FEATURE: Bands on the Run: Is Mainstream Music Becoming a Solo Market?

FEATURE:

 

Bands on the Run:

 

 

Is Mainstream Music Becoming a Solo Market?

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AS I continue my feature about the best albums of…

IN THIS PHOTO: The Amazons/PHOTO CREDIT: Matt Goff

this year; I am noticing one thing: none of them is created by bands. Well, one of them is a duo but, in terms of numbers – and the finest records of this year – one hardly gets past the three-piece. Look at the critical consensus and there is the proliferation of solo artists on their minds. Kendrick Lamar, Lorde and Ed Sheeran (whether you like him or not); Laura Marling, Stormzy and Waxahatchee – throw in The Is the Kit and Kehlani for good measure! None of these acts needs another voice to get their songs out to the public. As a flip-side to the great albums of this year: some of the biggest disappointments have been from bands. London Grammar are, to be fair, a trio but have left many cold with their second album, Truth Is a Beautiful Thing. Same goes with Royal Blood (a duo) but I am finding those mediocre albums – as determined by critics – are not being produced by solo artists, by and large. Imagine Dragons’ Evolve and The Amazons’ eponymous album have not registered big reactions. TLC, Linkin Park and Maximo Park have created less-than-wonderful albums. Maybe it is a funny year but I am finding few bands/duos/trios creating year-defining records. The xx are, perhaps, the only band (a trio, technically) who have made any sort of statement this year. It is a singles-game in terms of the most promising albums. One can quibble with a few names here and there. Fleet Foxes’ Crack Up is by a band but I see the album as a solo vehicle for Robin Pecknold – he writes the songs and dominates throughout. Let me back up and bring in some examples. The reason I have put Amazons as my thumbnail/featured photo is because they represented the resurgence/hope in new guitar bands. When I heard their single, Little Something, I was so excited by the Reading band and what their debut album would contain. Aside from having a stunning and vivid front cover – check it out – and some excellent, memorable song titles – the substance of the songs was a little lacking. Too many tracks geared towards the festival crowds and the audiences they graced/still do – the sweating throngs on the 'toilet circuit'. Many would argue that is what a guitar band should be about but there is little variation in terms of the music, themes and sounds. In forging their own sound; The Amazons have slipped into the realms of the generic and forgettable.

IN THIS PHOTO: Royal Blood/PHOTO CREDIT: Matt Davies

The same could be said of Royal Blood. The Brighton duo had my positively wet – expunge that image if you can@ – when they announced (finally!) their sophomore album, How Did We Get So Dark? Following an eternal gap from their debut; the only thing that has changed in the years since is a few touches here and there – Pop backing vocals and some wider lyrical concerns. The sound has rigidly remained the same: pummelled percussion and meaty, loud-as-an-atom-bomb bass. It is as though the best Rock artists are writing music to blast the masses into next week. It is the rugged working-class and the honest, raw Rock – well, that is what we DO need. There is something too clinical and ‘safe’ about so many of this year’s band-made Rock records. For every promising newcomer like Cabbage – they divide opinion but seem more promising – there are mainstream artists who seem more intent on writing songs for the radio than genuinely trying to progress Rock and Indie music. The legendary artists/bands of the past endured and impressed because they did something genuinely fresh and exciting. Even if they had an established career; one noticed a step forward between albums – new sounds and ideas. Royal Blood, Maximo Park; Imagine Dragons, The Flaming Lips and the likes – they seem to have lost their original promise and purpose. Whether I can turn this semi-rant into a cogent and cohesive piece is to be seen but there is method and logic in the argument. How many mainstream band-created albums can you name that you are hooked by?! There might be one or two but I am betting most of your favourites (from this year) have been made by solo artists – maybe a duo at a push. Perhaps there is no real reason other than the fact the most promising bands are not at mainstream level. A great deal of the poll-makers are recommending solo artists as their tips for success – is this deterring bands and creating a fallacy?! In the past, it was assumed bands ruled the roost.

IN THIS PHOTO: Foo Fighters

Look at the festival bills and one assumes Foo Fighters, Muse and Radiohead are what the public wants. The trouble is, they are older acts and, aside from Radiohead, the others have not released a new album for a while. Foo Fighters have announced Concrete and Gold (terrible title) and, if Run is anything to go by, it might be okay – their last album was a struggle to get through to; it is a bit iffy. Muse released Drones in 2015 and that was not overly-well-received. Coldplay, another big festival act, are not swimming in classic albums: one has to look lower down the list of festival names to discover truly worthy bands. If Rock, or mainstream at least, is showing a regressive attitude; it appears the underground are showing more intrigue. I shall come to them but want to present the flip-side to my slagheap of criticism. I do not write this piece to shame and scold the so-called ‘best’ bands around. In fact, two of the most promising releases of the year are going to be from bands. If the digitally-produced simians of Gorillaz didn’t live up the hype surrounding their album, Humanz (too many Zs, Damo!) then Arcade Fire surely will! The Canadian band has released singles from their forthcoming album, Everything Now (out on 28th of this month). The title track has delirious, kooky panpipes; Electric Blue – the latest revelation – sports some of their strongest performances for years – Creature Comfort and Signs of Life are terrific tunes. They look set to top Reflektor – an album that, rarely for them, was not met with universal acclaim. Everything Now seems like it will be the veritable dog’s wotsits! Similarly, responding to a four-year gap after Like Clockwork…, Josh Homme’s acolytes have teased new slice-of-cool, The Way You Used to Do. Villains is out on 25th August but the first single from that record brings in sounds of Swing and crooning legends; gilded to a stone-cold Rock swagger – the results are exhilarating and turbo-charged. It is a snarling, canine slice of dance that promises much gold from the Californian band. I am already waxing my knees from all the dancing I am going to do when the album arrives.

It seems like Queens of the Stone Age are one of the bands who, despite the fact they have been in the game a couple of decades, are capable of consistency, innovation and malleability. THAT is what the likes of The Amazons, Royal Blood and Imagine Dragons could learn from. Queens’ could easily produce Rated R part two but, instead, bring in fresh influence and sounds. Not every band is blessed with the same skillset and natural-born command of Josh Homme but that is not to say we should see such a dearth of compelling band music. I have highlighted two bands who shall not disappoint: is that enough to counterbalance the raft of underwhelming, half-cooked releases? I would say not, but wonder if this is a malady reserved for the mainstream? Perhaps the sensation has bypassed the blood-brain barrier and gone straight to the top. It seems, given its comparable mass and variety; the bands of the underground are priming themselves for a revolt. I guess it is hard to discipline and organise the truly great unsigned material from that which is merely okay. The sheer volume and berth of the underground means there is a subjectiveness saying THAT is where the best bands will come from. In the same way, Rock is not dead – it does need a colonoscopy, to be fair – bands are not a spent force. Last year was more productive for the market and I guess things will pick up this year. I am glad solo artists are getting the lion-share of the attention but it makes me wonder why. In terms of newer acts; it is pretty equal between bands/solo artists/duos etc. In the mainstream, I feel there is a mass majority of solo artists/duos. I did not realise the tide had turned this way because, as recently as a few years ago, this was not the case. One would see a great band doing well which, in turn, would compel their peers to up their game – that would create a wave and knock-on-effect. Is the reason we are seeing fewer great band albums due to their being no true leader in the field?!

IN THIS PHOTO: Laura Marling/PHOTO CREDIT: Lauren Connelly

I have mentioned the likes of Radiohead and Foo Fighters but we need new blood to strike and compel the field to create truly wonderful music. I feel there is scepticism from the media that is biased towards solo artists. Again, this was not the case until recently. Has something happened to sour the waters or was there the feeling solo artists were not getting proper exposure?! Whatever the reason, I am concerned this year, like last, will be synonymous with terrific albums by solo artists. Last year’s best was, in my view, a mix of Hip-Hop and R&B classics – Beyoncé chief among them. This year, so far, Kendrick Lamar, Laura Marling and Lorde look set to fight for the gold medal. Maybe it is their style of music that is being favoured – bands unable to replicate what the people want. HAIM, another band tipped for a lot of acclaim, have not produced their best work this year – same goes alt-j (maligned by a lot of critics and listeners after witnessing their album, Relaxer). I genuinely think it is an issue reserved to the mainstream right now. I get to see the finest new bands develop and strike – not just here, but all around the world. How easy it will be for the crop’s cream to assimilate into the mainstream is hard to say but we definitely need to see a chance. I am hopeful we will see a bit of a turnaround for the fortunes of the mainstream band dollar. This year, especially, has been lukewarm at best. Whether future releases from Arcade Fire and Queens of the Stone Age will be joined by a litter of unexpected quality releases, has yet to be seen. What I DO know is it is the solo artists of music making the big impact on critics. Whatever the psychology, origin and solution: I am keen to see whether the second-half of 2017 is any different. I hope we are not seeing a prevarication of mainstream band wonder – where solo artists are stealing most of the affection. If this trend continues over the next few years; it will have a damaging effect on the mind-set of new bands hoping to make a success of their careers. THAT, more than anything else…

IN THIS PHOTO: Arcade Fire

WOULD be a huge tragedy.

FEATURE: The Best Albums of 2017 (So Far): Lorde - Melodrama

FEATURE:

 

The Best Albums of 2017 (So Far):

 

  

Lorde - Melodrama

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AFTER I finished my laudatory piece about Laura Marling…

and her latest album, Semper Femina - it occurred to me how young she is. To write an album like that at twenty-seven is a remarkable feat: the fact that is her sixth album is truly remarkable. Now I face twenty-year-old New Zealander Lorde and I am back in that agog state. Following her 2013 debut, Pure Heroine, critics were impressed by her honesty, striking lyrics and addictive, incredible voice. Some were less kind but it was a felt, from an artist still in her teens, better work would arrive. It did not take long for Lorde to plan her second attack. Not long after the release of the album, a couple of months, in fact, Melodrama was starting to take place. If, in her words, Pure Heroine was the teenage feeling of preparing for a party – putting lights up, getting ready and sound-tracking the never-ending preening, preparing and clothing choices – this album is the youngster at the party and deep in the music. Maybe a clever way of explaining a mature step forward; one cannot help notice how different Melodrama is (to Pure Heroine). Whilst, unlike Sampha and Laura Marling (my two previous subjects in this feature), there are more writers/producers in the mix – it is not to say Melodrama is the work of a committee.

PHOTO CREDIT: Dean Chalkley

Eight of the eleven tracks feature Lorde going solo on the lyrics: she co-writes the music on all tracks – her and Jack Antonoff taking care of things for the most part. One feels Lorde could have written everything herself but found a connection and affiliation with Antonoff. Recorded over an eighteen-month period; there is a sense of realisation, discovery and growth on Melodrama. Pure Heroine was a young artist taking her first steps and preparing herself for the party, as it were. Melodrama is the full-flight, volume-turned-up-loud epicentre of the party. Not that there is needless bombast, petulance and rebellion. Instead, Lorde’s intensity and volume come in the form of maturity, huge originality and consistently brilliant lyrics. That might sound like a middle-aged version of ‘cool’ but, considering she was still a teenager when the final notes were being recorded, that is incredibly impressive. Lorde’s second album is, for the most part, battles with loneliness in all its forms.

Many have theorised the songs document a relationship breakup – the New Zealand artist has denied this – but it is about certain awkwardness and the pressures of fame. One would see someone like Lorde and assume – given her success and popularity – she would be fighting people off. Melodrama is a revealing look inside a young woman who is juggling music responsibilities and growing up – trying to find company but finding it hard to come by. Music is, intrinsically, a lonely and tough industry: few albums address it and redact the truth. Green Light, the first single from the album, is one of the more traditional breakup songs- Lorde stated how she loves breakup songs and gets an understanding of that side; not having to Google it and learn that way. Watching Lorde’s triumphant appearance at this year’s Glastonbury was a revelation to me. She was on a huge stage in front of thousands of people. It would be understandable were the nerves to get to her – daunted by the reality of being centre-stage and under the spotlight. Her charming, personal and humble performance was as real and authentic as they come. No vainglorious boasting and ego: a woman, at times dazed, who was overwhelmed by the crowds and their love. This sense of personality and modesty comes through in the music. Tracks like The Louvre – the heroine hanging in the back of the gallery; not quite prestigious enough to be in the atrium or public gaze – is a sheepish woman who wants attention - but knows she might have to settle for being a wallflower.

IMAGE CREDIT: Getty

That is unfair because, hearing Lorde talk and listen to her music, she is second to nobody. It makes Melodrama’s consistency, highlights and themes harder to take – knowing she deserves to be happier and more resolved. Perhaps loneliness and isolation have fuelled some of the greatest albums ever. Taking inspiration from Tom Petty, Paul Simon and Joni Mitchell; Lorde wanted Melodrama to be a catharsis but, also, combine hedonism and vulnerability. Writer in the Dark warns against kissing a singer/writer like her – a blend of kiss-and-tell caution and falling for someone who will lead the guy astray. Album highlight Liability is a bare and gorgeously-sung track – the second single from the album – where the heroine sings from the diary pages and confesses her inner fears (the track is under-produced to allow the words to strike and register more clearly).

Having grown up in the public focus since the age of seventeen; Lorde had no choice but live with that lifestyle. A young woman from the offset – not a petulant or pouting teen – she has become an apostle of maturity and acting your age. So many mainstream Pop stars are immature and too reliant on sex, relations and drama to sell their album. Lorde, by contrast, shows a dignity and steeliness her contemporaries should learn from. The input of Fun and Bleachers man Jack Antonoff is pivotal. He brings in retro. synths., stunning signatures and big, empathic moments: contrasting from Pure Heroine’s less diverse and ‘calmer’s sounds. Colour seems to be a background theme for Melodrama – and Lorde as a woman. The go-now green of the title track to the pastels and watercolours of The Louvre; the black and grey heaviness of Sober to the black-red-and-pink femme fatale allure of Writer in the Dark contributes to a kaleidoscopic collage of textures and tones.

If The Louvre is more about the doomed infancy of a causal relationship: one can extrapolate a sense of anonymity, invisibility and solitude. One hears literalism and obliqueness mix throughout the album. There are autobiographical elements and fictional passages: these contrasts and consistencies result in an album filled with wonder, promise and mysticism. Lorde is queen and master of everything she surveys on Melodrama. Her vocals range from bewitching and low-growled to high-pitched and ethereal. The songwriting is among the most original, personal and surprising you will hear all year – few expected such an evolution from an artist so young. Production values are rich and luscious when needed; under-done and subtle when the music calls for less tangible parentage. Because of this intelligent and wise approach to the music; critics have been buckled and seduced by the young Lorde. She continues to up the game and, at twenty, show there are plenty more albums left in her. Melodrama is a dizzying and wondrous record that has…

FEW rivals this year.

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Released

16th June

Recorded:

July 2015 – January 2017

Genres:

Pop; Electro.-Pop

Length:

40:58

Labels:

Lava, Republic

Producers:

Lorde, Jack Antonoff; Jean-Benoît Dunckel, Flume; Frank Dukes, Kuk Harrell; Joel Little, Malay; S1 and Andrew Wyatt

DOWNLOAD:

Greenlight, Sober; The Louvre, Sober II (Melodrama); Writer in the Dark, Supercut

STANDOUT TRACK:

Liability

FEATURE: The Best Albums of 2017 (So Far): Sampha - Process

FEATURE:

The Best Albums of 2017 (So Far):

 

  

Sampha - Process

________

THERE is a lot of talk concerning race in music and whether…

the industry is doing enough to support minorities. Whatever your views on this debate; there are a lot of inventive and compelling black artists that are complicated the debate – in a good way, that is. Many assume minority artists play in minority genres – it is a specious argument but one, ironically, created by the media/a section of people pigeonholing these acts to begin with. Step forward Sampha who is impossible to categorise and label. His music could be described as Neo-Soul or R&B; maybe Pop with a bit of Hip-Hop. He is at his most affecting when opening the heart and speaking from his own experiences. This is evident on the astonishing, articulate and deeply moving debut, Process. In past years, the British singer-songwriter has made use of his bedroom/homemade studio. Residing in Modern, South London; Sampha is known for his collaborations with Jessie Ware, Drake and Solange – among many others. Born to Sierra Leonean parents on 1988; the young Sampha (Sampha Sisay to give him his full name) played piano at his parents’ home in Morden. After his older brother made him a makeshift studio – and the curious youngster engrossed his mind with old recordings and new discoveries – the flame was lit. E.P.s Sundanza (2010) and Dual (2013) showed immense process and captured the intimacy and rawness of Sampha’s music. It was inevitable the hungry and ambitious musician would seek the comforts and choices of the studio.

Recorded at various studios in London; Process was, befitting of its title, a gradual coming-together of songs that were finally released on 3rd February. Not that Process is a huge expansion and sea change from his E.P.s. The songs are finely crafted and meticulous: time to make the notes and ideas gestate, grow and appeal. Around the time the album was written; Sampha lost his mother to cancer. Process, in a sense, is the articulation of the harrowed and devastated man coming to terms with a huge tragedy. On the album, one got a contrasted and afflicted man who was wrestling with grief and loss – someone unsure whether he has abandoned his roots and stepped too far into the mainstream. That could never be. Sampha was progressing from the confines of home and embracing the studio and its surroundings. Process has Sampha’s London roots ingrained in every note: memories and tales of his mother are entwined in the soil like a mighty tree.

It would be hard to give the music (on Process) its lustrous, cinematic and emotional immediacy were it not for some of the more hi-tech recording equipment available at the time. Sure, Sampha would have been able to create a more haunted and bare-naked sound at the home studio. Process is not a man taking a chance to follow money and a label: it is the natural reaction to the circumstances that provoked the album’s progeny. When writing the songs, he would have been acutely aware they would be played on radio – or, at the very least, make their way to people all around the world. The importance of the subject matter and instrumentations/sounds/values needed to authentically define his emotional and creative mindset could only emanate from the studio. He has not compromised values or lost any of his potency and credibility. Process has a sound that is not over-produced: it is organic and free yet has experimentation and scope. THAT is the reason Sampha, in his words and nobody else, felt he had betrayed his roots. One could not hear that unique approach to arrangements without an over-reliance on hand-held technologies.

Songs like Plastic 100°C has koto sounds and is soothing and panicked, all at once. Kora Sings boasts juxtaposed and intense percussive scramble; Reverse Faults showcases Sampha’s gift with samples and sonic patchwork – weaving it into something unnerving, strange and beautiful. What impresses me, and most critics, is that steadfast refusal to conform with the market and copycatting peers. Sampha did not feel the need to become the next Kanye West or Drake. He retained his London blood and distinct, peerless attitude to music and composition. An almost anonymous presence could easily sink without trace. The fact Process is no ordinary album is just as well: it is a moment in time that cements Sampha’s reputation as one of the world’s most impressive and vibrant songwriters.

Compassionate and soul-baring; strident and meditative at other times – a remarkable album that few people were expecting. Given the aftermath of his mother’s death; it would be forgivable were Process an inconsistent and self-indulgent mess. Sampha does not look for sympathy not turn the album into a family photo album. Instead, it is an album everyone can understand and feel connected to. (No One Knows Me) Like the Piano is, perhaps, the most affecting song concerning his mother – that early experience with the instrument and his mother’s hand in that. Rather than shy away from the heartache, stress and troubles experienced: Process is an execration and detox, in a way. It is a brave young man revealing memories and words that many would want to keep concealed – due to them being deeply personal and sacred. That is one reason why Process resounded with critics. Sampha, on the record, managed to turn tragedy into something beautiful and uplifting. There are genuine moments of sorrow but, against the tide of loss and change, there is hope and the need to process things and make sense.

Given Sampha’s work with artists like Jessie Ware; it would have been easy enough to have her sing on, say, Take Me Inside. Process is a personal/familial sermon so would seem disingenuous and tainted were too many other bodies to tell the story. Aside from a couple of co-writes later on the album – Timmy’s Prayer has Kanye West on the credits – it is Sampha alone. Three singles have been released from the album – Timmy’s Prayer, Blood on Me and (No One Knows Me) Like the Piano – and that is quite rare in this day. Many artists release five or six songs from a record. Perhaps there is another single coming but, one suspects Sampha is already looking ahead to his next release. Whether you agree with Sampha’s assertion he has abandoned a bit of his roots, one cannot deny the sheer wonder available throughout Process. It is one of the most impressive debut albums in recent years and, when it comes to this year’s best albums, it is…

PHOTO CREDIT: foxyneela

RIGHT near the top of the list.

___________

Released

3rd February

Recorded:

2014-2016

Genres:

Alternative-R&B; Neo-Soul

Length:

40:17

Label:

Young Turks

Producers:

Sampha and Rodaidh McDonald

DOWNLOAD:

Kora Sings, (No One Knows Me) Like the Piano; Reverse Faults; Incomplete Kisses

STANDOUT TRACK:

Blood on Me

TRACK REVIEW: Sasha Brown - Parallel

TRACK REVIEW:

 

Sasha Brown 

PHOTO CREDIT: @nastassjathompson  

Parallel

9.5/10

 Parallel is available at:

https://soundcloud.com/sashabrownmusicofficial/parallel

GENRES:

Alternative; Electro; Pop

ORIGIN:

London, U.K.

RELEASE DATE:

14th July, 2017

WRITERS:

Sasha Brown, Joe Kearns and Jason Elliot

_______

AFTER a brief excursion to New York…

PHOTO CREDIT: Anne Laymond (1883 Magazine)

and an investigation of Josh Michaels – I am faced with a homegrown talent who is already making an impact with her single, Parallel. I shall come to look at that – and Sasha Brown, no less – in a minute but, before the, and bearing her in mind, I wanted to look at a few things. I will talk about multi-talented artists and their scarcity; the capital and how I feel more bonded to the people and its music; those who have radio experience and can bring that to music; songs that look at relationships in a different way; those musicians tackling Pop and adding something new to it – female artists who are working hard and deserve exposure. I shall also look at social media and promotion but, before then, I want to look at artists who have a lot of skill and ability up their sleeves. With Sasha Brown, one gets an excellent songwriter and singer but there she is a musician too. A lot of today’s artists rely on other people to write for them and perform every part of their song. What you are left with is the voice and, sadly, good looks – marketed and exploited to the hilt. Sasha Brown, sure, is striking and beautiful but is someone who will never fall into the trap many of her Pop peers do – exploring beauty and sexuality for views, sales and success. Brown is a strong and defiant artist whose original and personal songwriting is doing all the talking. She is a saxophonist and, one feels, has a compositional curiosity that could not only see her learn new instruments – she had the knowledge and ability to add more elements to her music and explore new genres and possibilities. Whether we will be getting a horn-rich Jazz-Rock song – in the manner of early-days Steely Dan – or a sassy Beyoncé-style floor-filler in the next few months, I am not too sure.

