager is just starting her career but all the signs look promising. After sampling Dizzee Rascal’s Sirens – for her standout track, Blue Lights – she got the thumbs-up from the Grime master. Her confidence, songwriting expertise and authority are already there – keep your eyes in her direction. I know Smith has a lot of attention on her shoulders and is being tipped for greatness. That acclaim might be the ruination of anyone trying to find their voice and create their first moments. Smith has been making music for years and has a great support network around her – her family are especially supportive of her career. I, for one, am eager to see where Jorja Smith heads this year. I suspect an album will arrive but she is busy performing and interviewing.

The hype is still there but she remains cool and settled. Of all the names that appeared on BBC’s shortlist of names to watch this year; there will be few that can match the sheer promise and vibrancy of Smith.

Her songwriting and voice have that extra edge and nuance. I feel she will remain for many years and continue to create album after album of exceptional work. Not to suggest BBC got their rankings wrong but always put a bet on the outsider. Jorja Smith is a smart, relatable and multi-talented artist whose fascinating career has only just begun.

[youtube https://www.youtube.com/watch?v=i59Klb0S1Uw&w=560&h=315]

PHOTO CREDIT: ED HARDY X Illustrated People Shop

All the names above are relatively established or have made their way to the precipice of the mainstream. In future editions, I will look at artists like JAIN and Lula James but am keen to highlight some underground, unsigned musicians that are doing wonderful things. London-based Lola Coca is one of my favourite current act and someone who always brings the good. She is a colourful, bright and vivacious human who is always dressed in eye-catching clothes and has an infectious personality. She has street smarts and attitude but a vulnerability and keen wit; an intellect and passion for music that few others possess.

Bad Girlfriend was the song that put her on the map as it were. A track still talked about and played: a masterful, commanding song that looked at boys wanting only one thing for their birthday – you might not have to use your imagination to figure it out.

Blending Ska, Reggae and Pop together with R&B; you get sweet-leaf hang and island percussion alongside whip-smart beats and hazy electronics. It is the vocals that get to me and really stand out. Lola Coca is a fantastic songwriter whose lyrics are truly memorable and humorous. That vocal dominates and shows such cool, verve and attitude. Whether negotiating sleazy businessmen (GQ) or oral sex-fixated boyfriends (Bad Girlfriend); she is always-in-control and hypnotic. Latest single Ego is, perhaps, her most assured and layered song. It builds off her previous work and proves she means business. Her first headline show will happen on 20^th February at Camden Assembly and you can still book a ticket. I know this year will be the finest from Lola Coca and one where she goes from underground hero to a stone-cold radio fixture – someone dominating the airwaves.

[youtube https://www.youtube.com/watch?v=d4y7tIJF7a8&w=560&h=315]

PHOTO CREDIT: Anna Urik

MissDefiant are another London act who are unlike any other duo out there.

Jordan Cather and Emily Rose Adams take a bit of Lady Gaga and Madonna and fuse it with a world of variegation and energy. Their songs always convey important messages but never in a dour and overly-serious way.

I have followed their careers for a while and know they’re another act that will go far. They play Hoxton Square Bar and Kitchen on the first of next month. I suggest you get down there and see the girls in the flesh. If you hanker for a duo that combines the best aspects of 1980s Pop with modern-day Electro.-Pop and Soul then you should not deny yourself the chance to hear the girls. 133t is an instantly memorable song with incredible production values whilst Calculator, their latest release, is as memorable, ear-lodging and fresh as songs come. There is never a sense the girls are following anyone else’s footsteps and trying to conform to expectations. They make their own music and follow their own intuitions. It is no surprise they have amassed a serious following and have some loyal fans following them. Competition out there is fierce and I know Cather and Adams will handle everything with aplomb and conviction. You fall for their music but get hooked by their varied and strong songwriting; the way they can shift themes and subjects without losing that singularity and focus. They are no throwaway Pop act – that talk of love and relationship woes endlessly – but a very serious duo capable of igniting the dancefloor. Their live performances are fantastic and they are indispensable in modern music.

[youtube https://www.youtube.com/watch?v=oUKCDX_tJF0&w=560&h=315]

My penultimate artist is another London-based singer – I shall come to look at more international artists in the next part. At the initial stages of her career, she is fighting to be taken seriously and avoid the pitfalls of her peers. Newspapers are linking her with Harry Styles and whether they are dating: it takes focus from her music and reduces her to tabloid fodder. That is the gamble every young Pop star takes when they enter the scene. The press will always be on their back and I hope Dua Lipa overcomes the hurdles and can shake off the paparazzi. She has just teamed up with Martin Garrix on his latest track, Scared to Be Lonely. In fact, Dua Lipa can sit alongside any other artist and fit into their fold. Her voice and adaptability mean there will be many requests from other acts.

Right now, songs like Hotter than Hell and Blow Your Mind (Mwah) show she is a young lady with a serious amount of talent. Her songs are sexy, sweaty and suggestive but there is never a crude edge or anything approaching crass.

There is tease and suggestiveness together with a boot-load of passion and power. The young artist has very little time to rest and relax through this year. She is busy speaking with magazines, recording new material and preparing her forthcoming debut album in June. The eponymous record sees her co-write every track and brings together new tracks with some of her older material. Dua Lipa is off to the U.S. to tour there soon (having played there last year) and has already created a huge fanbase over there. Despite the fact she has not yet released her debut album – but has that demand from America – is quite frightening and impressive. If she can dodge relationship rumours and stay focused on the music she will be one of the most talked-about (for the right reasons) acts of this year.

[youtube https://www.youtube.com/watch?v=lEMxuxPMspM&w=560&h=315]

PHOTO CREDIT: Victor De Jesus

Because it is 2017 (and promised I would wait until this year to mention her again), I am including Billie Marten in this run-down. She created my favourite album of last year (Writing of Blues and Yellows) and remains a British treasure. The Ripon-based teenager had a frantic and busy year (in 2016) and is taking the time to record new material and plan her moves. She balances study with recording and has some tough questions ahead. I know Marten is working on new songs and taking some time out.

It will be hard following up an album like Writing of Blues and Yellows which remains an absolute work of wonder. I could not believe, when I reviewed the record, just how mature, accomplished and nuanced it was.

I am still listening to the album months after its release. Songs lodge in the mind and do not let go. I try to unravel the complexities of songs like Emily and Unaware but struggle to make sense. The entire record stems from a young woman who grew up listening to the right influences. As a Folk artist, she always ran the risk of being lumped in with the less inspired, more boring options available. It only takes a few seconds of her music to realise she is a very special artist. It is that voice that rules and swoons; it swims and seduces as it pleases. I look forward to following Marten’s career and throwing as much support behind it as possible. She is someone who will be a huge star in future years and, already, is a staggering songwriter with very few peers and equals.

[youtube https://www.youtube.com/watch?v=_oD9hGnZqgw&w=560&h=315]

It is clear there is some immense female talent out there and I cannot wait to see the best and brightest shine. I have just tipped the iceberg but will continue to pull together artists you need to watch. Those I have include today are all doing great work and will continue that throughout 2017. From BBC Introducing's Izzy Bizu to Billie Marten; there is a wealth of female talent around. They often get overlooked in favour of their male peers and are not afforded the same opportunities. Surely that will change because, as you can see, there are so many fantastic artists around right now. Have a look around and discover the true extent...

OF music's brightest female talent.