Parallel benefits from a young woman who has an affinity and understanding of music that is not as prevalent as one might imagine. I look about the mainstream/new music and I see divisions. On the one hand, I look at the Pop/Soul/Alternative market in the underground and I am pleased to report hysterical talent and promise. Yeah, there are a few artists who need a swift kick up the arse by, for the most part, I am seeing so much talent flow through. Artists taking care of their music and imposing personality, control and direction – with an eye for instrumentation, nuance and mobility. In the mainstream, there seems to be less of that occurring. I know that word gets a bad-rap but, as we know, there are mainstream artists who have created some exceptional music this year. From Lorde and Charli XCX through to Sampha, Lucy Rose and the xx – some of this year’s best albums. The mainstream Pop demographic has a political and ideological division that is making it confusing and challenging for unsigned artists. You have those who are in the big leagues and deserve to be: writing their songs and performing music of the highest order. There is that rancorous and fetid collective of Pop performers who are processed-to-crap and have an army of writers dictating, controlling and directing. I shall not name anyone but we all know those pout-to-the-camera, dime-a-dozen artists who are produce anodyne, generic and insipid Pop. I will touch more on that later but what galls me about those artists is the lack of ability and talent. They hardly expend any effort creating any music/lyrics themselves and, often, sit back and watch a team create their music. When they get to the stage/forefront; one sees a rather faceless and dead-eyed artist churning out by-the-numbers songs. It is a depressing thing to see but a commercialism that has existed for decades. It is more pronounced in a digital age: there are more artists than ever and, I am afraid, that pre-teen/’tween’ market lusts after music with little depth or build-up – something instant, easy and uncomplicated. Maybe I am being too black-and-white and simplistic but I am always plump for musicians like Sasha Brown. She has the ability and hunger to carve up her own empire in music – a rational and genuine artist who wants to bring the public music that will endure for years to come.

I am envious of Brown because, in my view, she has a life I idealise hugely. I can imagine her apartment/flat would be quite Hoxton-modern: minimalist and modern with white-painted chairs and flower-boxes on the windows – a great view of a charming part of London with, perhaps, a cat scurrying around the kitchen now and then. Maybe that is a romantic vision that does not exist but I know two musicians who recently rented a stunning place in London – I can imagine their life is like that. Maybe Brown’s living arrangements are different but, in terms of her success, job and situation – this is something I am jealous of. Every time we hear something horrible hit the capital, I feel more bonded and united to its people. We have endured terrorist attacks and Grenfell; acid atrocities and some near-misses. From small-scale events to apalling loss of life – London has a resilience and togetherness that sets an example to the rest of the world. Sure, there are problems in the city – the immodest rent prices and fact the people are more sane and sensible than the rest of the U.K. – but there is so much on offer for the ambitious, young and curious. Brown is in a city that seems perfect for her. I will talk about her radio career soon but it is not only the landscape and people that will compel and motivate her – there are so many great musicians so close by. From upcoming Urban talent like Loyle Carner and Dave; scuzzy bands such as Goat Girl; Pop duos like MissDefiant. That is only touching the surface because, in terms of those new musicians, a lot of it is not being represented. I look online for those ‘London Artists to Watch’ and have to stick together bits from various sites.

The perfect thing about London is its links to the rest of the world. Brown is part of a city that attracts artists from around Britain and the world. I see a lot of American acts coming here. The fact we have so many great venues means a wealth of fantastic and interesting artists are hitting London. In terms of music cultures; I feel London and Manchester have the best acts, labels and venues in the country. London is a unified city but has its compartments and sectors. The flavour of music in the East of the city differs from, say, Brixton or Westminster. There is no such thing as a ‘London sound’ which means getting a handle on it will be tough. I hope the media does collate a genuine list of the best artists in London as, what I am seeing, is bastadisation and gerund assessments of great acts – we need a rundown that breaks artists into genres, location and age. A, theoretically, London Music Directory could give a map of the capital and put all the artists on there. If one wanted to find all the great Indie bands in Hackney, they could. If you need to know the best Pop acts from Greenwich then that would be possible. It sounds complicated but the reason I highlight this is because Sasha Brown is an artist who deserves a lot of acclaim. If one, anywhere in the world, could discover her music – in the context of London – then that would open more doors. In any case; I am fascinated by the banquet of London music and how inspiring it is. Every time the city comes under attack; it seems to have an opposite effect: people come through and join; many want to live here and do not care about any dangers. There has always been that vibrant and opportunity-laden music scene that is seeing acts like Brown conspire and dream. Parallel is a song born from a personal space but, one feels, born from the beat of the London streets.

PHOTO CREDIT: Anne Laymond (1883 Magazine)

I have already proclaimed my passion for Sasha Brown but the reasons extend beyond her music and personality. In terms of what she does; it seems like she is in a really cool place. If one is unfamiliar with Hoxton Radio – they explain themselves thus:

“Hoxton Radio sits at the top of the pyramid setting trends and influencing Londoners across habitual pop culture pursuits.

We innovate in bringing the freshest insight into fashion, style and new trends bringing fresh music to the airwaves, art to our viewers and picks in food, photography and creative networking across East London.

Our partners include Old Spitalfields Market, Tate, SOS Rehydrate, Frame, Supermalt, Eventbrite, The Hoxton Hotel, Vice, Intel, Shopcade, Tate, V&A, UAL, Foffa Bikes, The Breakfast Club, London Fields Brewery and Hackney Council.

Amongst our roster sits Ashley James, Stefanie Jones, Arielle Free, The Preshaah, Liam Young, Elspeth Pierce, Charlotte de Carle, Sabrina Carder.

Hoxton Radio works closely to support the arts and run in depth coverage for First Thursdays with previews, artist interviews, analysis and editorial coverage on air and online”.

I am not sure what their recruitment policy is at the moment but, God help me, it seems like a Paradise for an ambitious presenter/D.J. In my mind, my perfect situation in life would be working for BBC Radio 6 Music – as a producer or music news presenter – and living somewhere like Hoxton or Hackney. I would be able to do the dream job and, in the evenings, drink in the multicoloured carnival of the London nightlife – a casual cocktail down at Nightjar or a more vivid rooftop night at Queen of Hoxton. Hoxton Radio seems like a station one would be pretty comfortable in. They present fashion broadcasts and talk about culture; focused on interviewing and promoting new musicians – always keeping one eye on classic music and the best artists from the past. Yes, it is ultra-cool and youthful but has a vibe and quality that is hard to ignore. I shall step away from my ‘subtle’ bits at a proxy job interview but know Sasha Brown is one of the most important and talented additions to the roster.

PHOTO CREDIT: @nastassjathompson @zarakaplanmakeup

She, not only, is surrounded by some great people in a stunning location – Spitalfields is right there: right in the beating heart of London’s fashionable quarters – but has that ever-vital work experience. She takes to the airwaves and, not only gets to hear, first-hand, the freshest artists in the capital – Brown has that knowledge of promotion, interviewing and ‘selling’. She helps boast other artists and has a front-row seat in terms of P.R. and exposure. Not that Hoxton Radio allows her the chance to big-up her own music relentlessly – more is the shame but one must have an ethos and discretion – but few musicians have such a knowledge of the inner-workings of music and what stations like Hoxton Radio are all about. It might be small compared to, say, BBC Radio 6 Music but it is one of the finest radio stations in London. The blend of music played and features mean it appeals to a broad demographic: its market-share extends beyond the Über-Hip stalls of the market and its patrons. I hope Brown remains at the station because, looking at her social media feed, she is travling the world and interviewing great artists. If she is able to balance the encroaching and increasing demands of a music career with the day-to-day of the D.J. world – then, she will have the best of all worlds. The two are connected and bedfellows what will help expedite her passage to the mainstream. Having that background in radio gives her the advantage regarding getting her music out there and to the right people. Not only that but she has that enviable reality of not having to take on a job she hates to fund her career – so many modern musicians work several jobs in order to make their dreams work. Even if you take an internship position; one can go to a station like Hoxton Radio and see how the ‘machine’ works. It is an invaluable insight into radio and the music world as a whole – for someone like me, who wants to reach the Elysium of BBC Radio 6 Music, having that convenient and near-located experience at somewhere like Hoxton Radio, that would be immense. Brown, by virtue of her tender years, is on a trajectory that, I feel, will result in chart success and national radio presenting. I look forward spectating her assent and drive. There are few artists that have such a zeal and passion for what they do.

PHOTO CREDIT: @nastassjathompson

This brings me, rather neatly, to why I feel Brown will succeed. I will come to look at my last two/three subjects in a bit but, coming back to Hoxton Radio; Brown has a wonderful attitude towards promotion and spreading her music. Looking at Hoxton Radio and their website; one cannot help be staggered by its design and looks. It is easy to understand and looks beautiful. Considering a lot of their focus is on fashion and London’s stylishness; it should come as no surprise the website is so good-looking and stunning. Brown takes a similar approach and ensures her official website is striking and informative; her social media pages are updated and refreshed constantly. You get a direct look into a bold and hungry young artist who wants to succeed. There are few that have the same energy and work ethic as Sasha Brown. So many artists overlook the necessity of having photos, information and news on their pages. One gets a lot of wonderful images of Brown; a biography and news of what she is up to. That is great for a fan but indispensable for a journalist. It is easy collecting shots to put in a review and one gets an understanding of what makes her tick and compels her music. Right now, Brown is on Hoxton Radio duties elsewhere but, in the past week-or-so, has been on full-throttle promotional duties. Parallel has passed its release day and Brown has been pushing it out to radio stations, websites and reviewers. Many artists have P.R. companies and labels doing that but Brown, inexplicably, has found the time to promulgate and highlight her new song. Many would argue that is what every artist has to do but, I feel, Brown deserves a record deal and P.R. backing – so it could afford her more time to focus on songwriting and her job at Hoxton Radio. In any case; Sasha Brown acts as a shining example of what a young artist should be. Putting in that attention and passion can be gruelling but, if one wants their music to get to important hands, it is something that needs to happen – and not let the ball drop when you release more music.

PHOTO CREDIT: @rhona_murphy

I will tackle Brown’s expose of love and her bent on relationship intricacies but, until then, a little more on her merits as a self-promoter and artist. Hoxton Radio is that perfect boutique station that has its mind of discovering the best artists from around London. Brown can consider herself among them but never relies on her position and nepotism. What she has is the open window of London in front of her. As a D.J., she is able to interview and feature artists both upcoming and established. Seeing how they work and what they need to do to get success will rub off on her. I know she has been watching MistaJam – a stalwart of BBC Radio 1 who is among the most influential D.J.s on British radio – and would have had the time to talk to him about his radio work and the kind of places he has come from. Brown, during her job, gets to unearth an array of artists and will learn a lot about the types of venues they play and what music is coming from them. All valuable experience for an artist who is putting her first moves together. Sasha Brown is not someone who sits back and lets a team take charge of her career and where her songs end up. Instead, she is determined to do things her own way and ensure Parallel reaches the most important and influential sources (and me, obviously!). It is a hard slog and will tire her – even though she projects an endlessly positive façade – but it will reap benefits and long-term success. I am confident Brown’s fastidious and tireless commitment to music will lead her to the big leagues. I guess she has plans and ambitions in the coming years, I will get to those in the conclusion, but, from the off, she has an impressive and focused approach to marketing and promotion. Even though Parallel has dropped; there are performance considerations and ensuring the song makes it way onto local and national playlists.

PHOTO CREDIT: @nastassjathompson

Coming onto Sasha Brown and Parallel; it is, in parts, a critique on club culture and the kind of scenes Brown must experience as a young Londoner: it is a treatise on the complex and detailed intricacies of a relationship. Doubtless, Brown would have found herself entrenched in a relationship that, for one reason or the other, is not running as smoothly as she’s hoped. The reasons behind the dislocation might not be easy to explain or one-dimensional. Perhaps there will be personal differences or each party wanting different things from life. The reasons people find love and fall for the person they are with can be simple and obvious: the reasons they fall apart, rather ironically, can be very complex and unpredictable. Brown’s song, as I will show, spotlights a relationship where the two parties have love and affection but are moving in different ways – much to her chagrin and confusion. In fact, it is more about alignment and synchronicity: lovers who are on the same page but never really coming together as they should. The vernacular of love is different for everyone; the art of a relationship cannot be distilled or confined to soundbytes and easy definition. The task for many modern artists is trying to explain their dynamic and perspective about love whilst retaining an air of mystique and the personal. I feel one of the reasons Brown has chosen to write Parallel – and explain its story and background – is because there is a mass market where love songs are stuffed with basic language, predictable storylines and tattered metaphors. Looking at a lot of mainstream artists and there are recriminations, accusations and judicial vengeance. One never really glean why the relationship crumbles or anything more intricate. Brown does not look at the breakup or rush of affection: there is a forensic examination concerning the tectonic plates and personalities and how one sees two like-minded people moving forward but not gelling as they should. Parallel has an intelligent and deep motif that has a philosophical and metaphysical nature. One finds themselves supporting the heroine but thinking more about their own relations and security.

I’ll return to this point in the conclusion – as it warrants fonder explanation – but I am keen to examine Brown’s music in relation to the Pop market in general. I feel Sasha Brown is keen to add a breath of fresh air to the Pop industry. It is a complex genre that has a lot of sugary-sweet songs and commercial artists; too many acts driven by Spotify streams and download figures – their heads concerned with profit and popularity as opposed to credibility and respect. I know there are ample amounts of artists who pen proper Pop – it has an adult mind and appeals to a variegated and cross-pollinating mindset. Hoxton Radio, Brown’s employers, tends to spin Pop/music that has cooler and credible edges – less reliant on the florid and vacuous brand one hears on some national radio stations. As I type this, rather fortuitously, I am listening to a Desert Island Discs broadcast conducted with Scottish poet, Liz Lochhead. One of her song choices is Marvin Gaye’s I Heard It Through the Grapevine. That spikes something in my mind. That is a Soul classic but is a different take on love and its harsher nature. I feel Brown, whilst one cannot draw a line between her and Gaye, is more concerned with avenues not often discussed and explored in the mainstream. One can argue the word ‘credibility’ is a subjective construct. Music is very personal so how can we say what is good or poor?! I argue there is a consensus that is looking for something a little more substantial in mainstream Pop. It is the most profitable and burgeoning sector for music and the most influential – because it is the young demographic who listens; they are the ones who will dictate music trends in years to come.

PHOTO CREDIT: Anne Laymond (1883 Magazine)

If we are going to produce a generation who hold great music in high esteem; we cannot logically defend some of the Pop music we are subjected to. Crusaders and pioneering artists like Sasha Brown are not trying to overthrow the hegemony of the mainstream – they want to offer a viable alternative that can assimilate into the current Pop culture and provide young listeners with something different. So much of modern music is dictated by what is quick and instantly effective. That is okay if you want to appeal to short-term memories and those who do not want nuanced music. Artists like Lorde have produced Pop albums that show what can happen when you write adult, layered songs. She has been taken to heart and not conformed to the worst traits of the mainstream. Lorde is someone I can tie Sasha Brown to – easier than Marvin Gaye, anyway – and the kind of music that, whilst less prevalent in the mainstream, is much more appealing and intriguing. I shall wrap the introduction up wanted to highlight Parallel as a song one will be hearing a lot more of in the approaching weeks. Brown has been non-stop promoting and getting the song to the people. I am hearing from people who have heard the song and there is the impression it is different to what is out there. It has a summery vibe and distinct energy but there is an anger and explosiveness that adds something spicier and darker. There are few new artists as impressive and hard-working as Brown. She has her sights set on the future and making a big success of her career. The initial stages are always nervous and unpredictable but, so far, everything has been good and sweet. That is because, in no small way, she is a diligent and driven individual that wants to dedicate her life to music.

“All the noises make it hard” is a sentiment that instantly gets the imagination conspiring. Before then, one hears a brief electronic swell and pulse that projects some shadowy images. It is a perfect way to get the song underway: never too long and aimless; tight and compelling in its brevity. When the heroine comes to the microphone; she looks at this relationship and why things are taking a turn for the worse. The lovers are driving/moving slow in the fast lane; they are moving in different directions – it seems odd considering they are together and, one assumes, things were fine until this point. Maybe things have changed or the relationship is running its course. Brown never confesses whether there is any indiscretion and infidelity in the relationship. The two parties are looking at one another and, from the outside, seem connected and solid. We know that is not the case and there are definite cracks forming. “Play pretend to make it better” seems like one of the more heart-breaking and naked revelations from the song. It is though she is conspiring to tell a lie to save a sense of face and hurt. Putting on this mask means people in her life never get to know how bad and stressful things are. In a way, the sweethearts and kidding themselves and delaying the inevitable. Perhaps it is easier putting plasters over the splits because letting go is a final solution they do not want to entrain. I guess every relationship has its struggles so it might be premature to go separate ways when the first bump in the road occurs. One suspects this is not the first time the duo have had to encounter difficulties. Brown, in the verse, expends a little of effort providing her thoughts to the situation – it is quite heavy on narrative, exposition and language. The voice is fast and heated which gives the song a sense of anxiety and hurry. The listener is taking in one direction: when the chorus comes; that dynamic changes and the song is less accelerated. Well, in terms of vocals/lyrics it is because, in its place, is a warped, skewed and echoed electronic ‘voice’ that seems to embody the combination of emotions occurring inside the heroine.

PHOTO CREDIT: @charlicohen

There is something familiar and pleasingly tangible about the chorus. It has an oldskool vibe to it but – like Beyoncé, Lorde and the queens of Pop/R&B – that blend of easy confidence and hooks. Brown has a wariness and hesitancy but controls the song in a way one never feels the need to rescue her. There is not the sense the dam will break and the tears will come out. Rather, one hears a strong young woman who is calling her fella out and trying to confront the problems in a very mature way. In the same way as, say, Beyoncé looks at a sour love without rose-tinted glasses – Lemonade has its aggressive moments but there was candour and consideration mixed together – Brown seems like she is attempting to reconcile the divisions with a pragmatic and dogmatic approach. There are definite truths and appears there is no one-sided culpability. The beats are thick and bellicose; the swagger and defiance there – coupled with a sadness and sense of confusion. Brown rides the electronic-percussive wave like a G but reserves herself from cussing, exploding and breaking down. In a way, she is detached from the white-hot heat of the situation and viewing the relationship like the proton in the atom – never disembodied or disconnected; surveying the fragmentation with a bird’s eye view of the surroundings. Brown is not too engrossed and biased; there is never naivety that would cloud her vantage point or exacerbate the situation. Things are a mess – as she says so herself – as the need to play for the crowd is starting to wear thin. She cannot pretend and is exhausted by the emptiness and cold nature of the relationship. If two lovers are sharing a bed and a physical connection but do not have that intellectual and personal simpatico – you are not in a real relationship; more in a sexual bond. That might be alright for some but Brown seeks something deeper and more fulfilling. One cannot give their heart and time to a relationship that is bankrupt and morally fraught. It appears the guy has some culpability and Brown is not one to exonerate without good reason. One never gets the reason behind the disenchantment but things have run their course – two people with conflicting ideologies and views on what a relationship is about.

PHOTO CREDIT: Anne Laymond (1883 Magazine)

It might be iconoclastic to say this but I feel some of the finest Pop artists exaggerate and embellish songs of love/relations in order to connect with their audience – heightening their commercial appeal and meaning their songs get onto radio quicker. That might seem cynical but one hears a lack of genuineness and authority in some songs. With Brown, that can never be the case. You hear Parallel and follow its arc and tribulations. Maybe she is still invested in the relationship – it is reaching its ugly conclusion and still has some tattered feathers clinging on – but the best days are very much dead. It is quick voyeuristic spectating as one hears the heroine pour her heart out and unveil her troubled thoughts – quite hard to divorce oneself from the emotion and struggle the heroine faces. The good thing about someone young and in love is the fact heartache will be a familiar currency down the line. That might not seem positive but (it might not be the first time Brown has been heartbroken) a certain exposure and experience make future breakups easier to handle. The tender in years have a tenacity and resilience others do not share. That is not to say any upset and anger would be unwarranted: there is a sense of pain that runs through Sasha Brown’s new song. The heroine’s voice retains its proprietary blend of sexuality, seductiveness and strike – she is alluring and silky-smooth but has the high heels on (and is determined to stick them in the nuts of her doghouse-bound man). Maybe the fact she acknowledges things are past salvation gives her some closure – one can never get closure in any situation but a comparable sensation – and clarity. She is not doggedly clinging to a sinking ship hoping it will turn the right way up. Brown is in her twenties but does not display the ignorance and naivety many of her contemporaries do. It would be incongruous to suggest Sasha Brown has transcended the situation but she has mollified and mitigated her most poisonous sense of revenge and attack with passing of time and anger – not as aggrieved and dismayed as in the beginning.

Anyone approaching Parallel and expecting to hear your run-of-the-mill Pop voice – over-produced and produced to crap; lacking any emotional spectrum and inflexible to the core – will have to think again. In the first-half of the song alone, I hear so many different inflections; cadences and shades emerge in Brown’s vocal. Backed by electronic and percussive entanglement that ranges from sweaty and sexual to jungle-cruising and street-pounding – it would be hard to coalesce these diverse components into a cohesive whole. Maybe her work on Hoxton Radio – and natural exposure to variegated Electronic music – has given Brown a sixth sense and natural affinity. The composition is the arrhythmic heartbeat that defines the entropy and fragility of the relationship. It is rude and righteous enough to gain nods from the most credible and cool city-dwellers but blissed and sweet-leaf so it could traverse the islands and luscious beaches and gain the kudos and flirtatious winks of the most bronzed and bountiful bodies. In essence, its brain and bones are installed and instilled in London: the soul, essence and spirit seem to have their sights set on the beaches and warmer locales. Brown sits in the mix as the narrator and heart-acher: a staunchly brave woman who realises the relationship is ready for disposal (“All our love is all dried up”). Looking at Brown’s voice and one hears quivers and soulful touches emerge. In terms of her influence, there seems to be a blend of U.S. R&B/Pop with British Alternative/Pop. On the one hand, she has a sultry and luscious tongue with an imperious and unyielding confidence. It means Parallel sounds natural and distinct but has some familiar sounds creeping in. This will mark Sasha Brown as an artist to be reckoned with but, one feels, give her an advantage when it comes to getting the song into the wider market. There is no shortage of honesty in the song. The heroine knows things have dried and there is no real way back. It is a song that will resonate with a wider sector of the population – not just the teen/pre-teen market or females. Parallel is a rewarding song that demands repeated plays: new insights and joys can be exposed every time you hear it. Among the seriousness and potent emotion is a sense of fun, frivolity and dance-ability – this is true of the composition that is adaptable enough to rule in the clubs but primed for various radio stations and locations around the world.

PHOTO CREDIT: Anne Laymond (1883 Magazine)

I will finish this up but, before I do, look back at some of the things I addressed in the introduction. Before then, a look ahead at Sasha Brown’s year and what it holds. We are past the halfway mark of 2017 and, so far, it has been a great one for music. Some of the best albums of the last few years have been produced in the first few months of the year. This is having a knock-on effect on new musicians who are providing the world some stunning music. Brown is among that pack determined to have the same chances and platform as the big artists. Parallel is a strong and intent declaration from a young artist who could easily fall into clichés and pigeonholes. She is young and beautiful and has brought out a song about relationships. Look at the mainstream and there are plenty of people doing that. What separates Brown from the clan of empty-eyed Pop artists is the personality behind the ‘looks’. On the surface, yes, she could be labelled as an average and everyday Pop artist. Discover more about Sasha Brown and one bonds with a bright, vivacious and fascinating young woman. Parallel is no ordinary song and tackles love in a new way - I will return to this later. What I want to see if London opening its doors to Sasha Brown and providing her some chances to shine. There are so many venues close by that would eat up her music. Maybe Brown will wait until there are more songs in the ether - but I am sure she has some cover versions in her repertoire. I do not know but am sure there will be more songs/an E.P. further down the line. There is a definite passion in Sasha Brown: a need to capitalise on the affection Parallel is receiving and keep that momentum going. Whether she will put an E.P. out before the end of the year I am not certain but it would seem likely. Then, she will have more songs to take around London and rock the best venues we have. Brown will play Secret Garden Party at 12 P.M. on Saturday, 22nd July, so make sure you catch her there!

PHOTO CREDIT: @nastassjathompson 

Almost finished but, before I leave, a revisit of some things I talked about earlier – London and its importance; artists who are strong, original and multifaceted; female artists and getting them promoted (something I overlooked in the introduction). London continues to impress, awe and amaze. It is a city that is at the forefront of modern music and produces some of the finest acts in the world. Not only do we have the best venues here but the most diverse and fascinating sounds around. Maybe I am biased but, the fact so many international and nationwide artists are coming here, proves my point to an extent. It remains that natural calling for those resigned to towns and villages. The same way New York provided a sanctuary and new life for people years ago: London is the Mecca and perfect location for the musical immigration. The situations are not the same but London is synonymous with its musical heritage and attractive qualities. I know there are downsides to the city – like any, in fact – but the benefits and allure outweigh any negatives. I bemoaned the fact some people I know have moved into an idyllic place in London very recently – and the fact I have a very London-centric ‘dream life’ mapped out. One cannot refute the seduction of the capital: that is especially true when it comes to music. I am determined to get there but Sasha Brown is already there. Working for Hoxton Radio, she is in the enviable position of getting to see some of the capital’s best and most eager artist come through. Against the feculent belch of the mainstream’s worst; Brown is being exposed to artists who have the chance to make positive changes in music. She is among them and in the best city to exploit her talents and determination. I looked at how effective Brown’s promotion is and that is something one cannot overlook. Too many rest on their laurels and assume a P.R. company/label will do all the hard work.

PHOTO CREDIT: Anne Laymond (1883 Magazine)

What strikes me about Sasha Brown is her many talents and how that can lead to a long career. She is a saxophonist and, in a strange way, gives her more options than you’d imagine. In terms of genres; Parallel is not pure Pop and suggests Brown will be experimenting with new sounds very soon. In any case; she is someone who can play music and more at her disposal than most of her peers. As a singer, she has a definite blend of colours and emotions that stick in the mind. Her music appeals to the heart, soul and bones. One hears a song like Parallel and gets their body moving but stops and thinks. It digs deep and makes one think about their life/relationships and the complexities of love. The music, production and vocals all shine and project so much energy, curiosity and passion. These are components that, when mixed with the enthusiasm and talent of Sasha Brown, creates a wonderful music concoction.

Brown is not someone who needs a cavalcade of people putting her music together. There is a singularity and determination that one would like to continue. I am excited to see how Brown develops and evolves as an artist – whether her new songs will tread the same path or take in new inspiration. I feel female artists have to prove themselves these days. There are fewer big chances for female artists - which is an injustice that needs to be redressed. I am unsure whether it is ingrained practices or stubborn prejudices that are prohibiting some incredible artists progressing as fast as they should. I do worry whether there will be any quick changes or easy answers but I am hopeful something will happen in years to come. In the meantime, one looks at an artist like Sasha Brown and whether she will reach the mainstream as quickly as she deserves. Sheer talent and work rate will go a long way but she warrants as much affection and backing as possible. I have run out of time, in a sense, so will leave things as they are. Parallel is a curious revelation that looks at love in a different way. Two people who seem like they are moving in the same direction but are not as in-sync and fully-formed as they should be. There is little anger and accusation: a young woman who wants to get to the bottom of the imbalance and find some artists. It is a big and stunning number from a singer-songwriter who has a lot of years ahead of her. Parallel is the start of things but, one suspects, Sasha Brown has…

PHOTO CREDIT: @charlicohen

MANY more songs to come.

_______

Follow Sasha Brown

 Official:

https://sashabrownmusicofficial.com/

Twitter:

https://twitter.com/TheSashaBrown

Instagram:

https://www.instagram.com/sashajadebrown/

Facebook:

https://www.facebook.com/sashabrownmusicofficial/

SoundCloud:

https://soundcloud.com/sashabrownmusicofficial

YouTube:

https://www.youtube.com/sashajadebrown

FEATURE: The Best Albums of 2017 (So Far): Laura Marling – Semper Femina

FEATURE:

 

The Best Albums of 2017 (So Far): 

  Laura Marling – Semper Femina

________

IN the same way I have conducted a round-up of the…

best songs of the year so far – in my opinion – I will do a little piece on five albums that, in this journalist’s humble view, have defined 2017. We are just over the half-way mark but, already there has been a bounty of great material. The first album, and one that could well claim the top-spot when I do my end-of-year lis, is Laura Marling’s Semper Femina. Two years after Short Movie (an album where Marling co-produced and felt like, in a way, she didn’t exert enough control) it was no surprise to hear of a new arrival from the Berkshire musician. I have followed Marling’s career since the beginning and KNEW Semper Femina would be a great album – I did not expect it to still be bouncing around my brain four months after its release. The title (‘Semper Femina’) is culled from the poet Virgil and is a truncated sentiment from a longer line of Latin – roughly translates to ‘woman is ever a fickle and changeable thing’. Given Marling’s proactive stance tackling sexual inequality in music society; that title might seem like a tongue-in-cheek approach.

The record is confident and, in places, angry offering from an artist who, nine years since her debut (Alas, I Cannot Swim) has yet to put a foot wrong. In fact, such is the consistency and variation on Semper Femina – it suggests there will be another album along very soon. Initially; the album was intended to be a man’s perspective as perceived by a woman. That would seem apt given the title and translation but Marling realised the narrative had to be hers. Semper Femina HAD to be from a woman’s viewpoint and a record that addressed a woman’s world – as written by a woman. It is no surprise Semper Femina has a transitory and itinerant nature. Conceived in Marling’s (at-then) home in Los Angeles; the young musician soon moved back to London – she moved to L.A. in a period of confusion and self-discovery. One can hear elements of Californian life in the music but, on a whole, it is more universal, personal and poetic.

Songs like The Valley demonstrates that reliably intelligent and poetic pen. At a time when artists like Lucy Rose are progressing and blossoming – one can argue they take a lot from Marling. Certainly, those deep and nuanced lyrics; the stunning pure (yet elastic) voice and immense candour can be applied to both Marling and Lucy Rose. There is, like Short Movie and other Marling work, a nod to Joni Mitchell. Maybe it was the Californian air but one can hear elements of Mitchell – her Ladies of the Canyon and Blue albums – on delicate and expertly-picked tracks like Noll. Wild Fire and Nothing, Not Nearly burn with passion and promise but are some of the slower, more contemplative numbers. Lead-off single, Soothing, contains fantastic Jazz bass and slinks and slithers (Blake Mills co-writes). It was one of my favourite singles of last year – the single was released in late in 2016 – and shows new direction and sounds in Marling’s arsenal. Despite the fact Semper Femina is nine-tracks-long; one hears Marling muse on relationships, short-lived ambitions and reflections on human life. One senses a woman experience turbulence and uncertainty: often refracted away from the heart to encapsulate a wider, less concise malaise.

Less electric, direct and simplistic than some of her earlier work; here, there are Jazz expressions and new textures: vibrator guitar lines and shimmering, evocative strings – one notes whispers of Nick Drake in some moments. “I do well to serve Nouel, whatever service I may be…Fickle and changeable, weighing down on me” might be a twenty-seven-year-old burdened by responsibility and wisdom but it has an oblique manner (one can interpret it in various ways). Semper Femina, away from gender concerns and female purpose, looks at the younger Marling compared to her current incumbent. That sense of wanting to return to less-responsible ways: more spirited and less indebted to maturity and consequence. In the end – chronologically and realisation-wise – it that need for a certain transformation that leads to something structured and mature. The album ends with Marling, one suspects, plotting a future and, whilst older than ever and missing elements of her past – a woman keen to press forward and explore. Semper Femina is a fantastic record and one that overspills with incredible songwriting and near-career-defining songs. It is not a truly great year in music unless Laura Marling releases an album: Semper Femina could well top many critics’ ‘Best of 2017’ lists in five months. In my opinion, it would…

BE thoroughly deserved.

____________

Released:

10thMarch 

Recorded:

2016

Genres:

Folk-Rock; Alternative-Rock

Length:

42:19

Label:

More Alarming Records

Producer:

Blake Mills

DOWNLOAD:

Wild Fire, Don't Pass Me By; Nouel, Nothing, Not Nearly

STANDOUT TRACK:

Soothing

__________

FEATURE: Music Makers Festival 2017

FEATURE: 

 Music Makers Festival 2017

________

SOME of the biggest festivals of the year have…

already finished and left us. After the first bout of big festivals: the nation is priming itself for another round of terrific events. I am looking at the calendar and seeing what is coming up. It is going to be a fantastic next few months – some awesome festivals and artists one can enjoy. Away from those traditional and perennial standouts: there is a legion of smaller festivals one should be aware of. Chief among them is the exciting lineup that has already been announced. I will put in the press release; a bit about the organisers and details of the acts involved – and how you can get tickets:

Music Makers is a brand new two-day independent music festival taking place in London on the 5th and 6th of August 2017. Organised and curated with love, by the team behind London-based musician Albert Man. The festival celebrates other fellow musicians that both Albert Man and his manager, Manoja Ullmann, have had the pleasure of getting to know over the years during their time in the business.

The event is taking place at Omnibus Theatre, a converted Victorian Library, situated in the heart of Clapham Old Town. Showcasing 16 talented artists/bands (consisting of solo artists, duos, trios and full bands) over the two days, the festival will have 8 unique performances each day in the main theatre.

The line-up includes Michele Stodart (The Magic Numbers), Prose, Tom Speight, Dani Sylvia, Albert Man, Up Down Go Machine, Anna Pancaldi, Brian McGovern, Tara Lee, The City and Us, Belle Roscoe, Adam Masterson, Ilona, Mark Sullivan, Matt Perriment and Steve Young.

Early bird tickets for the two days are available in limited numbers as well as day tickets for either the Saturday or the Sunday.

ORGANISER: MANOJA ULLMANN

Twitter: https://twitter.com/ManojaUllmann

Email: manoja@albertman.com 

Phone: +44 (0) 7918652368

ORGANISER: ALBERT MAN

Official: http://www.albertman.com/

Facebook: https://www.facebook.com/albertmanmusic/

LOCATION:

OMNIBUS THEATRE
 

1 CLAPHAM COMMON NORTH SIDE
LONDON, SW4 0QW

DAY 1

PROSE (5th August, 10 P.M.)

Facebook: https://www.facebook.com/prosemusicuk/

Up Down Go Machine (5th August, 9:15 P.M.)

Facebook: https://www.facebook.com/updowngomachine/

Dani Sylvia (5th August, 8:30 P.M.)

Facebook: https://www.facebook.com/danisylviamusic/

Belle Roscoe (5th August, 7:45 P.M.)

Official: https://www.belleroscoe.com/

ILONA (5th August, 7 P.M.)

PHOTO CREDIT: Alex Berger Photography 

Facebook: https://www.facebook.com/ilonaartist/

Adam Masterson (5th August, 6:15 P.M.)

Facebook: https://www.facebook.com/Adam-Masterson-98072377139/?ref=br_rs

Matt Perriment (5th August, 5:15 P.M.)

PHOTO CREDIT: Joe Lindsay Photography

Facebook: https://www.facebook.com/MattPerrimentMusic/

Steve Young (5th August, 4:45 P.M.)

Facebook: https://www.facebook.com/steveyounguk/

DAY 2

Michele Stodart (6th August, 10 P.M.)

Official: http://michelestodart.co.uk/

Tom Speight (6th August, 9:15 P.M.)

Facebook: https://www.facebook.com/TomSpeightMusic/

Albert Man (6th August, 8:30 P.M.)

Official: http://www.albertman.com/

The City and Us (6th August, 7:45 P.M.)

Facebook: https://www.facebook.com/thecityandusband/?ref=br_rs

Anna Pancaldi (6th August, 7:00 P.M.)

Facebook: https://www.facebook.com/annapancaldimusic/

Brian McGovern (6th August, 6:15 P.M.)

Facebook: https://www.facebook.com/bmcgovernmusic/

Tara Lee (6th August, 5:30 P.M.)

PHOTO CREDIT: @wolfmarloh

Facebook: https://www.facebook.com/TaraLeeArtist/

Mark Sullivan (6th August, 4:45 P.M.)

Facebook: https://www.facebook.com/marksullivanmusic/

__________

Follow Music Makers Festival 2017:

Website: www.musicmakersfestival.com 
Tickets: www.musicmakersfestival.com/tickets 
Facebook event: www.facebook.com/events/120431828554671/ 
Facebook: /musicmakersfest 
Twitter: /musicmakersfest 
Instagram: /musicmakersfest

TRACK REVIEW: Josh Michaels - Break Around You

TRACK REVIEW:

 

Josh Michaels

 

 Break Around You

 

9.4/10

 Break Around You is available at:

https://soundcloud.com/user-215619536/break-around-you

GENRES:

Alternative; Pop; Opera

ORIGIN:

New York, U.S.A.

RELEASE DATE:

July 2017

The E.P., Out of the Deep Blue, is available at:

https://itunes.apple.com/us/album/out-of-the-deep-blue/id1152278451

_______

EVERY time I arrive at the feet of an…

PHOTO CREDIT: Josh Michaels

American artist; I find myself looking at where they come from - in terms of state and county. Before I look at Josh Michaels; I want to address a few subjects. To start, Opera and Classical music; writing from the heart and connecting with people; getting your music played across the world (and various media sources); artists who experiment with sound and want to connect with listeners through music; the idea of ‘making it’ and where one goes to do that – a bit about New York and the music coming from there. In the course of my reviews, I get to address all manner of artists. In terms of genres, I think – over the last five-and-a-bit-years – I must have covered every style and sound going – including sub-sub-genres and newly-invented portmanteaus. It is always interesting discovering something genuinely ‘new’ and exciting. Over the past few weeks, I have had the chance to check out some terrific Pop, Indie and Electronic music. It has taken me all around the world and introduced me to some fantastic future stars. In the case of Josh Michaels; his operatic tones and fusion of ideas – a melting of Opera/Classic/Pop and Alternative – is intriguing, to say the least. If I were to say the words ‘Opera’ and ‘Classical’ to you: one might assume there is going to be something quite stuffy and grand. Sure, Michaels has a big voice and atmospheric songbook – he is not someone who creates purist Opera that is reserved for those who stubbornly refute modern elements and any invention in the genre. It would be redundant, if one wants to be popular and widespread, to perform in a more ‘traditional’ sense - a pure operatic delivery that is found in theatres rather than national radio. Michaels’ background is in Italian Opera. That is what he trained in and employs a lot of its merits and disciplines in his music. The great thing about modern Opera is its adaptability and evolution. It is not a stuffy and elitist genre that alienates other listeners. At its core is a triumphant and emotional delivery: a vocal-cum-instrumental presentation that gets the heart beating spiritedly and the blood pumping hot. The lyrics are modern and universal. One will find few tales of doomed ancient lovers and interfamilial strife – one might, but it would be a contemporary equivalent.

There was a time, not too long ago, when music suffered a bit of limit and restriction – not as cross-pollinating and varied as one would imagine. The inspiration chest has been replenished and, in 2017, artists are as explosive, original and ambitious as any time in recent memory. There is still a commercial aspect to music (I shall nod to that later) but new artists are taking the effort to produce music that stretches the imagination and engages the mind. That is true of Josh Michaels who, lacing Italian Opera with flavours of Pop and Alternative, creates something heady, arresting and mature. If one is wary of embracing a genre like Opera: listening to artists who bring aspects of it into their music is an accessible way in. Michaels has that knowledge and knowing; he is a commanding vocalist and someone who appreciates the principles and dignity of Opera. He does not tamper and make light of its personality and power. Rather, he harnesses the romance and emotional power of Opera and introduces it to the open and for-the-people qualities of Pop, Alternative (and other genres). It is a great blend and one that provides people like me – not that au fait with Opera and its D.N.A. – a portal into a phenomenal style of music. The issue one can have with artists who are sonically ambitious is a lack of identity. In fact, I am reading reviews of alt-J’s latest album, Relaxer, and some of the most disparaging feedback – some say the songs are scattershot and the band lack any cohesion and personality. If an artist has that no-barriers approach to their sound; there is always the risk of lacking focus and cohesiveness. That is not the case with Michaels who keeps his music rooted, tangible and infused with infectious personality and real depth. It is an emotional and physical experience – discovering his music – and once one hears a song like Break Around You; you are compelled to dig further and witness the full spectrum of his talent.

Most artists, one would imagine, try and write from the heart. It is a way of making their musical personal and direct. Even if the song you’re writing about is not about yourself or a relationship; it does not mean you cannot project a sense of the heartfelt and tender. Josh Michaels is a storyteller who, despite his youth, has experienced a lot and is keen to open his soul through music. I guess there is a certain vulnerability being too transparent and revealing. A lot of artists are either too hesitant when it comes to talking about their experiences/relations or doing it in a rather predictable manner. It is one of the hardest things to nail: writing about love/yourself and making it accessible to the masses. Michaels is not someone too concerned with the mainstream and commercial avenues – he does want his music to connect with as many people as possible. That is why he has been so hard promoting the Out of the Deep Blue E.P. – to make sure people are aware any experience everything from it. Traversing the E.P. and one is struck by the conviction and emotion that comes out. I use words like ‘emotion’ a lot and that can be an ambiguous term. Michaels, in the E.P., talks about his life but there are some hard revelations and sensitive moments. It can be all-too-easy shrouding those in obliqueness but he does not favour that approach. Instead, we have a young man who feels the best way to resonate and make an impact is to keep his language simple and intelligible. Maybe that stems from his Opera background – although, there are productions and composers who favour florid language – it is more to do with Michaels’ nature. Every utterance and line stem from someone who wants the listener to immerse themselves in his mind – become engrossed and involved with the song completely. The performances explode from the heart and have such a lasting effect. I am finding a lot of musicians complicating language and shielding themselves behind metaphors similes and clever wordplay. It is impressive to hear poetic and fascinating lyrics come from an artist but one yearns to hear something bare-naked and uncomplicated. The downside of this approach is appearing too-simplistic or generic but, when it is done right, the results are clear. That is what one gets from Josh Michaels: no pretension or graces; someone who takes his tales and observations and ensures they get straight to the listeners’ hearts.

I shall move on to something that has appeared on a few of my reviews lately: artists who get their music played on various stations and across the world. For Michaels, he has had his songs played on radio in Europe and America. It would appear there is a lot of attention coming his way which is pleasing to hear. His E.P. was released late last year but, since its unveiling, has been met with acclaim and interest. Based in the U.S.; there is a huge market over here – the biggest music economy in the world. It must be daunting for artists to make a career and separate themselves from the crowd. How does one, realistically, get their music played on stations all over the world? It seems easy, in an Internet-age, to make that happen – it is not as easy as one might perceive. It is not a case of popping a song online and hoping D.J.s bite like fish. One has to put leg-work in and actually do their research. Of course, you need the talent and originality to resonate with stations and their demographic. Some artists, those who play mainstream sounds, have an easier time targeting stations and sites. For those, like Michaels, who play something different – where do they go and how easy is it to get the music heard?! In the U.S., there are few artists who do things the same way as he does. Promotion is an important asset and something new musicians should not overlook. Michaels has ensured he’s being interviewed and focused on by some big sites. He has been chatting about his music and, when the interview is online, sharing the post to ensure people see it. That will get into the mind of his contacts – many of whom will be radio stations and D.J.s – and make an impact on them. Right now, Michaels is promoting Break Around You – the first new track since his E.P. - and will be eager for it to be played in as many countries as possible.

It is an assured song that shows he is among the most interesting and inventive artists in the U.S. I am not sure what his promotional campaign involves but, having come to people like me, he wants it exposed and reviewed. Were the song weak – which it isn’t – then it would be hard getting it celebrated and shared. As it is; it is a powerful track that can easily shaft itself about the airwaves. For Michaels, it will be a case of getting the song out to blogs (national and international) and hitting as many as possible. He knows all this – for the benefit of those who do not – but there are niche and general blogs who would be interested in the track. Doing the leg-work and putting the graft in is an essential part of being a musician. In terms of the digital/written world: social media is an important tool. Directly contacting sites and asking them for interviews and features. It can be harder to get into the sights of the stations as they have set playlists. If one wants to get their songs on radio stations; it is best to start locally. That does not mean the lesser stations and those who you do not respect. There will be at least one that plays the sort of music you like. Making that contact and putting an email to the director/producer of the show/station will never hurt. Being a big fan of stations like BBC Radio 6 Music; a lot of their songs are from new artists and those underground. Many of those tracks are discovered online; artists get in contact with them. It is important doing your research and not throwing your music to everyone and hoping something sticks. Michaels, as a New York-based artist, is around a mass of stations. He knows the kind of station who plays his music and needs to persist. Keeping them updated about his latest releases means he is in the consciousness and has that passion for being heard. Naturally, one needs to have that talent and skill so their music gets played on the radio. Michaels develops his music and, with every release, brings something new in. This skill and evolution – together with a determination to get the music across the airwaves – will pay dividends and see Michaels heard around the country. I am confident, because he has already been heard in Europe, the music will be more known over here soon. It is hard fitting in and seeing which British stations will play his music – there are a few, for sure, that will host his music. I will keep my ears out by the American artist is working hard and showing how it should be done.

Josh Michaels has international ambitions and wants to get his music to the people of the world. I have followed his music for a little while and can see new things coming in. At the beginning, the genres employed with Opera and Pop. Now, I am discovering something heavier and more experimental. There are Electronic elements and sounds that would be familiar to the coolest radio stations around. Whether this slight shift is a reaction to the market demands – Michaels wanting to get his sounds to new people – or an unconscious decision, I am not sure. It is interesting looking at the developments in Michaels’ sounds and how he is growing in confidence. That Opera background fuses with of-the-moment chart sounds but does not compromise its purity and intelligence. At its heart; the music is designed to get into the heart and connect, on several fronts, with the listener. It is not shallow and overproduced music designed to make an instant impact and not linger in the mind. Michaels is a purveyor of nuanced and multi-dimensional music. It is not reserved for those who know Opera or have particular tastes. It is becoming broader but, as I say, not compromising anything or losing identity and credibility. An interesting time for the New York artist. I am excited to see how his career develops and how the rest of 2017 plays out. Break Around You is a song that suggests there is plenty more left in Josh Michaels. I am keen to see what his next move is and whether there will be another E.P. Out of the Deep Blue has already been met with respect and acclaim: there is a desire for Michaels’ music; it is crossing boundaries and making its voice known in a number of countries. Before I come to long at the song in question; I want to look at New York and whether it is the best city for Josh Michaels to make his name.

I have never been to New York but I can understand its allure and appeal. It is a wonderful city that attracts millions and has that incredible reputation. For Michaels; there is so much music and life available to him. The opportunities and possibilities are enough for anyone to move over there permanently. Many have told Michaels, in order to ‘make it’ in music, he needs to get himself to Los Angeles. L.A. is seen as the place to go for any musician who really wants to succeed in music. I am not sure where this perception comes from. Maybe, the clement climate and luscious scenery, connects to that classic ideal of Paradise and the perfect. The Los Angeles bodies glisten; the sun shines and it is an ideal landscape for everyone. That is the cliché ideal - but not one that is realistic and necessarily true. There are downsides to Los Angeles and definite drawbacks. There is a different music scene in L.A. so one cannot assume any musician would succeed and flourish there. It is harder transitioning from a city like New York and going to L.A. The people are different and way of life differs between the two. That East Coast mentality is at-odds with the West Coast ethos. Sure, there is more money is Los Angeles but the musicians there, in my view, no stronger than New York. Both places have validity and positives but there must be that immense pressure (for Michaels) to relocate. He has spent his life in New York so knows the people and vibe of the street. So far, he has garnered respect and positivity from stations and sources in New York and is building that local reputation. It is a challenge – in both cities – getting ahead of the pack but that is true anywhere. Michaels has already done the hard thing: created music that does not easily fit into the mainstream. I am not sure whether New York is as chart-driven as London but there is going to be that desire for something commercial and accessible.

Michaels has sounds that can be extrapolated and appreciated by the masses but, for the most part, his music has a unique edge and definite original skin. New York promotes and fosters artists who do things differently so I would not be in a rush to go to the other side of the country. I can see the appeal of L.A. in the sense there is a big market for music and some of the biggest labels and artists reside there. There is, away from downtown Los Angeles, a chance to unwind and be inspired. Would Michaels be a different person if he moved to Pasadena or Malibu? Would he be a different musician, for that matter?! I am not sure but do know he would have to change, to an extent, and start over again. How tempting is it to start from scratch and be someone he is not? I am not sure whether he will spend time over there and relocate in the future. New York’s music scene is legendary and undeniably world-class. Consider all the great bands who have come from there and the terrific artists there are right now. Go from borough-to-borough and one gets a different climate and flavour. The music of Brooklyn and Manhattan is distinct compared to Long Island and The Bronx. There is so much available for the curious musician. For me, I feel the only real way to make it as a journalist is to move to London. That is understandable as it is the capital and has the most lucrative music market in the U.K. Like L.A., it is not the only part of the country that is set up for ambitious creatives. Manchester is a wonderful part of Britain that has an active and thriving music scene. I would be happy in each but, the reason I want to come to London, is because it is busier and closer. For Michaels, he has spent his life in New York and not ready to abandon the city he loves. Why should he as he has the chance to do something wonderful.

It is evident, from the opening seconds; one gets the whole package from Josh Michaels. The introduction is brief but offers bubbling and atmospheric electronics. You get some determined percussion but the mood is kept light and intriguing. When the hero comes to the microphone – those who do not know his voice might expect a different sound – it takes the song in a new direction. I was expecting, from the sound of the introduction, something quite light and Pop-driven. Instead, the voice has that seriousness and passion. It is a nice contrast and one that adds gravitas and layers to the song. One hears about the darkness – maybe he is speaking about a heroine or friend – and the fact the light will come soon enough. Maybe it is intended towards a sweetheart or a song that looks inward. Whatever has brought the uncertainty and darkness; the dawn will come and the shadows will be refracted and dissipated. It is the voice that keeps the listener engrossed and fascinated. It is hard comparing it to anything else but there is a definite nod to legends of music – Michaels is original but has that command and conviction reserved for a certain few. It is a wonderful sound and one that gets into the mind with ease. I hear crackle and vintage echoes; there is an undertone of electric swirl and the distant sound of the city. It seems, when hearing that crackle, you are listening to an older record. The production values mean the sounds are clear and crisp. There is a moodiness and atmospheric haunt; romantic and alluring delivery and cautionary words. Michaels, it appears, it talking about a companion. She – I think it is about a girl, at this juncture – seems afraid to be alone and must be wrestling with a few things. Maybe Michaels is being used as a sounding-board and shoulder. She is putting out her concerns and Michaels is reacting.

Michaels’ voice, David Bowie-like in places, wobbles and strikes. It is a wonderful delivery and one that ensures every word get into the heart. The heroine should not “go chasing shadows” and, it seems, she is holding on to old memories. Maybe there is a sense the girl is looking in the wrong places for love and guidance. Looking deeper into the song and one wonders whether Michaels is a lost love or current flame. There is that affection and support for the girl: maybe a need to save her and keep her close by. In terms of the vocal, he is keeping dignified and cautious. Offering support and maturity; one feels he would rather be candid and let his true emotions come through. Break Around You, in terms of the title, is about the darkness and shadows eroding; the need to cast off the shackles and live a better life. Getting impressions of Boy George and Anohni – hope he does not mind those comparisons – the vocal gets hotter and more involved. The composition comes into the foreground and those beats and electronics do their work. The heroine is letting others control her and living a way of life that is not working. Michaels offers a force of light and sensibility. He is there to show she needs to embrace the goodness and potential inside her. “Stay above the hate” is a mantra accompanied by intense electronic hums and an eerie mood. The hero is determined to make a change in the girl’s life – at the very least, show her why she cannot continue the way she is. It is interesting interpreting the lyrics because they would be different in Michaels’ mind. I get the sense they pertain to a friend: someone who has had a tough ride but is starting to turn a corner. It is easy submitting to the hate but that will not be wise. If I were to dig deeper; I feel there is a romantic component to the song. It seems Michaels has some fondness for the other party. I am not suggesting this is a call-out and seduction but, with the friendship and wisdom, one hears his heart beat faster and more passionately than normal.

It appears the world needs to break around her. Things are getting complicated and intense: allowing the rocks to crumble and splits to appear might declutter things and offer some form of clarity. One can feel the strain and emotiveness in the vocal. There is a personal element to the song that takes it beyond the intangible and really starts to connect. We have all been in a situation where we have experienced these emotions – or seen someone going through some tough times. Michaels articulates a universal message but projected from a personal place. That is what he tries to do with all his music. Rather than separate himself from the listener: one gets a young man who involves them in the music and writes songs they will understand. The composition gets more intense as it bounces, percolates and strides. It has the potential to be a big club hit. One gets involved and finds their bodies moving and compelled. Such a full and physical song that urges (the heroine) to turn her “black world blue”. Things are bad now but there is a way out. What I love about the song is how unexpected it is. Even if you are familiar with Michaels’ E.P., Out of the Deep Blue, you might not expect something like Break Around You. The sheer conviction and passion in the song tops anything he has attempted before. The final moments reiterate the chorus and implore strength and bravery. You find yourself singing along to the chorus and supporting the girl. Maybe I am reading too much into the romantic: the song could be about a friendship or a way of Michaels singing about his own life but detaching himself slightly. Surely, as a young man in a big city, he would have felt black days and scared at times. Whatever your viewpoint and interpretation; Break Around You is a fantastic song from one of New York’s finest young musicians.

I shall come back to some of the points I raised earlier but, right now, a look ahead for Michaels. He will be looking to tour and perform his latest music very soon. I know he has gigs in the U.S. but he must be thinking ahead to new music. Out of the Deep Blue is an E.P. that has done very well but there must be that temptation to build on that – Break Around You is not on the E.P. and shows where Michaels is heading right now. I am not sure whether he does have new material ready but the confidence he has right now surely drives that creative impetus. I would like to see Michaels come to the U.K. as there is a definite audience over here. Knowing Opera-based artists like Gemma Louise Doyle; it seems, between them, they could organise something. There is a great Opera scene in London and a lot of modern artists who would be able to support Michaels. I know, from various interviews, the style and complexity of British Opera. You have the pure and unadorned form that keeps things to history and tradition. More and more, I am seeing artists inject Pop lightness and fun into Opera; Rock elements and Soul. Genres do not have to be rigid and static: artists can add new elements without making the original source watered-down and foreign. Josh Michaels has the energy and talent to take his music wherever he wants so let’s hope Britain is part of his plans. There are countries in Europe that would love his music so that is something to consider. He will need to do a bit of research but his appeal is not confined to the U.S. On the subject of new music; whether Michaels continues the sound of and themes of Out of the Deep Blue or not remains to be seen. Break Around You is a song that comes from the heart and one of the most direct and affecting tracks that he has ever created. I approve of artists who create emotional and open music without making their lyrics sound stereotyped and predictable. There are too many acts who employ clichés and do not stray beyond convention.

Michaels is a musician who takes from his own life and reacts to his experiences. I have done my best to get to the nub of Break Around You – and hope I have done it justice. In the past, he has had his music played on MTV and short films; been heard around America and built up an impressive fanbase. The social media numbers are climbing and bringing in fans from various nations. Maybe it is the personal approach Michaels takes to music that has seen him gain such acclaim and interest. I know many musicians do create similar music but it is the way Michaels does it that really interests me. He is vulnerable with the listeners but does not look for sympathy or cast blame. There is a young man who responds to his stories and heartaches and tries to make sense of it all. He has felt love and disappointment; the sting of betrayal and the elation of the music world. Making sense of that all and forming interesting music is harder than one might imagine. There is that temptation to copy your peers and make something that has radio-friendly sounds. One does get commercial appeal and potential (with Michaels) but there is a distinct soul who has the desire to make his music internationally known. That will come very soon because, with each new release, he is growing stronger. The reason behind his development and popularity is the way Michaels puts new sounds and elements into his music. That is not to say Michaels is becoming less focused. I started by looking at a band like alt-j who, on their latest album, have been accused of lacking identity and personality. They, on Relaxer, experiment with sounds and cover so many genres. Is that a danger for artists? In their zeal to distinguish themselves; perhaps they have done TOO much and need to reign their music in. That is a danger for new artists, too. Many can get carried away with their sound but that is not the case with Josh Michaels. He is level-headed but knows musicians need to adapt and try new things.

Right now, Michaels does not have a Twitter account but I hope that changes in the coming months. There is a world out there that is unfamiliar with his music – and would love to hear it – and is waiting. Right now, there is the sense he can go as far as possible and make some real headway. New York is a bustling and never-sleeping hub that buzzes and explodes with people, sound and energy. I can see the attraction of remaining there. One can never get bored in the city and, for a musician, it is one of the best places to be. I do not know whether Michaels will surrender to the lure of L.A. but, when it comes to making a success of things, L.A. does not own the rights. New York has huge stations, labels and P.R. companies. Los Angeles has a different way of life but that does not mean it is better or more opportunity-filled. Michaels’ official website is impressive but, from a P.R. perspective, there is a great chance for him. He is a photogenic chap – much more so than me – and has a face that many would like to see. There are some great shots of him on the website but, in my mind, a couple of official shoots would be great. Whether he shoots solo – or has a model/people in the photos – is his choice but taking to the New York streets. I am not sure how close he is to the Metropolitan Opera (30 Lincoln Center Plaza, N); Neil Simon Theatre (250 W 52nd St) or Bryant Park but there are some great locales and spots. It would be good to see a collection of high-quality photos of the young artist adjacent to some landmarks and hotspots in New York. Maybe he does not need to confine himself to his home city but there are ample photographers who would spare the time. The same goes for social media. Getting that Twitter account set up; putting more music on YouTube and getting a music video made would not only see the music get to more people but make it easier to market, share and gain feedback.

In his twenties; there is time to do that but I wonder whether that will coincide with his next release. I digress but see a lot of potential in Josh Michaels. With that strong voice and incredible songwriting ability; he has the talent to be a star in years to come. Break Around You is ample evidence and a fantastic cut from the New York resident. I shall leave this by talking about Opera. It is a genre Michaels grew up listening to. His teaching is in Italian Opera so it is not surprising it should for the core of his music. To me, it is the vocals and expressions that owe a debt to Opera. In terms of sounds, there is Pop and Electronic aspects. That is a great way of introducing Opera to people but ensuring it crosses age and taste barriers. Many still have that stuffy and ignorant view of Opera. They assume it will be a drag and something that will not appeal to them. It has updated a lot over the years and, as I said, a lot of modern artists splice Opera with modern themes, sounds and ideas. You get a sensation that pleases the purists but brings in new audiences. That is true of Josh Michaels who is modern and classical all at the same time. Make sure you follow his music and see where he is heading. He is loving New York and taking so much inspiration from it. At his feet, he has access to Opera houses and theatres; some of the finest art in the country. I am not surprised he wants to remain there as it sounds like a city that accommodates his passions and personality. One can hear this happiness, passion and comfort in his music. That incredible and determined voice sits with personal and memorable lyrics. One gets a window into a superb musician who is taking the first steps of his careers. I, for one, cannot wait to see where Michaels goes from here. Wherever that is, let us hope, the course of his travels, he makes the time and…

COMES see us over here.

_______

Follow Josh Michaels

 Official:

http://www.joshmichaelsmusic.com/#

Facebook:

https://www.facebook.com/officialJoshMichaels/

SoundCloud:

https://soundcloud.com/user-427547948

YouTube:

https://www.youtube.com/channel/UCPE3EGfQtaLFRMCj07EkulQ

INTERVIEW: July Child

INTERVIEW:

 

 

July Child

_______

KIKS and Amber and two great friends who, together…

consist July Child. They share a birthday in July (the same day, in fact) and have a definite simpatico. Their music mixes ambient, soulful Pop but has a vibe of the 1990s’ best Dance – a wonderful blend that is both modern and nostalgic. Since their haunting, uplifting reworking of the 2013 classic C O O L (by Le Youth); the duo has gathered huge interested from both sides of the Atlantic. Cover versions have formed a lot of July Child’s past: they are determined to forge original material and push out on their own.

I ask Amber and Kiks about their friendship – and how they came together. They discuss new single, Be Real and whether it will lead to more material. The guys talk about London and its importance; the artists that inspire their own sound and whether each of them is planning anything big for their upcoming birthday – 29th is going to be a shared day of celebration!

_______

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

Amber: Hey! All good.

I’ve been away this week with my mum by the coast

Kiks: Hola!

My girlfriend, from L.A., arrived earlier this week – so, a lot of eating and sightseeing.

‘July Child’ is a name that stems from the fact, Amber and Kiks, you both share the exact same birthday. What date are your birthdays and have you bought each other presents yet? Any plans for the big day?

A: No presents yet – we usually do a joint-party if we’re both about.

K: Yeah. I think this year we’re hiring a beer garden and getting all our friends and family down.

I can’t remember the last 29th of July when it’s rained – so hoping for good weather.

How did you come to know one another? When you met; was there an instant connection and common-ground?

A: We met through music clubs at school. I think the connection came with time.

We were friends first and then Kiks asked me to sing in some of his earlier projects.

K: Even though we’ve known each other since primary school: July Child came to be after we finished university.

We’d been studying in different towns so came back to each other with a whole list of new influences and ideas for where we’d want to take a project.

Be Real is your latest track. Is there a story behind it? How did the track come together?

K: I’d been sitting on this chord sequence played out by the piano for a while. We’d recorded vocals on it but it wasn’t anything special.

One day, in the studio, I decided to copy the chords onto a new synth (Spire) and run through presets – that’s when we stumbled upon the ‘extraterrestrial’ bouncing lead synth. that’s present throughout the track.

It was a weird and slightly annoying sound but we decided to run with it. After laying out the foundation of the track, it honestly took about twenty minutes to write the lyrics.

The track has a club-going vibe and summery sensation. Is it a song you hope will be played in the clubs or do you see it more as a beach-dwelling anthem for the coming summer?

A: I think it lends itself to both really – definitely a sunset-chilled-beach vibe, though.

K: I’d say our previous material has been more suited to clubs or lazy beach days.

Be Real hits harder in the Pop realm – so, I guess our ambition for this track was to showcase ourselves as strong Pop writers.

Naturally; radio, T.V. spots; fashion collaborations are a place we’d want Be Real and its sound to go.

In the past, you have tackled cover versions – before transitioning to originals. Was it quite hard making that shift? Do you think, the fact you have that experience performing a range of different songs, made you more confident and daring as songwriters?

A: We wrote originals for years before we put our first cover out – it’s just our first ever cover (C O O L by Le Youth) was really successful and brought us to the forefront.

We love putting our own spin on covers and it does actually give us ideas for our own tracks – writing styles and lyric combinations.

K: I think covers are a great way to showcase your prowess as a producer; because you’re taking an already-successful and popular song and trying to put a completely different, but still attractive, spin on it.

Amber’s voice is so versatile that sometimes, when we’re writing originals and we get stuck, we spend an hour just recording her singing cover songs - to see if we can get inspired by anything.

Who are the bands and artists you are both inspired by? Do you have similar tastes in music?

A: I used to love Corinne Bailey Rae and my main girl is Jessie Ware – she’s amazing and I love the way she sings. We do have similar taste, mostly.

K: Yeah. I’d say now, we do!

I grew up on Indie, Rock and Metal - and it took me such a long time to admit I even slightly appreciate Electronic music.

When it comes to pure songwriting: I’m most inspired by Conor Oberst and Neil Young.

There are 1990s Club and Dance elements in your music. What is it about the decade that gets into your hearts?

A: The decade we were born!

We grew up listening to '90s Pop and Dance on Top of the Pops.

K: I remember sitting by my cassette recorder patiently waiting for my favourite songs like Waiting for Tonight by J-Lo to come on so I could record them.

It’s funny going back now and listening to those records. There are so many ideas that are still being used and regurgitated. But, to me, nothing can have that  '90s feeling - all we and other artists can do is try to replicate it.

Be Real is a hungry and uplifting track. Is there an E.P. coming anytime soon?

A: We have lots and lots of new music - so fingers crossed.

K: A few more singles coming out this summer and then, hopefully, an E.P. by the end of the year.

PHOTO CREDIT: Chris Hoare

You guys have worked for a number of labels over the years/months. Do you feel like you are still looking for that perfect label and ‘home’?

A: For sure.

We’re always open to new ideas and input – we are definitely looking for what you call ‘home’ but we want to make sure everything is right and feels right.

K: The landscape of the music industry has changed so much in the last few years.

An artist can genuinely act as their own record label, with the same amount of success, if not more. To us, it’s more important to build a team of people around you that you can trust.

Having toured throughout Europe and Asia; I presume touring is something you love to do? What dates do you have coming up?

A: Playing live is what we enjoy the most – we’re just in our element up on stage.

K: Waiting on a few important things to play out before we can book and announce shows.

We love Asia so much that we’d love to book a long tour there: going to places we’ve never been before. The U.K. has its own energy when it comes to shows and the only place we haven’t yet played is America - so hoping to get over there within the next year.

How important is London as a base and Muse? Do you envisage staying in London long-term or is there a city/country you are ‘working towards’ as it were?

A: I think London will always be our home but we’re open to ideas - if that’s where the music takes us!

K: I spent a lot of time living in L.A. over the last two years.

It’s an incredible place and there are so many like-minded musicians over there - but London is the city we see our future in. The music coming out of London is just unreal at the moment and we would love to be a part of that.

IN THIS PHOTO: Warpaint/PHOTO CREDIT: Mia Kirby

Are there any new artists you recommend we check out?

A: Well, they aren’t new, but new to me – my mate just took me to a Warpaint gig and I love them.

K: I’m going to be annoying, too!

Joe Goddard has been around for years as a member of Hot Chip - but his solo album that came out this year (Electric Lines is one of the most creative records I’ve heard in a long time).

If you each had to select the album that means the most to you; which would they be and why?

A: Jessie Ware – Devotion

I know all the words and definitely do the power-grabs while I’m listening – her voice is incredible.

K: Fleetwood Mac – Rumours

Classic and overdone I’m sure but there has never been a record so seamless and meaningful from start to finish.

What advice would you give to any new artists starting out right now?

A: Keep writing, keep positive; keep moving.

K: Don’t get ahead of yourself.

You learn more about yourself and become better every single day - so don’t get frustrated if things end up taking longer than you thought or had planned

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

A: Tinashe – All Hands on Deck

K: Motez – The Future

_____

Follow July Child

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https://www.facebook.com/julychilduk/

Twitter:

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SoundCloud:

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FEATURE: Nick Drake: Five Leaves Under the Fruit Tree

FEATURE:

 

Nick Drake:

 

 Five Leaves Under the Fruit Tree

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A few days back, the forty-eighth anniversary of Nick Drake’s debut album…

Five Leaves Left was marked. Born on 19th June, 1948; Nick Drake signed to Island Records aged twenty and, as is the case with a lot of legends, gained mass popularity after his death. It is hard to believe – or perhaps not – his albums did not sell more than a-few-thousand copies. In this day and age, it would be seen as a travesty: then, due to the lack of critical expectation and public awareness; few made too much of a drama about it. One of the reasons behind Nick Drake’s lifetime anonymity could be down to his ‘enigmatic’ approach to promotion. Few photos of him exist – making this feature a bit desperate when it comes to sourcing images – and there is a surfeit of interviews. That is the way Drake operated: keeping himself away from the marketing and promotional side of things: concentrating on the music and his art. Today, he would not last too long and be resigned to the status of ‘cult hero’ or something minor, perhaps. It is as well people have proffered and preserved his music through the decades – one wonders whether he would have such a legacy if Drake relied on the critics of the time to pass his music to future generations. For me, the passing of Five Leaves Left’s anniversary serves as a reminder as to the sheer talent and relevance of Drake. On 26th November, 1974, Drake died of an overdose – whether intentional or accidental – and, many would say, had given up on life. The final years were marked by a progressive sense of retreat and unhappiness – although, his family claim his mood was positive leading up to his death. Strip away the mythology, psychology and rumours and see Nick Drake as the incredible songwriter he was – and a hero that inspires musicians today. I will have a look at his three studio albums – and the effect he has had on contemporary musicians – but one cannot underestimate the effect Nick Drake had on music. In such a short career, he wowed critics and gained a reputation as one of the finest Folk songwriters of the 1970s.

In fact, that last point is doing him a disservice: Drake is one of the greatest songwriters ever and, during his short career, had few equals. The way he wrote and expressed himself; the candour, gravitas and emotion his voice – a fine and extraordinary poet who could convey so much with the merest picking of the guitar strings. The 1979 album, Fruit Tree, allowed Drake’s back catalogue to be reopened – his music was in danger of being overlooked after his death – and provided an opportunity for musicians of the time to connect with a unique artist. The likes of Robert Smith and Peter Buck, during the 1980s, cited Drake as an influence. Today, I hear the tones and colours of Nick Drake in so many artists performing today – not only those who perform Folk music. Drake’s language and lyrics – from mundane items like a garden shed or solitary fruit tree; scenes of the city at dusk or the complexities and demons of the human mind – have given modern artists more confidence. Antifolk artists – who rebel against, what they see as, a rather stilted and limited lyrical palette in Folk – have bonded to Nick Drake. He was not someone who limited himself or followed the pack. The debut, Five Leaves Left, arrived in 1969 – Drake started recording in 1968 with Joe Boyd as producer – and found the student Drake skipping lectures so he could record the album in London. Inspired by John Simon’s production work on Leonard Cohen’s debut album: Boyd was keen to capture the same sort of intimacy and gravity – without reverb, Pop shine and cheesiness. He recruited legendary musicians Richard Thompson (Fairport Convention) and Danny Thompson (Pentangle) to help with the album – Richard A. Hewson was drafted to arrange the strings. Despite the glorious results we have all grown accustomed to: the early stages of production were anything but smooth. Drake and Boyd clashed over artistic ideas. Boyd, advocating George Martin’s idea of using the studio as an instrument, riled the more organic-minded Drake. Both, during early sessions, were unhappy with Hewson’s contributions and there was a general air of anxiety and unhappiness.

Robert Kirby – a music student friend of Drake’s – was drafted in. Boyd was sceptical about an untested and inexperienced musician. Drake’s assertiveness won over and the results are plain to see. Aside from the epic River Man – Kirby not confident enough to do it justice – the string articulation and beauty throughout the album added a huge amount. Five Leaves Left is considered one of the finest Folk albums of all-time. Drake’s voice is commanding and filled with wisdom, curiosity and graveness; the music is elegant, melancholic and sublime. All these ingredients, one would think, would connect and impress critics. That was not the case: Drake was disenchanted and the album was a commercial failure. Looking back; it seems songs like River Man, Three Hours; Way to Blue and Cello Song would stagger – even if they were not accompanied by other brilliant offerings. Maybe the album was too ahead of its time and unlike anything else; perhaps the lack of publicity and promotion meant people were unaware. During this time; Drake was in London – sofa-surfing and spending time on friends’ floors. Letters between Drake and his father revealed a scepticism and wariness – advising his son to continue his studies at Cambridge (Drake dropped out before graduating) and having that safety net. Drake had no intention of playing things safe and was determined to pursue his goals. By November, 1969, Drake opened for Fairport Convention at the Royal Festival Hall in London. He also played at Folk clubs in Birmingham and Hull. A lot of the Folk purists were not sure how to take to Drake – not ready for his brand of music. Folk singer Michael Chapman, reflecting on the Hull performance, assessed it thus:

“The folkies did not take to him; [they] wanted songs with choruses. They completely missed the point. He didn't say a word the entire evening. It was actually quite painful to watch. I don't know what the audience expected, I mean, they must have known they weren't going to get sea-shanties and sing-alongs at a Nick Drake gig!”[30]

It is dismaying reading about Five Leaves Left’s poor performance. The experience left Drake jaded and affected – he retreated from touring and, as such, the rare times he did perform were marred by long silences and songs played in different tunings. One would imagine a pastoral-sounding album would do well in the folk scene of the late-1960s. Determined not to see his second album suffer the same fate; Drake included drums and bass on Bryter Layter. More commercial, perhaps but, in my opinion, an album that contained the same sort of unique energy and beguiling songwriting as its predecessor. John Cale contributed on Northern Sky and Fly; Fairport Convention were involved – as was Beach Boys musicians Mike Kowalski and Ed Carter. In fact, Drake wanted to replicate the sounds and moods of Pet Sounds – lush strings, romantic orchestration and nuanced soundscapes. Accompanied on every song; there is so much depth and colour to be found. There was, around this time, a contrast between Nick Drake the artist and Nick Drake the person. In the studio, it seemed like inspiration was high and there was a definite stability and ambition. Away from the microphone, Drake was consuming more cannabis and reaching near-psychosis levels of mental unrest. He was cloistering himself away from people and becoming less communicative – his depression exacerbated by a lack of critical affection and touring issues. Relationships with Island Records were strained: Drake was/is an incredible artist but was not gaining the sales and reviews he had wished for. I guess psychological and personal issues conflated with music. There was no demand for a third album but Nick Drake made one: thank God he did because it was the remarkable, Pink Moon. If Bryter Layter was a reaction to Five Leave Left’s (appropriately) pastoral and relaxing sound: Pink Moon was an attempt to return to the reflective end of the spectrum – a stunningly sparse and simple album. Aside from the title track (a bit of piano in the chorus), Pink Moon’s songs was Nick Drake accompanied by acoustic guitar. I feel, of all Drake’s album, Pink Moon has been the most influential and affecting – you can hear its embers and nuances passed down to musicians today.

The twenty-eight minutes of music was created in two nights in 1971. The bleak sound of the record, perhaps, reflected the mental state of Nick Drake – although many claim he was in positive frame-of-mind when he was recording. The sub-half-hour running time was, I guess, about right for an album that manages to expend as much beauty and revelation as it does starkness and dark shadow. After Five Leaves Left; Drake expressed a desire for a fuller, more evocative sound: Pink Moon was the result of unhappiness of Bryter Layter. A contrary and restless artist: Pink Moon, strangely, is Nick Drake at his most comfortable and confident. The nakedness and uncomplicated nature of Pink Moon has resonated with artists of today. At the time, when the album was completed, Drake delivered it to Island Records – mythology claims he popped it to a receptionist and sloped off. Regardless of truth: the album was presented with no fanfare and hype. Drake, perhaps, because of his mental welfare and drug use, was unwilling to commit to promotional duties. The record company were dissatisfied – the album was given a small advert and not a lot of attention. Critics at the time were mixed, to be fair. The sense of Nick Drake being a 'mysterious artist'; someone who was not as revelatory and open as one would hope – there was frustration and a need for greater expression and variation. Those who ‘got’ the album realised shyly-songs like Things Behind the Sun were stunning insights into a unique soul. Pink Moon is an incredible title track that, alone, makes the album a twilight wonder. Free Ride – a rare three-and-a-bit-minute excursion – is a standout: Harvest Breed one of Drake most-famous numbers. We all know (or perhaps not) the aftermath of Pink Moon. Drake became more insular and frugal – receiving a paucity from Island Records; existing a very modest and un-musician-like existence. Friends would see Drake and a blank stare – someone who would look through them (rather than at them). That deepening depression foreshadowed an inevitable conclusion – one where the extraordinary musician would – maybe a sense of having burnt as hard as he could; unable to take the pressures of life – departed the world.

After his death, it took a while for the world to realise the genius and talent of Nick Drake. The classic example of someone unappreciated and overlooked in their lifetime – someone who did very little promotional work was always going to struggle. It was not until the mid-1980s – rather shockingly – Drake’s artistry and true potential was realised. R.E.M. and Robert Smith helped spread his music to audiences at the time. Today, there are musicians overt in their appreciation and love of Nick Drake. Consciously or not: so many of today’s musicians owe a debt of gratitude to the legend. I am not sure what it is about Drake that hits people so hard. The lack of airs and attitude: an artist who was dedicated to the business of making music. In a time where ego and marketing define music – as much as talent and the songs themselves – it is refreshing someone as unassuming and focused as Nick Drake has made an impact so many years after his death. One wonders, if he were alive today, he would be making music. Sure, his life was as synonymous with trouble and problems as it was success and accomplishment. The three studio albums Nick Drake left the world are a reminder of what a singular, exceptional artist he was. His influence will live through the decades; those classic songs – many of which are collected into the playlist at the bottom – are instant and timeless. For me, I am caught between Pink Moon and Five Leaves Left: the astonishing orchestral masterpieces of the latter; the bare and desolate beauty of the former. Whatever your connection to Nick Drake – assuming you ever have one – the forty-eighth anniversary of Five Leaves Left (just gone) should compel many to revisit a master of music. I will be spinning his incredible music tonight and remembering a human being, in all his modesty and mystique, who truly created some of the most…

BEAUTIFUL songs born to this world.

INTERVIEW: Valenti Funk

INTERVIEW:

 

PHOTO CREDIT: Dennis Webb Jr.

 Valenti Funk

_______

HE is well-known around Texas for his work…

with the award-winning group, The Effinays. Valenti Funk is someone who, very soon, will be better known in the U.K. He is a multi-instrumentalist and Funk-fusion purveyor – someone whose music has charmed the masses in the U.S.

I ask the compelling artist about his album, Valenti, and the kind of themes he addresses. I learn about the Texas music scene and what he has been up to lately. The album was released on 7th June: to coincide with the birthday of the late, great Prince. I ask the Texan musician about his connection and love of Prince.

Valenti features contributions from the likes of Big Spook (Effinays’ frontman) and LaLa Johnson – introspective lyricism of Zach Pohl, Snearley and Aisha Mars. I ask Valenti Funk whether he has any U.S. dates, and whether he is coming to the U.K., the albums and musicians that have impacted him hardest – and whether there is any new material brewing.

_______

Hi, Valenti. How are you? How has your week been?

Man! Good. Just loving the heat. 

We complain about the heat and sun here in Texas a lot - but I secretly love it.

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

Well howdy!

My name is Valenti Funk: born in Dallas; raised in Irving, TX - and music is my drug! 

I like to consider myself a Funk aficionado and a self-proclaimed band nerd - and I love it! (“…and I want some mo”).

Valenti is your new album. Is it as personal as the title suggests? What kind of subjects and themes are explored?

I’d say, yes: it is personal as the title suggests.

With that being said; I enjoy all types of music and you can surely hear some of those types of music I enjoy bleed through on this project. 

This project spans from party-music to conscious, thought-provoking music - with some nice groove-oriented instrumentals sprinkled in.

Is there a song from the album that is particularly memorable/important to you?

More Light would be that track. 

In my opinion, it’s the deepest track on the album (lyrically). It’s one of those tracks where two people may hear two totally different themes.

The album was released on the 7th of June to honour Prince’s birthday. How influential was Prince to you and what song/Prince moment first came to your ears?

This is where I’d like to input a picture of the big ‘Prince symbol’ I have tattooed on my right side! Without a doubt: he’s one of my top musical influences. 

I came into my ‘Prince consciousness’ at a cousin’s sleep-over. His older sister had just gotten the Purple Rain album and I recall wanting to listen to it all night, not-stop.

You are endorsed by Billy Blast Drums and play keys and percussion simultaneously. Is it important for you to have that control and, tell me, when did you first discover the drums?

It’s not important, per se, to have that control - but more so that I do enjoy guiding the groove and melody when I can. I knew I loved the drums from the time I recall literally zoning-out (trance-like state) with two tree limbs in my hands - beating on my grandmother’s three-section, barrel barbeque grill. I didn’t snap out of it until my aunt yelled out my name asking me to quiet down some.

(Side note: I’m so thankful to Billy Blast for putting me down at a time when I wasn’t where I am now, but yet, he still chose to endorse me. (I’m still working on that ‘goal’ we spoke of Billy Blast).

I know Valenti features LaLa Johnson, Zach Pohl and, among others, Aisha Mars. How did you come to know these guys and was it hard deciding how you wanted each singer/musician to fit onto the album?

Before I started my project, I pretty much had them all in mind to be on my project. Zach and I are high-school classmates who graduated together. Aisha and I use to be in a band I played keys for called Melody Memory. Joe is the lead singer for my current band, The Effinays - LaLa is just a beast I met throughout the Dallas music scene. I first met her when she came to a Melody Memory practice.

Kelyn is another beast I met in the Dallas music scene. His former band (Fatty Lumpkin) and my band at the time (Blu Pearl) seemed to (always) be doing shows together. 

PHOTO CREDIT: Dennis Webb Jr.

I met Kevin Snearly almost the same way. His band at the time (Gravity Feed) and The Effinays use to do shows together as well. I met Versatile back in high-school at a piano shop in the mall (and, yes, a mini-impromptu show happened, then, with him freestyle rapping and me on the piano). Also, the lovely High Moons are a sister-group who I’d always see at an Effinays show and knew I’d like to eventually work with them.

Julian Ayacannoo and Marquise Jones use to play sax. for The Effinays -and now have their own band called The Diamond Kings. (To whomever I forgot to mention: please forgive me!)

Texas seems like an area you are very comfortable in and inspired by. What is it about the state that inspired music and creativity?

Since we (Texas) are in the middle; I’d like to think that I was able to hear music from the East to the West Coast - and from areas in-between. So, ironically, I feel being in Texas put me in a position to hear music and gain influences from all over - even if it was introduced to Texas at a later time (mainly referring to hearing East Coast (N.Y.) and West Coast rap in the '90s - later than most).

Do you know what is coming up the rest of the year? Are you working on new material?

I’m mainly focusing on making sure the masses are aware of this project. 

My band, The Effianays, are about to start working on another project. I’m also staying busy playing drums with Ronnie Heart – so, my summer is pretty much filled up for now.

 PHOTO CREDIT: Marisol Farda

How about touring? U.S. dates coming up, I assume? Are there plans to come to the U.K.?

There are no plans for touring just yet for my solo project - but I did just get a text from Ronnie the other day (saying) that things were finalized for a Midwest tour this summer.

We don’t have any plans for touring with The Effinays this summer - but we are working on some killer Dallas (Fort Worth) shows at the moment.

PHOTO CREDIT: Dennis Webb Jr.

Who are the musicians, apart from Prince, who have inspired you and compelled you to get into music?

My, for sure, six musical influences are Prince, George Clinton; James Brown, Rick Ruben; Stevie Wonder and Dr. Dre. 

I grew up listening repeatedly to all of those guys.

Are there any new artists you recommend we check out?

Surely check out Ronnie Heart, The High Moons and Zach Pohl.

 If you had to select the three albums that mean the most to you; which would they be and why?

Wow, that’s a hard one. 

I’d have to go with James Brown - In the Jungle Groove

(For the song, Funky Drummer, alone). 

I’d, then, go with Beastie Boys – License to Ill

Mainly because it was one of the first Rap tapes I had - and I loved how funky it was (Rick Ruben produced). 

I’d then go with Prince’s Purple Rain (or the Parade album)

I feel that both of those albums show what Prince is as a whole.

Do you get much time to take a break from music? How do you like to spend your free time?

Believe it or not: I’m a big-time home-body. 

When I don’t have a show, I stay home in bed and watch The Food Network - or try and catch up on some Religious History reading.

What advice would you give to any new artists starting out right now?

DON’T STOP!

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

Oooh, I’m going to give you an obscure song to play! L.o.L.

Play Galt MacDermot – Space

Thank you so much for having me!

_____

Follow Valenti Funk

 Official:

https://www.valentifunk.com/

Facebook:

https://www.facebook.com/valentifunk

Twitter:

https://twitter.com/valentifunk

Instagram:

https://www.instagram.com/valenti_funk/

SoundCloud:

https://soundcloud.com/valenti-funk

YouTube:

https://www.youtube.com/channel/UCn6045RDXr-CpnbFhS3c21Q

INTERVIEW: Catherine McGrath

INTERVIEW:

 

Catherine McGrath

_______

ONE cannot help but fall in love with…

Catherine McGrath’s music. There is something about her voice and the way she performs: the incredibly personal lyrics and sense of warmth and intrigue. I talk to the Northern Ireland-born, London-based artist about her latest track, Never Wanna Fall in Love. It is, in my view, her most immediate and emotional track – I ask where the inspiration for it stems. She talks about her E.P., One, and whether, since its release, she has changed as an artist.

McGrath discusses the possibility of new work and what dates she has in the diary; a recent appearance alongside Picture This (at The Great Escape festival) and the career memories she treasures most.

_______

Hi, Catherine. How are you? How has your week been?

Hi!

I’m good. Just about to play a show at Under the Bridge in Chelsea - so I’m feeling excited!

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

I’m a twenty-year-old Country/Pop singer from Ireland.

I’ve been writing music in London and Nashville and have been putting it online - and playing as many shows as I can in the past few months - and I’d love for you to have a listen!

Never Wanna Fall in Love is your most-recent single. Can you tell me about that song and how it all came together?

It was one of the first songs I wrote when I moved to London.

I can’t fully remember the process but I can remember being so nervous cause I hadn’t done much writing with other people - so I was singing super-quietly.

Haha. 

One, your E.P. released last year, received acclaim and impressive reviews. Was it a surprise seeing such love for it and how would you say you’ve changed as an artist since its release?

Yes!

I had no idea so many people would listen to it and respond so well. I don’t think I’ve changed: except for, maybe, getting a little more confident on stage etc. But, in terms of my style etc., I’m still very much the same.

Can we expect any new music later this year at all?

Yes!

I’ve been working really hard on my debut album which is going to be released towards the end of the year - with a single in the autumn.

How do songs come together for you? Do you set time to write or is it a more spontaneous process?

I usually have my songwriting sessions planned ahead, so there’s a studio to work in and I know who I’ll be writing with etc.

But, I come up with song ideas and write lyrics all the time - so I keep them in my phone until the next time I’m in a studio.

Tell me how you got started in music? Did that passion start at childhood or did you get into it a bit later on?

I’ve always loved music: mum always says I used to hum myself to sleep when I was little.

Who were the artists you grew up on and idolised as a youngster?

The music I heard most of was the music my parents played - traditional, Irish music. My dad writes his own songs; so I grew up listening to those, too.

When I turned twelve, I properly started listening to American Country – so, as a teenager, that was what I grew up to.

County Down is your home. What is the music scene like there for a young artist? Is it quite active at the moment?

Where I live specifically is a really small place: there are loads of pubs with live music and everyone loves to play.

I knew to do what I wanted to do: I needed to move to London where there were more opportunities and people to work with.

It’s always so good to go home, though, and be back around the people and music I grew up with.

I know you have recently played The Great Escape and toured with Picture This. What were those experiences like?

So much fun!

Especially the Cork shows with Picture This. There were 5,000 people per show and they were so enthusiastic and amazing. 

You have a few tour dates coming up around the U.K. Is there any particular venue you are really excited about?

I was really excited to play British Summertime festival in Hyde Park last weekend – and, also, Harvest Festival in Ireland. I’m hoping it’ll be sunny! 

If you had to look back on all your time in music and pick that one special/defining memory; what would that be would you say?

Signing my record deal with Warner Brothers was the craziest moment - that just seemed like something that would never happen.

It’s been amazing having a team of people with me along the way to give me advice and get excited about new music etc. - it definitely made a huge difference.

Are there any new artists you recommend we check out?

Seth Ennis are RaeLynn are two of my favourites right now.

If you had to select the three albums that have meant the most to you; which would they be and why?

Taylor Swift - Fearless

It was the first of Taylor’s albums I bought - and I just fell in love and bought them all from then on. I found Country music through Taylor so that introduced me to the kind of music I want to make.

Justin Bieber - My World

When I was thirteen, I was in love with Justin Bieber like every other thirteen-year-old girl, ever. I was listening to Country music but I was also listening to Pop music. Listening to that album just sounds like being thirteen again: it reminds me of some of the best times I had with my best friend.

I love how hearing a song takes you back to certain moments and that’s what hearing the album back now is like for me - so it’s special to me in that way.

Matthew McGrath - Spirit of the Village.

My dad’s always written songs. Growing up around that probably inspired me a lot. I used to try to come up with my own songs and ask him to help me figure out how to play chords on guitar.

His songs are the ones I grew up with and they’re my favourites.

What advice would you give to any new artists starting out right now?

Just to give it everything you can, if you’re able to: just set everything else aside and focus fully on music and see where it goes.

Even if it seems almost impossible; don’t be afraid to do what you really love because you’re scared that it might not work – because, maybe it will.

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

Rascal Flatts - Life Is a Highway

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Follow Catherine McGrath

 Official:

http://catherinemcgrathmusic.com/

Facebook:

https://www.facebook.com/imcathmcgrath/

Twitter:

https://twitter.com/imcathmcgrath

Instagram:

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

SoundCloud:

https://soundcloud.com/imcathmcgrath

YouTube:

https://www.youtube.com/user/CatherineSwift13

INTERVIEW: Kerri Watt

INTERVIEW:

 

 

 Kerri Watt

_______

THERE are few people who can boast they have had a song…

A-listed by BBC Radio 2 AND worked/toured with Embrace. Kerri Watt is no ordinary artist and someone who has immense talent and promise. Old School Love is a single that mixes vintage sounds and modern urgency – a departure from her previous work but the signs of an artist who is always moving and pressing forward. I ask Watt about her previous material and why Old School Love has a different tone. She talks about Embrace and how her music comes together; the importance of getting backing from big stations and the musicians who inspire her.

I find out more about Watt’s career highlights and whether music was a pivotal part of her childhood; the albums most important to her and the advice she would offer any new songwriters coming through.

_______

Hi, Kerri. How are you? How has your week been?

Hey!

I’m feeling great, thanks.

The week has only begun but there’s an exciting few days ahead!

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

I’m a singer and songwriter from Glasgow.

My lyrics tell the stories of my great loves and adventures of my life so far. Over the last couple of years, I’ve had the opportunity to travel around the U.K., Europe and the States supporting acts such as Embrace, Starsailor; Nina Nesbitt and Ward Thomas to name a few - I’ve also got to play some really fun festivals including Glastonbury and Isle of Wight!

I lived in California for a while, as a teenager, and it was at music school there that I really learnt about different styles – so, there’s definitely some Americana influences in my sound. 

Old School Love is your new track. What can you tell me about it?

Old School Love is a song straight from the heart.

A couple of years ago, I was on the road with my tour manager, Steve, telling him how amazing and different this new relationship I was in felt.

I said to him: “It feels like an old school love” and Steve goes: “That’s the name of your next single!’. So, when I got back from tour, I went away and wrote it.

It came really easily because I could use the way I described the relationship to Steve as lyrical inspiration for the song. 

How do think Old School Love differs from previous singles. It seems quite a shift from earlier work.

When I’m writing, I don’t consciously think ‘does this fit with my other songs?’ - I find it’s best to just write what comes naturally and then, if the demo gets some good feedback from people, and I also love it, I know I’m onto a winner. In my eyes, it’s just a natural progression.

I’m always evolving and learning as a songwriter. The thread that ties all my music together is the lyrical content - I always want people to feel something move inside them when they listen. 

The song mixes new styles and production values but it has a great, vintage sound. Was that a conscious decision – to mix styles and periods, as it were?

I think the thing is, with Old School Love, when you hear the title you automatically get an idea of something that’s a bit vintage and true.

So, naturally, I wanted the feel of the production to relate to the title of the song. I think, because the song tells a story, it didn’t need production to do any of the talking for it. 

How do songs come together for you? Do you set time aside to write or do they come naturally?

The writing process is always different.

I do plan weeks of writing where I’ll go to Nashville and have a number of songwriting sessions arranged. Sometimes, I’ll have some of my musician friends around the house hanging out and we’ll start jamming something - and a song will just sneak up on us out of nowhere!

Other times, I’ll have gone through something and feel so strongly about it that it just has to come out of me that day! Those are usually the best. 

With Old School Love, as I mentioned, I had the title and the idea. So, as soon as I had the chance to sit down, it came flowing out. 

Can we expect any more songs in the future?

I’ve got loads of songs demo-d at the moment; so, there’s plenty of material waiting to be recorded. You can definitely expect to be hearing more music very soon!

You have worked with Embrace in the past. How did you come to know the band?

I was introduced to the singer of the band Danny by a friend. He was very helpful and would give me advice after coming to see me play.

After I wrote Long Way Home and let Danny hear it; he introduced me to his brother Rick (the guitarist of Embrace) who is also a producer. He had some amazing ideas for the song so we started working together and the rest is history.

I’ve played festivals with them: the full band play on my recordings and this week I’ll be joining them on stage to support Coldplay at Cardiff Millennium Stadium! I’m so grateful for the doors they’ve opened for me. 

Stations like BBC Radio 2 have backed your music. What has that been like for you?

Having BBC Radio 2 support my last two singles has been a dream come true. For a station like that to get behind an unsigned artist, which I was at the time and put me on the A-List, is an absolute dream.

Getting to perform live on Radio 2 is one of my career highlights so far. 

When did you get into music? Was it always part of your childhood?

My parents introduced me to Michael Jackson very early - I’m talking like eighteen-months-old! They had the V.H.S. of his live tour and used to put it on the T.V. while I was in my cot! He stuck with me throughout my childhood and I was always in awe of him and his stage presence.

As I got a little older, I discovered Celine Dion and LeAnn Rimes. They were probably the two biggest female influences for me growing up.

I’m finally getting to see Celine live in London later this month! 

Can we expect to see you tour anytime soon?

I’m just confirming my first headline tour for the Autumn which is super-exciting.

But, I still have a bunch of shows throughout the summer - which you can check out the dates for on my website! 

What, would you say, how been your career highlights to date?

A real moment for me in my career so far was joining Starsailor on stage for a number at Paradiso in Amsterdam. The place was packed and the crowd so enthusiastic.

I really felt like I was living out my dreams – but, I have a feeling Coldplay might top that this week… 

I also remember my first open mic in Glasgow - the audience consisted of my sister, her friend and three drunk old men. That was really a test for me. Am I willing to do these kinds of gigs for as long as it takes for someone to notice me?! I’m glad I stuck it out. 

Are there any new artists you’d recommend we investigate?

Keelan Donovan - Love of Mine - that’s my new favourite song.

Keelan is an artist from Nashville that I met at a songwriters conference in L.A. in May: he’s like a mix of Paolo Nutini and Thomas Wrett.

Awesome stuff. 

Can you name the three albums that have meant the most to you – and the reasons why?

Van Morrison – Astral Weeks

This album just makes me feel so happy and so relaxed. Van is one of my biggest inspirations as a songwriter - and I think Astral Weeks is really a work of art. 

Michael Jackson – HIStory

I mean; this album is just my childhood. I don’t know how many hours I spent in front of the mirror in my room, as a seven-year-old, making up dances to Billie Jean and Don’t Stop 'Til You Get Enough.

Eagles – Hotel California

It’s a hot, sunny day: you’re driving with all the windows down; The wind is blowing your hair. You’re singing at the top of your lungs with the friends you love.

It’s the soundtrack to the perfect summer. 

What advice would you offer any new artists coming through?

Do, you.

People will like you more if you are completely honest and totally yourself. If anyone tries to change that, they’re shouldn’t be part of your journey.

Going back to the open mics: it’s always hard in the beginning and it continues to be difficult. It’s a seriously competitive industry.

But, if you think you’ve got something the world needs to hear, and you’re willing to put in the work - there’s nothing stopping you! 

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

Move On Up - Curtis Mayfield 

_____

Follow Kerri Watt

 Official:

https://kerriwatt.com/

Facebook:

https://www.facebook.com/KerriWattMusic/

Twitter:

https://twitter.com/kerriwatt

Instagram:

https://www.instagram.com/kerriwatt/

SoundCloud:

https://soundcloud.com/kerriwatt

YouTube:

https://www.youtube.com/channel/UCs70F2TV_jbE7tlilPCYREQ

FEATURE: The British Live Music Scene: Improvements and Divisions

FEATURE:

 

The British Live Music Scene:

 

  

Improvements and Divisions

________

A report by Wish You Were Here....

presented some rather pleasing findings in relation to music tourism in the U.K. The report revealed the impact of music and tourism on the U.K. economy – at a local and national level. I shall start by quoting from the report:

“The number of people who enjoyed live music events in the UK rose by 12% in 2016 to 30.9 million – up from 27.7 million in 2015.

Live music fans generated £4 billion in direct and indirect spending in 2016 by flocking to concerts and festivals across the UK – a rise of 11% on the £3.7 billion they spent in 2015.
The total number of music tourists from the UK and abroad increased by 20% in 2016 to 12.5 million, of which 11.6 million were UK citizens visiting live music events in other parts of the UK.
Collating a vast amount of ticketing and other data from hundreds of venues, UK Music annually compiles this unrivalled insight into live music in every region of the UK and its impact on the local economy”.

The report includes an introduction by Culture Secretary Karen Bradley and will be officially launched at the House of Commons on Wednesday 12th July.

The key findings of the report include:
UK LIVE MUSIC IN NUMBERS 2016
- 30.9 million - total audience that attended live music events in the UK
- 3.9 million - total festival attendance in the UK
- 27 million - total concert attendance in the UK
- 18.4 million local residents attended local music events in the UK
UK MUSIC TOURISM IN NUMBERS 2016
- £4 billion total spend generated by music tourism in the UK
- 12.5 million music tourists in 2016
- £656 million box office spend on tickets by music tourists in 2016
- 40% of live music audiences are music tourists
- 47,445 full time jobs sustained by music tourism
- £850 average spend by overseas music tourists in the UK
- £150 average spend by domestic music tourists in the UK
SMALL MUSIC VENUES IN NUMBERS
- 6.2 million total audience at small music venues
- 1.67 million tourist visits to small venues
- £367 million total spend generated by music tourists visiting small venues

It seems concert attendance is higher than ever. Festivals are seeing rising numbers and the gig-going audience soared by 12% to 30.9 million in 2016 – that is according to UK Music. That has contributed £4 billion to the nation’s economy. It is heartening seeing those key figures/facts - 4 million people attended a festival in 2016; and that 823,000 people travelled to the UK from abroad specifically to watch live music, spending an average of £850 per visit – and, since 2011, the U.K. has seen a 76% rise in music tourism. I shall look at the flip-side of the report but, looking at those statistics, it seems there is much to celebrate. In terms of the word ‘tourist’, in this context, it is very apt. Britain is seeing a lot of international music fans come here and see some of our biggest festivals. Whilst nations like the U.S. have great festivals themselves: there is a definite appetite for the finest British festivals. Glastonbury has just passed and saw huge numbers flock there. We have Reading and Leeds approaching; many more festivals approaching – as the weather warms, so too will the live music economy. Maybe the improved weather has helped boost numbers – if it continues, that will attract more tourists over here. It is not only the major festivals enjoying boosted numbers: smaller, boutique festivals are enjoying increased numbers and sales.

PHOTO CREDIT: Ben Bentley

Maybe political events have caused a social rebellion. The tragedies at Grenfell and terrorist attacks have seen, as predicted, people come together and defiantly embrace life. Music festivals are the perfect place for the masses to unite: no shock festivals are seeing more bodies through the barriers. There are security fears but, for the most part, festivals are being stringently policed and monitored. It is good to see the raised threat of terrorism is not deterring music-hungry crowds. The fact two-fifths of those contributing to the coffers of live music are tourists is good news. One wonders, however, whether political decisions will impact on this prosperity. If Brexit does go through – it is a BIG if at the moment – and limitations are imposed on E.U. citizens coming to the U.K. – how damaging will that prove?! There is a lot of confusion and uncertainty surrounding restrictions and decrees. At the moment, before any legislation has been passed, some are wary of travelling through fear of persecution and reprisals. The murkier the Brexit waters get; the more obfuscated the music tourist community will become. I am buoyed by the figures released by Wish You Were Here’s annual report and wondering if this is influential…

DIGITAL MUSIC OVERTAKING PHYSICAL SALES:

One cannot look at the growth of the live music scene without talking about sales and the digitisation of music. It appears, for the first time, digital music streaming/purchases are overtaking physical formats. This trend looks set to continue. An article, written by FACT, explains it:

“Streaming revenue is to overtake physical music sales in the UK, according to figures released by the British Phonographic Industry (BPI).

Streaming accounted for 30% of overall label revenues in 2016, compared to 32% for physical sales. According to the BPI, the rate of growth means that streaming is expected to overtake physical in 2017.

According to the BPI’s report, 11% of the UK’s adult population were subscribed to a service such as Apple Music or Spotify at the end of 2016.

The figures also revealed that overall revenue (streaming, physical and download sales, performance rights and licensed music) rose by 5.1%. The £926 million total is the largest in five years.

However, the BPI was cautious about the challenges the industry still faces, including piracy and the difference in revenue generated for artists and labels from services such as YouTube.

BPI chief executive Geoff Taylor also warned of the uncertainties surrounding Brexit, arguing that UK artists needed to retain access to EU markets after the UK’s withdrawal.

“Britain’s world-leading music sector has the potential for sustained growth in the years ahead, but this exciting future can only be realised if government makes creative businesses a priority post-Brexit,” he said.

“It means making sure that UK artists can tour freely in EU markets and that UK businesses can access the best talent.”

The boom in streaming and rise in overall revenue for the UK music industry mirrors that of the US, where streaming accounted for a massive 51% of all revenue in 2016”.

Bringing in another piece - https://www.pwc.com/gx/en/industries/entertainment-media/outlook/segment-insights/music.html - and more exposition is provided:

“Global music industry revenue grows with consumer preference shifting towards subscription-based, rental services

Global music industry revenue is expected to grow at about 3.5% CAGR thru 2021, with growth driven by both the recorded music and the live music sectors. The most significant trend witnessed however, has to be the marked consumer shift away from purchasing and owning recorded music to showing an increasing preference for subscription-based, music-rental services. The five leading markets also all headed in the same direction.

Digital recorded music revenue will increase at about the same rate that physical recorded music revenue declines

Physical recorded music revenue continues to decline, with even long-stalwart German music fans now turning their backs on CDs in number, as consumers look to digital music to provide their audio entertainment. However, this decline in physical recorded music will be more than compensated for by revenue growth in the digital recorded music segment, driven by consumer uptake of music streaming services”.

I am a bit torn by these findings. On the one hand, it is hard seeing formats like C.D. and vinyl decline – by comparison – and the physical side of music. Maybe pricing and limited availability is seeing more people turn to digital methods. More people are listening to music on the move: they want to access their tunes through their Smartphones and laptops. Another reason digital music is starting to grab the majority marketshare is the fact many can get it for free. Spotify, YouTube and BandCamp are free; many can subscribe to Spotify and not pay anything – making is more attractive than buying a C.D. or vinyl. That said, the greater availability of music – through digital methods – means better education. If people are not able to afford music, or find they cannot find everything they want at the local record shop, it is a good thing one has options like Spotify. I shall talk more about this service in relation to small venues’ future but, for now, it appears there is a correlation between festivals’ growing numbers and the popularity of digital streaming.

The Internet opens one to the full majesty and scope of music. Once we have that degree of access: it means we discover more artists and, as such, are more inclined to go to festivals – knowing who is playing and what their music sounds like. One might argue there are issues with streaming and remunerating artists – I shall come to look at the issue of restitution and checks-and-balances later. We should, as a music community, be pleased festivals are expanding and flourishing. I wonder whether streaming sites are contributing to the profitability of the biggest festivals. We all are aware of the headline acts but many are attending festivals because of the minor acts – many of whom they would only come into contact with via streaming sites. Even though there are ethical discussions around streaming services; one cannot quibble with the fact it is putting more music into the masses’ hands.

For many, who cannot get to a new band’s gigs, they will often go onto sites like SoundCloud and Spotify and find their music. A few of the issues with physical formats comes down to availability, cost and choice. I have often gone into a record store, looking for a particular album, and find myself empty-handed. High-street stores are struggling with rent prices: meaning stores are smaller and more compact. Many shops have to stock records that fit into the ethos and ‘personality’ of a town and, because of that, it is only the biggest stores that provide a pragmatic choice of music. When you get to these shops; one finds them crowded and the prices a little unreasonable. A study has shown how vinyl sales are increasing at the moment. This is wonderful but, if one actually looks at the price of an L.P., it can be quite galling. C.D.s are a more affordable option but are still putting a lot of people off. Because of this, many are using streaming services and getting as much music as they can – often without having to pay much. It is the availability and selection of music one gets – through digital stores – that attracts so many. I can get a brand-new album without having to pay too much (I subscribe to Spotify) and can find any classic album without having to traipse around and wait. The more we have at our fingertips; the more curious we will be. I have found so many great new artists through the Internet. Many people are discovering music they would not usually know about. It is this serendipity that is seeing, not only artists find success – and get added to festival bills – but drawing more people in. Live music is burgeoning in one area but, in another, there are real cracks and doubts forming.

SMALL VENUES IN DECLINE?

The money being spent on small venues is becoming less and less - those with a capacity of less than 1,500 are in real danger it seems. The fact, in some areas, we are seeing fewer venues close does not reflect a national issue. London’s Astoria and The Boardwalk in Sheffield are two venues that have closed their doors in recent years. I wonder why there is such an explosion for festivals – contrasted against the shaky nature of the smaller venues. Perhaps it is the sort of acts who play festivals that are drawing people in. Although, as most festivals are annual; there is going to be that need and sense of release - waiting a year for something extraordinary to come along. Small venues are open most nights and it can be hard constantly pulling people in. We know we’re becoming a more ‘indoor’ society. Folk are staying in more and not enjoying music venues as much as they once did. A lot of artists are scaling-back European tours because (many) have to apply for visas and £1,000 ‘carnet’ documents – temporary import/export agreements – so they can transport equipment across borders. Brexit might mean fewer European artists are coming to play small venues around the U.K.

PHOTO CREDIT: Sandie Levent

A single visa would limit the issue but, until we know about the details of Brexit; what will be the fate of our small venues? There is a fear many acts are willing to play these spaces but the public is not quite as eager. Perhaps there is less disposable income – the cost of living is tightening their budgets – but, more likely, people are getting their new music from streaming sites. It was the case, a while back, before these sites, people would go to gigs to discover new artists. Rather than see a new band/artist play; go and find their music online: now, people are discovering them online and, in a lot of cases, not feeling it necessary to see them perform. For a lot of musicians; the smaller venues are their way of getting music heard – it compromises the future of live music is we do not provide it necessary loyalty and love.

It is hard to take the news of festival boom with anything other than caution and pragmatism. Right now, there are a lot more tourists attending festivals and embracing live music. Events like Glastonbury – Reading and Leeds coming up – have brought the crowds together and shown there are few nations that put on a music festival quite like us. It is clear the summer festivals are going to bring in people from all around. This is good news because, in past years, we have seen smaller festivals end – through lack of demand and financing. This turnaround could revive some festivals and create new ones. Glastonbury is on a break next year: there is a fantastic opportunity to fill the void and provide the June gig-goers a great alternative. There is another occurrence that threatens to undermine the industrious and elevating festival business account: the unsure fate of the small venues. In a way, in the middle of these disparate corners of music is the battle between digital music and a physical release.

Streaming is overtaking physical sales: we are entering an age where our buying habits have altered. Finance and affordability are seeing fewer people regularly attending gigs and buy C.D.s/vinyl. Divisions are occurring but there is remedy and a way to move forward. More money needs to be set aside for our smaller venues. Ensuring their sustainability is a paramount concern. Without them, there is a risk the fabric of live music will crumble. It is all well dedicating a budget to small venues but can we easily regulate the way people but their music?! So many are downloading/streaming songs for free. I read a report that underlined how many people choose to get their music for free – keep them on hard drives and websites for months/years after purchase. There is an ethical argument: should we all pay for music or not? But, in the long-term, it will hit the fortunes of new artists. Many are getting fewer gig requests and struggling to survive (with venues closing down). They need the revenue from sales. If they are denied this then that will have awful consequences for music. I am hopeful we can redress the imbalance but, as recent surveys have shown…

IT is certainly not black-and-white.

PHOTOS: Unsplash

INTERVIEW: George Taylor

INTERVIEW:

 

 George Taylor

_______

IT has been a frenetic and busy twelve months…

for young George Taylor. He has been turning heads with a steady stream of singles. His debut album, Give It Up, got him a deal with Warner Chappell – having amassed over two-million streams in a couple of months. His music has made its way to Zane Lowe – he backed I Hear Your Song, Sweetness on his Beats 1 show. Ears are turning onto his unique blend of sounds. The London-based musician has brought out Ophelia. I ask about the song and its origins. Taylor explains the process and story behind the song: emotion and a hard situation few would expect to hear - given the sweetness and purity of the song.

He released The Youth, his previous single, last month and is one of the most consistent artists working right now. I ask Taylor about his upbringing and introduction to music; some of the artists who have influenced him and what it feels like having the support of big names – and getting those all-important streams on Spotify. He discusses the future and what it is like being signed to Warner Chappell.

_______

Hi, George. How are you? How has your week been?

I'm good, thank you.

I've had a good week and I'm heading down to Cornwall on a train as we speak.

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

I am a twenty-four-year-old singer-songwriter; currently living in London - but I grew up near Leicester. I started writing songs when I was, about, thirteen - and have kept going ever since.

I've spent a long time preparing my music over the last couple of years. I'm very excited to finally release some of it.

Ophelia is your latest single. What can you tell me about it?

Ophelia is a song I wrote after a girl that I knew who was over in London on holiday – and, sadly, ended up getting sectioned - she was in hospital for a while. She has since made a full recovery and returned home.

Visiting her in the hospital was an eye-opening and emotional experience - and something I really wanted to write about.

It sounds like it was a tough and emotional song to put together. How hard was it writing and recording it – given it has very personal aspects to it?

Sometimes, my songs can come together very quickly: sometimes, it can take weeks. I wrote and recorded a full demo of it just over a year ago in my bedroom at home. I finished it in about twelve hours, from what I remember.

I really wanted to 'go in' musically and lyrically on this track - and try to create the right juxtaposition between a dream-like state and an epic-sounding chorus.

It was a song I wanted to write to try and make sense of all my experiences of mental health - so, it definitely felt and feels emotional to me, yes.

It is your second single in a month – following The Youth. It seems like you are in a productive creative state. Are you already looking ahead to the next song?

I'm always writing (or trying to) and I'm very conscious of not letting that slip. As with anything: the more you do it, the better you get.

I've got lots of new material that I'm excited for people to hear. I will have another single coming very soon.

Can we expect an E.P. later this year?

We will have to wait and see how we are going to release the next batch of song. Maybe that will be in the form of and E.P.

You are signed to Warner Chappell. Do they give you a lot of freedom to create the music you want? Is it quite comforting having their backing?

Warner Chappell have been so good to me since I signed a publishing deal with them just over a year ago.

I signed in the New York office and I have spent a lot of the last year over there and in L.A. writing and recording – and, I suppose, developing as an artist.

I feel very lucky to have met and worked so many amazing people both here and across the pond. The whole team around me, now, are giving me unbelievable support.

The single, Give It Up, notched up a couple-of-million Spotify streams. Is it quite humbling knowing so many people connected to it?

Yes.

It's nice that a lot of people have connected with that song. I didn't expect that at all for the first song that I put out. 

Now, I'm mostly (just) looking forward to my new material.

I Hear Your Song, Sweetness caught the ear of Zane Lowe. That must have been quite a moment? Is he someone you look up to?

The man, the legend played it on his Beats 1 show. I used to listen to him a lot on the radio - especially in the good days of The Strokes; when he would basically play them on-repeat.

He's obviously a great name in the industry so I'm really grateful for his support early on.

How many tour dates do you have planned? Will you be playing live a lot this year?

For the moment, I'm just letting a bit more music out - and it looks like I'm gonna be on the road before the New Year.

I can't wait to get playing shows again.

Tell me how you first came into music? Is it something you were fascinated by as a child? What kind of artists did you how up listening to?

I can't remember music ever not being an obsession.

My dad would always be playing us Dire Straits, Pink Floyd and Madness - and my first connection with music, I remember, was in the car hearing Sultans of Swing ("Check out guitar George/He knows all the chords").

When I was nine or ten, I started listening to a lot of David Bowie and listening to weirder Pink Floyd records like Meddle - and some of the Syd Barrett stuff.

In my teens, I discovered Bob Dylan and, I think, he probably got me writing songs. As I got slightly older; I started listening to Blues and Soul music. I fell in love with a lot of the great singers: Al Green, Janis Joplin and Otis Redding. This probably helped me develop my voice.

Music is demanding and time-consuming. Do you get a lot of time to chill, and if so, what do you like doing?

I seem to have weeks at a time where it can be really nonstop - and, then, weeks when there is not much going on. I think that's just to do with the stage I'm at.

So, yes, I definitely get time to chill. I enjoy playing ping pong and going to the pub when I can.

Are there any new artists you recommend we check out?

ISLAND and Otzeki, I think, are two of the most exciting new bands around.

I can't wait to see them do well.

If you had to select the three albums that mean the most to you; which would they be and why?

Pink Floyd - Dark Side of the Moon

This often feels like an obvious choice; I don't care: I think it's the greatest record ever made.

Grizzly Bear – Veckatimest

This was a very significant album in my life when I first started writing music.

It felt like one of the best written, strange and interesting things I'd ever heard - especially in modern-day guitar music.

Radiohead - In Rainbows

I didn't really get properly listening to Radiohead until I got a bit older.

But, this record, was a mind-blower for me.

What advice would you give to any new artists starting out right now?

Just do it all the time.

Play, write and listen all the time - and constantly push yourself to get better.

Also, a lot of people will try and tell you it's too hard to do - but just ignore all that bollocks and do it.

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

Some Things Last a Long Time - Daniel Johnston

_____

Follow George Taylor

PHOTO CREDIT: Rob Hoffman 

Official:

https://www.iamgeorgetaylor.com/

Facebook:

https://www.facebook.com/iamgeorgetaylor

Twitter:

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FEATURE: Dizzee Rascal: From the Boy in da Corner to the Man in the Spotlight

FEATURE:

 

Dizzee Rascal:

  

From the Boy in da Corner to the Man in the Spotlight

________

I can scarcely believe it has been fourteen years since…

Dizzee Rascal burst onto the scene with his stunning debut, Boy in da Corner. I have written about that previously – so shall not go into too much detail regarding that record. Earlier this year; I questioning where Dizzee had gone – not having produced an album for a few years. Low and behold (no influence on my part) he is back and, on the basis of the first couple of tracks, Raskit is going to be an emphatic return to form. Wot U Gonna Do? is the second cut to be taken from Raskit – out in a couple of weeks. It is a song that takes me back to the earliest days for the Bow maestro. Whilst the circumstances have changed since Boy in da Corner – Dizzee is thirty-two now; he is no longer the struggling kid in the manor; concerns have changed – there is no maturity and degradation when it comes to the lyrics.  One of the reasons Boy in da Corner is one of my favourite albums ever – in the top-twenty, at least – is because of the blend of amazing compositions (different genres, sounds and effects put together in a head-spinning mix) and tight, on-point lyrics. Dizzee, even as a teenager, showed a peerless and hugely intelligent approach to wordplay and lyrics. A flawless album that addressed impure women and the wars unfolding in estates; the social dislocation of the working-class and the sort of stresses and strife a typical East London boy experiences. Showtime was a worthy follow-up – if not quite as sharp – whereas Maths + English contained one of his finest hits: the frightening and intense, Sirens. I am a huge fan of Dizzee but felt he has never surpassed the splendour and unexpectedness of his debut. After Maths + English (2007); I feel the quality took a dramatic dip. By the time of The Fifth; there were too many collaborations and too many fillers. I guess the pressure and expectation foisted onto the shoulders of Dizzee was a lot to take.

I am pleased Raskit is forthcoming and, from what I have heard so far, it seems like it is the London rapper at his finest. Space, in terms of composition, certainly differs from his earlier work. Some critics felt the backdrop was not sufficiently strong to support such (typically) fiery lyrics. The four years since The Fifth has not dampened Dizzee’s lyrical gifts. In fact, it seems like he has come on strides since his previous album. The reason The Fifth gained mediocre reception was the fact too many people were involved. It got to the stage where Dizzee was hooking up with people because he had that pull and cache. His lyrics looked at estates and problems of the streets: too many songs focused on petty cussing and juvenile spats. Maybe the growing attention and celebrity meant singing about the ends; the gang battles and struggle of modern-day Britain was not a possibility. It would seem inauthentic and forced: in the same way The Streets could not talk about these things following A Grand Don’t Come for Free. I wondered whether Dizzee would be back this year: given the social discontent and political issues in the country – it seems like a perfect time for him to launch a fresh assault. If Wot U Gonna Do? is more a jab at washed-up peers and faded stars – what are they going to do when things don’t work out or the attention slips – I am optimistic we will see a lot of relevant and scathing commentary from Dizzee. I have bemoaned the lack of Urban explosion and reaction considering the time we are having at the moment. Perhaps artists are readying themselves for the attack but, over the last few months, it has been a little quiet, to say the least. The nation is divided and people and unsure where we are heading right now. Music has a reactive role and is a great way to channel those frustrations and questions into something meaningful and dramatic. I hope Raskit, in a way, returns to Boy in da Corner: offering some mature insight but possessed of that same spark that brought a young Dylan Mills to the public parapet fourteen years ago.

There is a lot of anger and uncertainty at the moment: musicians have a duty to, at least, try to translate that into something constructive and propulsive. Back in 2003, Dizzee Rascal perfectly articulated the reality and depth of the young, working-class existence – where people were overlooked by the government, for the most part. One can argue that problem is as evident fourteen years down the line. Dizzee lost a bit of his touch in the years following Boy in da Corner but that was going to happen – he could not sustain the same electricity and relevance. This is not a chance to promote an album and say it is going to define this year. I think it will, in a lot of ways, but know Dizzee Rascal’s ‘return’ – if you can call a four-year gap THAT long to consider it a departure – is as necessary and needed as anything else. Wot U Gonna Do? sounds like Dizzee as fresh and hungry as he did all those years ago. Against the tide and continuation of upheaval and unpredictability this year – the best and brightest Urban artists out there have the opportunity to lead the country; in a way the elected leaders cannot. I will be watching closely when Raskit is unveiled. Dizzee Rascal, himself, explained the album in these terms:

“The idea of trying to be my 17-year-old self again just because everyone thinks grime’s landed in their lap this week didn’t satisfy me…I wanted to use what I’ve learned to make the best rap album I could, with no hands in the air moments, just using as much English slang as I could over the best beats I could find”.

Raskit is out July 21 via Dirtee Stank Recordings/Island Records. I urge everyone snap it up and watch the Godfather of Grime show the competition how it is done. Sit back, put the record on and…

WATCH the sparks fly.

RASKIT UK TOUR

Mon 02 Oct Liverpool O2 Academy*
Tue 03 Oct Glasgow O2 Academy*
Thu 05 Oct Newcastle O2 Academy*
Fri 06 Oct Sheffield O2 Academy*
Sat 07 Oct Leeds O2 Academy*
Mon 09 Oct Norwich, Uea
Thu 12 Oct London O2 Academy Brixton*
Fri 13 Oct Cambridge Corn Exchange
Sat 14 Oct Manchester Academy
Mon 16 Oct Bristol O2 Academy*
Tue 17 Oct Nottingham Rock City
Thu 19 Oct Southend Cliffs Pavilion
Fri 20 Oct Birmingham O2 Academy*
Sat 21 Oct Brighton Dome

INTERVIEW: Daniel Molyneaux

INTERVIEW:

 

Daniel Molyneaux

_______

ALTHOUGH he was not born until 1997…

Daniel Molyneaux is an artist who has a great love and knowledge of Pop - self-proclaimed to unapologetically reign as an artist, as he says so himself. he engrossed himself in music as a child; where he had his eyes opened to legends and titans – the young-artist-in-waiting started recording at fourteen and would spend his time pouring over books of lyrics and plotting his way into music. I ask Molyneaux about his early experiences and that first taste of music; the artists that spurred him and how songs come together for him.

He, in turn, tells me about his new album, I’ll Be Waiting, and the themes behind that. Guess What? I Need You is the lead single from it – I was eager to know the story behind that gem. Molyneaux gives me a window into his creative process and what the future holds; how his favourite albums connect him to his late mother - and what he has planned for the future.

_______

Hi, Daniel. How are you? How has your week been?

Hey. I'm great thanks.

My week's just been promo, promo, promo for my new album, I’ll Be Waiting – though, it's been too hot for the past few nights; so I'm a tad sleep-deprived.

Haha.

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

Sure, well...

I'm Daniel Molyneaux. I'm just a dude from London who lives, breathes and sleeps music - and Pop is my niche; though I do love incorporating elements of other genres that I love. I'm an independent artist and I control it all.

I’ll Be Waiting is your new album. What can we tell us about the songs on the record and their inspiration?

Yes. I'll Be Waiting is my newly-released album and is out on every single online store now - please purchase it and give it a listen.

When it comes to the songs off the album: they were mainly just inspired by thoughts and feelings I had at various-given times. But, in honesty, when listening back they mostly share the theme of wanting and waiting for someone. Whether it be to have sex with, to dance with: to form an official relationship with; to be back in communication with, to give me an apology I'm owed.

I'm waiting for a lot of things and I guess, throughout my sessions, it all transpired into the album’s songs - hence why I titled it I’ll Be Waiting.

Guess What? I Need You is the first single from the album. Was there a particular relationship/person that inspired that song?

Yeah.

We met on app. and we didn't officially get together; but we were getting to know each other, and, did become part of the other person's daily routine.

We spoke daily, went out etc. and I was optimistic about how things were going - and then, suddenly, when we were at our peak: they just decided to turn their back on me.

What was it like filming the video for the song?

It seems like it was quite intense at times. Filming the video was a fantastic three days.

The camera operators often wanted other shots to use on top of the singing so asked me to do things like scream and swear to the camera - so things did sometimes get quite loud on set!

Do you know which other songs might be released as singles in the future?

Yes.

I have all the singles planned out but I'd rather not say what they will be. I know being secretive about next movements is such a typical ‘artist response’, and I hate sounding typical when I speak - but I'd rather just let the singles arrive and make their mark.

Who were the artists you grew up listening to and made the biggest impact?

I grew up listening to Luther Vandross and was just inspired by the way he was so free with his expressing his emotions and vulnerability. I'd have to name Rihanna and Barry White as my major influences, also.

I was seven when she first came out and over the years I've just adored how she's evolved into an all-round artist - and makes any music endeavour she does seem so effortless and natural, whatever genre. Pop will always be my forte but jumping into other genres in such an authentic -sounding way - as Rihanna does; it is something I aim to follow.

Barry White has had a huge impact on me, also, as no other music by any other artist gives me the joyful, euphoric feeling I get when I listen to his music's production. This 'Barry-White-effect' is something I always want to come with my music.

You are based in London. How important is the city and its people to your music?

London and its people are quite important to my music as I do see and hear lot of personal issues that I face and sing - about being shared amongst the city with people I do and don’t know so I’d like to think my music comforts the people.

I’d like the city, and the whole world for that matter, to listen to my music and know that I experience similar issues likewise - and find therapy with this. Kind of like “Ah, Daniel went through it too. No-one around me seems to understand but he does. He gets it. He gets me”.

I’m not saying I’m here to be a role model or someone who can halt everybody’s issues...but, it’s always comforting to know that someone else went through similar things you did. I want London to find solace with my work.

Do songs come quite naturally to you? How do tracks come together?

Lyrics and melodies come to me at the most unexpected times, mainly melodies, and I work with producers to strengthen them and turn them into proper-structured songs.

A typical start-to-finish of a finished song would be me catching a lyric and/or melody: recording it into my phone and then asking myself if I could see this becoming a viable, strong chorus. If I'm confident, I take it to a producer and play him the voice-note - and explain where I want the song to go – like, if I want it the song to go down a ballad-path; a fall-to-the-floor-path etc. He works on composing the instrumentation - which usually alters the original melody but, as long as whatever new comes up sounds amazing to my ear, then I'm happy.

I, then, take the stems away and write my lyrics to them then. When I'm satisfied; I record my lead vocals in the studio. I then work with other people to act as external ears - to hear if, what if I've brought to them, at this stage, makes sense.

Once they approve - or advise changes and often compose harmonies/adlibs I like - I record those add-ons and play the product to my best friend and some relatives – and, if they like it, I'm satisfied.

Are you already looking ahead to the end of the year? Is there new material in mind or are you focusing on touring and promoting I’ll Be Waiting?

There won’t be any material released from me - other than the singles from I’ll Be Waiting.

I'm going to be gigging the album for the next year so won't really be in the studio much. I was last there two weeks ago, when the album came out, and am already having studio blues!

For now, it's all about promoting I'll Be Waiting.

Will you be touring your material soon? Where can we come and see you play?

I'm been touring my album through doing a lot of open mics as well as booked shows – but, please do like my Facebook page as I add my dates there.

My next show is 12th July at Undersolo in Camden.

IN THIS PHOTO: Stefflon Don

Are there any new artists you recommend we check out?

Stefflon Don. I'm really liking her vibe.

If you had to select the three albums that mean the most to you; which would they be and why?

A recent one would have to be Rihanna - ANTi.

The songs on personal growth and development are just so relatable.

I'd also have to name Sean Paul's Dutty Rock.

I was five when this came out and hearing it now always take me back to the flat in Tottenham - where my mother, sister and I lived in my early years. Its songs were the anthems of my life (back then) - so it means a lot to me now - as it's the only audible thing which brings the (most) dearest memories of my youth (that I will never live again).

For similar reasons, another album I treasure is Juanita Bynum - A Piece of My Passion.

My mother was a firm Christian and this album was what she would play around in the car, and in the house, constantly. My mum passed away when I was fifteen and, when I listen to this album and close my eyes long enough, it's almost as if I when I open them - I will see her swaying to the album in front of me as she did.

Do you get much time to take a break from music? How do you like to spend your free time?

Music is something I’m just gravitated towards so, every day I’m at least writing - if I’m not performing or recording. But, on days where a session or a gig isn’t booked, I typically just scroll endlessly through Instagram: laugh at funny memes, listen to music; eat and sleep. Haha.

For a Pop artist, my general lifestyle’s a bit boring I’m afraid. I ought to get back into the gym as well, though!

What advice would you give to any new artists starting out right now?

I'd say try not to get too caught up in the nitty-gritty technicals behind a song - but just always ask yourself how it overall sounds as you go along and remember your intentions.

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

Hahahaha.

Please play Cabaret by Alice Smith

I love this one.

_____

Follow Daniel Molyneaux

 Facebook:

https://www.facebook.com/DanielMolyneauxOfficial/

Twitter:

https://twitter.com/SoundOfDaniel

SoundCloud:

https://www.soundcloud.com/danielmolyneau

YouTube:

https://www.youtube.com/channel/UCE7KU79jKwfb17vXEY3RWGA

The Record Deal: Signed, Sealed, Delivered?

The Record Deal:

 

IMAGE CREDIT: Unsplash 

 Signed, Sealed, Delivered?

________

THERE is a split in the music industry that is causing a lot…

PHOTO CREDIT: Pixabay

of confusion. We are in a very digital and technological age so I wonder whether artists are looking for a record deal: if they are, is it practical and profitable? The majority of my reviews and interviews are with unsigned acts. A lot of artists have P.R. companies behind them – promoting their stuff and getting them interviews/reviews – but what about that record deal? Is it something musicians lust after?!

_________

BACKGROUND: PHYSICAL MUSIC VS. DIGITAL DOWNLOADS

We have all heard the statistics about vinyl. Looking at an article by Noisey - they provided the figures:

“In the past ten years, the sale of vinyl has increased to a staggering degree—a roughly 900 percent increase in LP sales between 2004 and now, with 9.2 million vinyl albums sold in 2014. While over the same decade, overall music sales across all formats have decreased annually, dropping from 667 million total albums sold in 2004 to 257 million in 2014. Clearly, vinyl is thriving in spite of the free streaming digital age…But the law of supply and demand is not necessarily applicable in this case, as within the same time frame, the number of facilities producing vinyl has remained static, at roughly 20 active pressing plants nationwide. These facilities can in no way meet the current demand for vinyl”.

If C.D.s are levelling or in decline: it seems there is a need for vinyl and the sheer beauty that provides. Maybe it is a retrospective thing: harking back to a better time; getting vinyl for its artistic values. Perhaps people want to connect with the simplicity of the ‘vinyl age’. Whatever the reason for this; it means there is a definite desire for vinyl. I know a lot of new artists who can print their music to vinyl but, for the most part, it seems reserved for mainstream acts. With the sales of vinyl heating up – and being profitable for the bigger acts – it means other physical forms, like C.D.s are less popular. I hear few people who buys C.D.s – these are formats new musicians release to so one has to wonder how profitable that endeavour is? It seems music hardware is becoming less common and not generating money for new artists. If you are a big act, and can get those vinyl sales in, then it might be okay. Those who rely on the economic and affordable C.D. distribution method – are they accruing the money and profit to make a go of things?! I would argue, unless punters at a gig snap up a C.D., that line of things is quite challenging.

PHOTO CREDIT: Unsplash

Digital income is the only viable option for many new artists. Looking at another article - I got an idea of what kind of money is generated from digital downloads:

“The UK average monthly income is £1,517. How many downloads would a band need to sell in order to reach this figure? Assuming, once again, that there are four (4) band members, they would need to make a total of £6,068 per month to match the UK average income amount.

If selling exclusively on iTunes (which pays roughly 60p per single download), a band would need to achieve 10,113 downloads each month. This would equate to 2528 per week.

I am guessing the ‘average’ amount that an unsigned band makes from downloads is £10/month (per band member). If we add £120 from downloads to the £2,340 from gigs, we can guess that the average band member makes £2,460/year”.

That equates to about £120 per year (per band member) every year. There is a great debate rumbling in the media as to whether Spotify is creating fictitious artists in order to avoid paying them. It sounds like an odd thing but there might be some truth in it. It seems Spotify is magnificent for consumers but not too great for artists who want to be compensated fairly. I have written a piece on Spotify – so shall not go into too much depth – but, for new artists, the figures are quite shocking. They do not have the big teams that can get those streaming figures into the six/seven-digit ranks. They rely on meagre downloads/streams and, in real terms, that is a paucity. Even those massive artists who might get millions of streams each song – does that mean they will get a huge cash-load of from that achievement?! It seems not which, in some cases, is a relief. You wouldn’t want all the money going to the same artists time and time again. I am not sure if there is a way to fairly compensate and remunerate on Spotify. If you paid each artist about 10 pence per stream without any taxation – that would be quite generous and fruitful. Those figures seem low but, in reality, are unrealistic. A lot of people are choosing to use Spotify for free and those who subscribe might not be willing to pay extra at all. Going back to that Spotify and, looking at the contents, there is something troubling emerging.

PHOTO CREDIT: Unsplash

Taking a scan of the article - and it lays out the facts quite clearly:

“The allegations came to light thanks to a piece that recently ran over at Vulture, outlining various outside-the-box ways people try to profit off of the massively popular streamer. (Tactics include filling channels with hundreds of individualized versions of “Happy Birthday,” for instance, or posting song covers under slight misspellings of the actual artists’ names.) Nestled among these tricks by users, though, was a suggestion that Spotify itself was equally prone to screwing with the system, hiring producers to release songs by fake artists to bulk up its popular playlists.

The original allegations stem from this article from music blog Music Business Worldwide, which quotes anonymous but “cast-iron” sources claiming that the streaming company hires producers to create songs to fill out popular playlists like “Chill” and “Deep Focus.” (Vulturecites a few different bands that it says seem to exist only in the form of two or three playlisted songs on the service.) The article claims the original productions aren’t just about avoiding playlist royalties, though, but also about providing quality control, ensuring listeners get the company’s precise definition of what “Chill” actually is.

Spotify flatly denies the idea it’s producing its own music, though, refuting the MBW article at every point. “We pay royalties—sound and publishing—for all tracks on Spotify, and for everything we playlist,” the company’s statement continues. “We do not own rights, we’re not a label, all our music is licensed from rightsholders and we pay them—we don’t pay ourselves.”

There is controversy and pitfalls of a career on Spotify so, is this method of income viable and sustainable? If C.D. sales are declining – and vinyl is profitable for the big artists – are digital avenues profitable and beneficial for new artists? It is a great way to get your music out to people, and link with other acts, but, in real-world terms, it is not going to make you big bucks.

IMAGE CREDIT: Unsplash

GIGS AND PROFIT:

Going back to the first article and it got me thinking about whether it is gigs the natural way for bands/acts to thrive and succeed? Maybe the profit is not immense but is gig income the most reliable way to ensure a sense of safety and gravity? Let us look at the piece:

“Since we are describing ‘Success’ as achieving a gross annual income of £18,200/year (per band member), live gigs must surely play a key role in this. We will not include covers bands, wedding or corporate events bands. For the purpose of this research paper we will use the term ‘band/musician’ for those who want recognition for their own original music.

The average capacity for a venue that houses mainly unsigned bands is 250 in the UK.* The majority of venues will increase ticket sales by hosting 3-6 bands (on average). Assuming that a venue is 80% full and has 4 bands performing, each band would therefore have bought 50 people.

After speaking with approximately 30 diverse bands from London, I have estimated that the average band brings in much less than 50 paying fans on average. I will be setting the average paying fan count (per gig) to just 15.

Bare in mind that this would be the average number of paying fans that turn up to every gig, whether in the bands local town or 500 miles away. Many bands will bring 40 fans to local gigs but find fan counts drop dramatically the further afield they play.

There are several ways that bands can be paid by venue promoters. The average payment however seems to work out at about £6 per fan.

There is no data on the average band size, but I am setting a generic band size of 4 people so that we can work the statistics.

PHOTO CREDIT: Unsplash

With these assumptions we can see that the average band will be paid £90 per gig (£22.50 for each band member). Based on two (2) gigs per week, the gross yearly income for each member would be £2,340, far lower than the UK average wage. This also pays no mention of travel costs or gear hire etc.

Gigs generally provide more income for signed bands than the sale of records. In fact, the number of people going to gigs has increased over the last 10 years, whilst record sales have decreased. Ticket sales can generate huge incomes for large music acts.

Let’s look at a Robbie Williams gig in August 2003. He performed at Knebworth with 3 other acts and 125,000 tickets were sold. I am not sure on the ticket price but I will set the average tickets sale price at £45. That means on one night they generated a colossal £5,625,000. This doesn’t even factor in the sale of programs, merchandise, food etc”

This piece, written in 2011, from Music Think Tank, might seem a bit outdated now but gives a good example of the profits, costs and revenue associated with gigs. Again, their quick answer – usually for the larger bands – equates to £2,340 per year (per band member). Taking a read further down the article and, when thinking about how much unsigned bands make a year – I got a bit of a reality check:

“We have made a guess that (20) unsigned bands managed to reach the UK top 40 in the last (5) years. Let’s assume that just (5) of those bands earned £18,200/year (per band member) in the year that they charted.

Let’s also assume that ten (10) more bands in the UK have generated £18,200/year (per band member), this would give us a total of just (15) unsigned bands that earned £18,200/year (per band member).

Sounds dismally low right? I’ll admit that there is precious little data to go on, but do you know any bands making this kind of money who are unsigned? Remember, an original four piece band would therefore need to generate £72,800 per year to qualify, I am guessing that is extremely rare.

With the information outlined above we can begin to answer the question, “What are the odds of succeeding without a record deal?”

The chances of an unsigned band earning £18,200/year (per band member) without a record deal is 0.00025%. (Assuming there are 600,000 unsigned bands in the UK and only fifteen (15) earn £18,200 per year (per band member)”

PHOTO CREDIT: Unsplash

THE CHARTS AND THE REALITIES FOR UNSIGNED BANDS:

I am sticking with that article and its information for the next consideration. If we know digital revenue is unpredictable and not that extraordinary: is it possible to get into the charts and get exposure from that? Again, going back to 2011, there were some definite trends emerging:

“In the last 5 years (2006-11) I estimate that there have been no more than 20 bands reach the top 40 without record label backing. This figure is a guess, but is backed up by Ditto music, who are one of the few companies that have successfully broken unsigned acts in the UK.

Ditto go on to suggest that, “without record label backing, you would need substantial financial backing to have a serious shot in the industry”.

So why such a low figure? Mark Robinson, vice-president of Warner Music said that “on average, it costs £621,000 to promote and launch a new band”. This marketing budget would be out of reach for almost all bands.

Certainly, there have been many bands who have succeeded with far lower budgets than this, but breaking an act is undeniably costly. PR plays a role in this cost. A band cannot make it to the higher levels without having media contacts. The whole process is much more time consuming and involved than many musicians think. Unless you employ someone with media contacts and experience many marketing avenues will simply not be available to the average band.

Recording, touring, promotion and PR costs add up. Most DIY musicians struggle to turn enough profit to fund growth and fail to gain enough exposure to generate real momentum”.

This all amount to this: around twenty bands (a few years ago, mind) who are unsigned make it into the charts. At the moments, the charts are getting overhauled and it means no one artist can dominate like Ed Sheeran did – when he has nineteen songs in the top-twenty. Since 2011, digital music has taken over so Spotify and its figures have more of an impact on the charts. That said; it is still challenging for new artists to rub shoulders with the big players and make it into the lofty positions. I’d say the figures we have been given are subject to a bit of flexibility. You do get some unsigned acts breaking the top-forty but, for the most part, it is mainstream artists who find success here. Radio interviews and chart exposure is crucial for musicians so one wonders, again, if new artists are suffering?

PHOTO CREDIT: Unsplash

Let’s get to the issue of the record deal and its benefits and negatives. Sourcing from this article and they lay out some cogent and practical pros and cons:

Major Label Deals: The Pros

1.       Money: Deep, deep pockets have to be at the top of any major label "pros" list. Even with major-label music sales declining and the industry as a whole struggling to keep up with changes in the way people purchase and listen to music, major labels still have a huge financial advantage over just about every indie label. When your label has a lot of money, that means they'll be able to spend a lot of money promoting your record - which is exactly what you want. It also means they may be able to offer you a large advance and invest a lot in recording, touring, video shoots and other opportunities for you.

2.       Connections: Money helps open a lot of doors, and when a major label comes knocking, most media outlets are ready to let them in. Additionally, most major labels have been in the business for decades and have long established connections that help you reach your music career goals.

1.       Size: Alas, size CAN matter when it comes to record labels. Major labels are behind the vast majority of music sold, and this scale of operations can bring many advantages. First, they can get the best deals on manufacturing, advertising, and other expenses since they do business in such enormous bulk (they have way more purchasing power than indie labels). Second, because of all of the artists on their roster, they can pull some pretty big strings in the media. Here's a VERY common scenario: a major label may call up a big music magazine and say, "hey, if you want to interview (insert mega-selling artist), we suggest you review/feature (insert brand new, unknown label signing)." This is great for you, if you're that new label signing, because you get instant press in all of the top spots, giving you maximum exposure overnight.

PHOTO CREDIT: Unsplash

Major Label Deals: The Cons

1.       Big Pond, Small Fish: A lot of major labels tend to sign a lot of musicians and throw out a lot of music, just to see what will stick. As a new signing, except in very special circumstances, you're likely to find yourself fighting for attention from the label. If your music doesn't start sticking - read: selling - pronto - then you can find yourself with a record out that isn't getting much promotion and a label that doesn't return your phone calls.

2.       Continuity: A big part of avoiding the aforementioned "big pond, small fish" syndrome is having a big fan at the label. Usually, this is the person who signed you. However, turn over at a major label can be pretty high - especially in this day and age - and you run a high risk of waking up one day to find out that the person who loved your music is no longer working at the label. The new person who takes over your album may not be such a big fan, and suddenly, no one is too interested in making your album a priority. You can include a "key man" clause in your contract to try to avoid this, but often the bargaining power is against you when you sign a major label deal, so scoring this set up is not guaranteed.

3.       Artist Unfriendly Deals: Not every major label deal is unfriendly to the artist, but many of them are set up so that if a cashier accidentally gives you an extra dollar in change, you have to pay the label 50 cents. OK, that's an exaggeration, but many major labels want to sign artist for multi-album deals that offer them very little flexibility and that hand over a lot of creative control to the label. They know all of the loopholes, they want a piece of everything, and they have better lawyers than you.

1.       The Passion Question: Many dedicated music lovers work on the major label side of the music industry. However, not everyone who works at major labels loves music. You'll find a higher concentration of people who are in the business strictly for the money in major labels than you will at indie labels, and that often ends up rubbing musicians the wrong way.

IMAGE CREDIT: Concrete Playground

I have been provoked to write this piece for a number of reasons. I wanted to see how much bands/artists made gigging; whether digital outlets are good sources of income and the financial/profitability issues for unsigned artists. The record label, as I will look at in depth at the conclusion, is that contract and golden ticket that is not as sexy as you’d imagine. Let’s look at this article:

“However, once you delve into the inner workings of major record labels and the contracts these artists sign, it becomes clear the musicians most likely are not reaping the financial rewards themselves.

IBTimes UK recently attended a roundtable hosted at London's Real Deal Store where a panel of industry insiders discussed the urban music scene and the pros and cons of being an independent artist.

A&R manager at Island Records, Benny Scarrs, stated that while many aspiring musicians may be under the assumption that it is impossible to succeed without the backing of a major label, they are wrong.

He explained: "There are lots of people making music and they get frustrated because they feel like 'I need a label and [I] need a deal'. You don't really need a label or a deal”

It goes on to give more exposition and revelation – this article was written in 2015:

“Young Money, run by parent company Cash Money, is in charge creatively of its artists but receives funding from Universal's Republic Records.

While it is true YMCMB is one of the most successful hip hop imprints around, being signed to the label is not completely a bed of roses.

British artist Jay Sean was hot property in the UK when he headed over to the States in 2009 and signed to Cash Money. However, each year brought hopes of a huge album with a big promotional push but Sean failed to have a single hit while signed to the hip hop label.

In October 2014, he parted ways and is now going it alone independently. Not to mention both Young Money members Tyga and Lil Wayne are trying to get off the label due to their albums being continuously shelved".

 PHOTO CREDIT: Unsplash

Becoming an independent artist is the direction that an increasing amount of acts are now opting for and Scarrs notes that ultimately, this means more money going directly into their pockets.

Among the perks are few arguments with labels over royalties or the fear of getting dropped without warning despite being signed to a multi single or album deal.

Plus, who needs a major label to take control of promotion when artists now have social media at their disposal to reach fans directly…Signing to an independent label is by no means an easy route but it does give the artist more control - both creative and financially. If Arcade Fire, Lecrae and Mumford & Sons can make it alone, then surely everyone else can”.

PHOTO CREDIT: Unsplash

So, then: how many bands/artists are ever likely to get signed in the first place? I shall bring you back to this trusted source and their findings

“So, what action can a band take to increase their chances of success in an overcrowded market? I will revert back to the Music-Think-Tank Blog once more and agree with the author that moving against the crowd can in some cases be very advantageous.

Creating music that is of high quality, yet different in some respects will instantly give you a unique selling point (USP), which is very important in standing out in a saturated market.

What are the odds of getting signed?

The problem with statistics (where unique talent is concerned) is that they can often be way off.

For example, let’s look at the likelihood of securing a record deal in the UK. We will assume the following;

§  There are roughly 700 independent record labels in the UK large enough to ‘break an act’

§  Each signs 1 acts per year

§  There are 600,000 bands vying for their attention

§  1 in every 4 acts signed make £18,200/year (per band member)

Assuming you are average, you would therefore have a 1 in 3428 chance of being signed (0.029%). However, lets make some further assumptions on the quality of the song submissions;

§  34% of song submissions are not right for the label (wrong genre etc)

§  39% of song submissions are of low quality

§  10% of song submissions are not considered for other reasons

§  17% of song submissions are considered for signing

This would mean that talented bands would have a more attractive 1 in 582 chance of getting signed. Of course, the record label would be looking for much more than a good song, ability to perform live, being nice people and reliability etc would all go into the decision making process”.

Another huge factor in getting signed is getting noticed. Many A&R will not be able to listen to all demo submissions. This would provide a strong argument for submitting multiple demos to a wide range of record labels.

PHOTO CREDIT: Unsplash

IS BEING UNSIGNED THE WAY FORWARD?

I am fortune enough to see a few musicians provide a signature for a record label. It is the result of hard work and talent but, it seems there are big problems for independent artists and the association with a record label. I shall provide my own interpretation but I want to bring in some information from Mic.

1. Indie music is being threatened by the online platforms it needs.

It's one thing to get paid nothing for your music on the Internet. It's another not even to be able to distribute it online.

Recently, YouTube threatened to take down videos from independent labels and their artists (including the Arctic Monkeys) if the labels didn't agree to YouTube's unfavorable terms. And smaller labels and independent musicians could soon be slammed by the changing net neutrality landscape, which would favor bigger sites like Amazon that can afford to negotiate pricey agreements with Internet service providers, thus giving them all the bargaining power when it comes to cutting deals with musicians. All of this leaves small artists and labels with less and less power over careers and finances.

2. Independent labels can't afford to help their artists out.

Beggars Group, a collective of U.K. independent labels including Rough Trade (home to Arcade Fire and the Strokes) and 4AD (Bon Iver, the National) recently announced it will no longer split streaming royalty rates 50/50 with its artists.

The principle reasons, according to Beggars Group chairman Martin Mills, were "economical," because it was getting difficult to sustain. It's also possible that the rate could be lowered even further as streaming becomes more popular.

PHOTO CREDIT: Vadim Sherbakov/Unsplash

3. Moving to a city where there’s a big, established music scene is costly.

The traditional narrative of "making it" in music generally involves being discovered. Unless your social media game is really top notch, that involves moving to a city with a real music scene — one where you can play lots of shows and find other bands to support your bills.

But if you want to follow in the National's footsteps and make the jump from Cincinnati to New York City to get discovered, you better be prepared to swallow a 110.8% hike in the cost of living.

4. No one wants to spend money on music — let alone on something they haven't heard.

Digital downloads dropped 12.5% in the first few months of 2014, while streaming rates skyrocketed.

"No musician I know is making their living from selling music," explainedNicolas Jaar, an experimental electronic musician whose 2011 debut album was a critical, if not commercial, success.

Even if you can convince people to buy your music, you see a diminishing slice of the pie — iTunes pays 70 cents per song, and that 70 cents could be distributed any number of ways, depending on whether an artist is on a label or not. If you go grassroots and sell via Bandcamp, the site takes a 10-15% cut before PayPal takes a cut, too. Even without labels, there are still middle men.

5. Streaming royalties are insultingly low.

Navigating Spotify's payment process is difficult, and sites work out different deals with different labels, but independent artists could be making as little as $0.005 per play. That's what inspired indie soul band Vulfpeck to encourage fans to stream music on repeat while they slept so the group could earn a bit more money for frivolous things like, you know, touring.

But non-scheming artists, more established are hardly making ends meet with the money that they're making online. As Marc Ribot, a guitarist who has played with the Black Keys and Tom Waits, pointed out: "If we can't make enough from digital media to pay for the record that we’ve just made, then we can't make another one."

6. Even if you make it to a major label, your career has no security.

Heard of St. Vincent? Probably. She just closed out the most recent season of Saturday Night Live, played the Pitchfork Music Festival and performed Nirvana's "Lithium" at the 2014 Rock and Roll Hall of Fame Induction Ceremony. You'd think she was in the clear.

But her touring partner and collaborator, Talking Heads frontman David Byrne, predicts a grim future for the indie rock superstar and others of similar ilk: "Many musicians like her, who seem to be well established, will eventually have to find employment elsewhere or change what they do to make more money."

Some professional musicians, like a few members of Grizzly Bear, even lackhealth care — to say nothing of musicians who aren't on a label.

IMAGE CREDIT: Unsplash

7. Touring is a big risk for young musicians.

A lot of independent artists have day jobs, since, as previously mentioned, it is really difficult to make a living selling music. But live music is increasingly an essential part of making it in music. That means that going on tour necessarily means leaving behind a steadier cash flow and prayingthat the job will still be there upon your return. In short, touring is more important for a young band than an established one, but its risk is far higher.

Still, it's one that makes indie music feel all the more vital. Just listen to Mutual Benefit's beautiful Love's Crushing Diamond, a bold celebration of what happened after the lead singer quit his job and went all out on music.

8. Touring is more expensive than ever.

If an independent artist is funding their own tour, that means paying for gas, lodging and other various travel expenses. The average price for gasoline hovers around $3.60 per gallon, which adds up if you're driving around the country. And it really adds up if, like Bear's Den, you're driving around the country in less-than-fuel efficient VW vans. Ah, the '60s — when the vans were stylish and gas cost 30 cents a gallon (not adjusted for inflation).

9. There's already more music out there than anyone will ever hear.

There are pros and cons to the Internet age: It's now easier than ever for someone to make and distribute music, but it's far harder to be noticed. Market oversaturation is real, making it difficult for consumers to know where to start when it comes to independent artists. Approximately four million songs on Spotify have never even been touched by the service's users — so many that they've since been collected into an app called Forgotify.

10. It’s just not profitable for labels to sign artists.

Labels that spend money on developing artists rarely recoup their money, so they’re taking a huge risk every time they sign a new artist.

"Most labels' artists’ signings are not ultimately profitable," Darius Van Armen, the co-owner of indie labels including Jagjaguwar (which launched Bon Iver) and Secretly Canadian, explained in a recent statement to Congress regarding copyrights and intellectual property. If that attitude went to its logical extreme under the duress of streaming service royalties, we may well miss the next Bon Iver.

11. Labels don't develop acts, they only sign popular ones.

Labels are hedging their bets by signing any band, and most likely will not make a profit off of a new artist.

"In the future, artists will get record deals because they have fans, not the other way around," Taylor Swift wrote in a recent op-ed piece for the Wall Street Journal.

This creates a cyclical trap for independent artists, who face the issue of having to promote their music on their own in order to garner enough fans to get the attention of the bigger players in the industry so they can have fans that pay them nothing.

PHOTO CREDIT: Unsplash

IN CONCLUSION:

It seems there is no easy answer but there is this assumption getting a record label is the be-all-and-end-all. So many go chasing it; assuming it will gain them money and stability. If physical sales are unstable and capricious; digital outlets are flawed and geared more to the mainstream acts – surely, then, record labels are the way forward?! We have seen all the arguments and sides laid out. I think, if you get the right label behind you – that can be impossible to define – you get the best of every world. I find P.R. companies are more supportive and give an artist a better deal. They are not steering them for the mainstream or trying to strip them of their cash – not looking at the bottom-line and motivated, as much, by profit. P.R. companies are about promoting music and getting that artist out there. I work with a lot of them and know how tirelessly they work. It is good because you get a promoter looking after interview requests and interviews etc. – helping get gigs and all the things a record label might deal with. In terms of the actual selling and marketing of the track: there is a lot more freedom for the artist. It is hard to give simple answers to but I feel record deals are ONLY desirable and secure if you do your research and know what you are getting into. So many artists are struggling to make money – through streaming and gigs – they go chasing this carrot with everything they have. It is hard and exhausting taking care of all your music but it means you can steer your career and have a lot more say. Maybe it will take more than this article to get to the bottom of things: every artist is different and will have different ideas of how they want their career to unfold. Don’t get me wrong. I am not down on record labels – they can be brilliant and life-changing for artists – but the romance one associates with the label is exaggerated and false. Do not think the record deal is the goal and sign of a successful musician because, as we have seen, it is…

 PHOTO CREDIT: Unsplash

NOT all it is cracked up to be.

FEATURE: Comedy in Music: Always Look on the Bright Side of Life

FEATURE:

 

Comedy in Music:

 

IN THIS PHOTO: The Monty Python boys

 

Always Look on the Bright Side of Life

________

WHEN one is approached with a ‘comedy song’, the reaction…

IN THIS PHOTO: The Streets (Mike Skinner)

is quite ironic. People might laugh: not in the way you’d anticipate. The reason for writing this was because, in my view, comedy is feeding more into music in the current day. There are two types of 'comedy songs'. The first is a more overt and deliberate attempt at comedy - I will come to some of the acts who write comedic music soon. The second type of humour is that which is laced into serious songs – mainstream artists and new acts. I’ll take the second group first because their brand of comedy can be subtler and less obvious. I am always drawn to music that has humour in and I think we need to embrace more artists who put comedy into music. These are troubling times so we could all do with a bit of a laugh. Looking at my record collection and there are a few artists who injected some great one-liners into the music. The Smiths, despite their rather morbid and cynical world-view, were not shy to create humour and put wit into the music. Morrissey’s lyrics were frequently caustic and cutting but provide plenty of moments where the listener could not help but chuckle – or elicit a cheeky grin at the very least. I find a lot of current artists are far too serious with their music. It is understandable they’d reveal some hurt and emotion in their songs. What gets to me is the po-faced and imperious nature of music today. One occasionally hears something ribald and entertaining: those songs are often overshadowed by the very intense, straight-faced and unmoving. I look for various different things in music. For one, I want it to be interesting and have some personality. It needs to provoke certain physicality; get my mind working and dig deep into the heart. Occasionally, one needs to hear music that does all of that whilst putting a smile on the face. I will compile a list of comical songs at the end: not all of them are that good, as it happens. Artists try and write something funny; it can come off as a bit of a parody or juvenile. Those songs are best avoided but do, at the very least, try to be amusing.

IN THIS PHOTO: The Smiths

Going into music is a nervous and unpredictable time. You begin and assume it will be easy-going. It takes a lot of graft and passion to make things work – a lot of artists struggle and never get the recognition they deserve. Are musicians, given the perils and realities of the industry, going to write songs that try to be funny? Well, perhaps not but, even when writing about love and your own self; the lyrics can be funny and entertaining. Take an artist like The Streets (Mike Skinner). His humour was laddish and observational. He wrote about the realities of modern life on albums like A Grand Don’t Come for Free and Original Pirate Material. Straight from the off (the latter); he ensured his songs had that balance of serious and humorous. I listen to songs like Don’t Mug Yourself (Original Pirate Material) and Fit but You Know It (A Grand Don’t Come for Free) and are hooked by Skinner’s wordplay and wit. It is sad he is not producing music anymore but definitely inspired legions of British Hip-Hop/Rap artists to follow in his footsteps. Dizzee Rascal is probably the most relevant contemporary: a man who can bite and spit but pen a pretty good gag here and there. I find a lot of genres are humourless and stringently serious. Take another The Streets song, The Irony of It All, and it pits a lovable weed-smoking intellectual with a loutish beer-guzzler. The former indulges in cannabis but provides no danger to the community: the latter, gets tanked-up and creates chaos. The song looks at how the drunkard pays his taxes and shouldn’t be giving his money to a drug-taker – in return, facts are laid out (more money spent on treating drunks than most things). It is a really great song that, in lesser hands, could be a drag but is lifted by a sharp and witty pen. It is not a surprise some of my favourite albums ever are notable because of their lightness and accessibility.

IN THIS PHOTO: Steely Dan

The Streets’ Original Pirate Material is in there; The Smiths’ The Queen Is Dead – Steely Dan’s back catalogue features heavily. Pretzel Logic, an album I have had on-repeat for days, is, at times, a comedy routine from Donald Fagen. Maybe is more a smart-ass laconic sense of humour but the stomach is definitely given a good workout. I must admit; as said, some of the attempts at humour can be quite misjudged and tragic. There is that danger of creating a novelty song. We all remember (vaguely) artists like Afroman and his drugs paen – a song that was funny in places but not one of the best comedy songs. The main reason for addressing humour in music is to nod to those who deliberately tried to write comedy. My first real exposure to comedy records was Monty Python Sings. That album, released in 1989, brought together the collected songs of the legendary comedy troupe – from their first series to their final film, The Meaning of Life (1983). There are some classic moments that we all know – Always Look on the Bright Side of Life; Lumberjack Song and Every Sperm Is Sacred. Sure, there are skits and moments that have not aged too well but, considering a lot of these songs were written nearly forty years ago; it is amazing they have endured the way they have. I was never a big fan of the T.V. series the Pythons did: the films seemed more consistent and digestible. It is the songs of Monty Python that I keep revisiting. You do not need the sketches/scenes to contextualise the music. The songs stand on their own and elicit plenty of gold. “Weird Al” Yankovic introduced his debut album in 1983, and with it, a plethora of delightful parodies. His talent, as it continues today, is to take famous songs and provide a comedic take on them – the likes of Madonna, Michael Jackson and The Kinks were all in the firing line. Off the Deep End (the cover was a spoof take on Nirvana’s Nevermind) had plenty of great moments and gained a lot of respect from critics – even if some weren’t overly-kind at the time.

IN THIS PHOTO: "Weird Al" Yankovic

The best of the bunch, when it comes to comedic music, is Flight of the Conchords. They say, as it is told, they’re New Zealand’s 'fourth-best Folk parody group'. Dubbed, without much competition one would think, New Zealand’s best novelty group – it consists comic writers/actors Brett McKenzie and Jermaine Clement. They started their Folk incarnation in the late-1990s and, since, have gained celebrity status. The duo started on BBC radio in a series that was largely improvised – their search for fame in London. The bumbling, ever-hopeful Kiwis came to the airwaves in 2004 before (the show/concept) Flight of the Conchords transitioned to T.V. in 2007. The HBO series was similar to the radio show: the duo was in New York (rather than London) but everything else was the same. Rhys Darby played the band’s hapless manager, Murray. Episodes revolved around the duo trying to get gigs – having to take demeaning, mundane jobs to exist in the city – and, inevitably, failing – often having to play really crappy venues and spots. It is quite tragic in places but elevated by some incredible writing and consistently charming performances. It is the music that, no surprise, makes the show. Flight of the Conchords is not a vehicle for two comedians to ‘try their hand at music’. McKenzie and Clement are skilful musicians and singers in their own right: it provided the show some authenticity and naturalness. The duo’s eponymous album, and their finest achievement, is a collection of the songs used during the first series of Flight of the Conchords. Many of the songs were written years before – starting on the radio show, in fact. Because of that; they are honed, chiselled and perfectly delivered. Like Monty Python: one does not need to be familiar with the T.V. show to understand the songs and find them appealing. The best songs from the album – Business Time, Inner City Pressure; Ladies of the World and The Most Beautiful Girl (In the Room) – demand repeated listens and are among the funniest songs you’ll hear.

IN THIS PHOTO: Flight of the Conchords

The guys’ second album, I Told You I Was Freaky, was released after the second series and, because of the short time between series and demand to write new songs, the quality is not as prevalent as the debut. The debut resonates because the songs had years to gestate. The sophomore album, that said, has some great moments and shows huge musical depth. Carol Brown parodies Paul Simon’s 50 Ways to Leave Your Lover but has gorgeous (female) choirs; some beautiful finger-picking and a stunning melody. Too Many Dicks (On the Dance Floor) a club banger in the style of Black Eyed Peas – where the guys examine the male-female ratio in the club; the fact there is too many dudes present. Sugarlumps, as title suggests, is a spoof of, again, Black Eyed Peas – and their song, My Humps. Even trashy Dance-style songs are elevated to something magnificent by the New Zealand duo. On their eponymous debut; you bond with the music as easily as the lyrics themselves. Inner City Pressure knowledgeable and respectful plays with West End Girls (Pet Shop Boys); Boom, a take on Shaggy’s Dancehall songs; Business Time, a cross between Barry White and Prince, oddly. Let’s hope, as has been rumoured, there is a Flight of the Conchords film. The boys are busy with other acting work but have had time to craft some new tracks. I feel there is a genuine vacuum that needs to be filled. Of course, ‘comedy’ songs will never rival more-serious tracks – in terms of quality and mass appeal – but, as shown, there are artists who sprinkle humour alongside emotion and vulnerability. I feel we all need a bit of cheer and uplift right now. Conventional music is a bit hit-and-miss when it comes to delivering mirth and chuckle. As I spin Inner City Pressure - once more, for the road! - and Clement’s woes: “The manager, Bevan, starts to abuse me/Hey man, I just want some Muesli!”; McKenzie’s spot-on observations: “No one cares, no one sympathises/You just stay home and play synthesisers” – it has lifted my mood and, consequently, my outlook on the day. Not all comedic songs do that but, in the case of the Kiwi Folk legends, songs like that…

DO the job pretty well!

TRACK REVIEW: Noga Erez - Noisy

TRACK REVIEW:

 

Noga Erez

 

 

 Noisy

9.4/10

Noisy is available at:

https://www.youtube.com/watch?v=gzWZgc2NvrU&feature=youtu.be

GENRE:

Electro-Pop

ORIGIN:

Tel Aviv, Israel

Written & Composed by: Noga Erez, Ori Rousso and Matan Spenser
Produced, Arranged and Mixed by: Ori Rousso & Noga Erez
Production: Poly Creative
Directed & filmed: Hen Makhluf
Editor: Guy Landshaft
Producer: Ayala Drori
Choreography: Gal Gold
Dancers: Gal Gold, Hila Pilo, Shani Ben David, Mor Adelle Nahum.
Animation: Danna Grace Windsor
Styling: Chumi Polak
Hair & M.U: Ronelle Goshen
Hair & M.U. assistant: Sapir Esgav
D.o.P. assistant: Ilay Mevorach
Lighting: Noam Huber
Grip: Denis Nikolaev
Production Assistant & Stills: Arye Tzion
Sfx: Ori Rousso
Vfx: Hen Makhluf & Guy

The album, Off the Radar, is available at:

https://nogaerez.bandcamp.com/album/off-the-radar

______

I am getting all international with my reviews…

PHOTO CREDIT: Sasha Prilutsky

at the moment. Yesterday, I reviewed a Serbian-born artist: next week, I have a New York-based Opera singer and an Australian musician on the agenda. Next weekend is about the boys: this week I am dedicating to the girls. Not just any girl in this case – Noga Erez is one of those rising stars who is, it seems, too big for the likes of me. I feel a sense of responsibility reviewing someone who is practically at the mainstream. Regardless, I am compelled to look at a fantastic female artist who seems primed for worldwide stardom. Before I look at her, I want to investigate critical reaction and the importance of accruing terrific reviews; Israel and Tel Aviv’s music scene; making videos that stick in the mind; making music that unites different people; key inspirations and fusing them together – looking at international artists who cement a reputation in the U.K. Noga Erez is someone who, despite being in music a relatively short time, has a catalogue of reviews most decades-established artists would be envious of. She has caught the ear of The Observer – labelling her “Israel’s most defiant star” – and Sunday Times Culture – who see her as too fierce to be labelled. DIY and Wonderland tip her for long-term success – and support the notion she is fearless – and Quiet & Loud, referencing her videos, feel the combination of music and visuals is hard to beat. It might sound dangerous bringing other reviewers in but it is important to see how far and wide Erez’s music has resonated. Here, she is being taken to heart and seen as one of the best young musicians around. I am interesting seeing how various critics view an artist and what their interpretation is. It might seem risky, being a journalist, bringing others in – maybe distracting from my own review – but, in Erez’s case, there seems to be a consensus. I am stunned by the fearlessness of the Israeli artist. She seems to have no limitations and approaches music with a verve and bravery few others possess. The critics have been out in force and paying tribute to a musician that is in a league of her own. Erez does not play with convention and projects music meaningful to her. So many young artists are determined to fit into the mainstream or wary if pushing themselves out of the blocks.

PHOTO CREDIT: Timo Kerber / Photography

There is that desire to have some conventional sound – so they do not alienate themselves from the pack – and attract reviewers and fans in. As we can see, when it comes to Erez’s reviews, that distinct and bold approach to music has garnered her fabulous feedback. I see a lot of artists get incredible reviews but they are reluctant to share them with people. It is not boastful and arrogant putting them out there. In the case of Erez – I got the information from her P.R. company – she has some of the most impressive reviews I have seen for any artist. That shows she is doing something right and creating music that seems immune to criticism. What I like about the reviews is the variation and diversity of the sources. She is not an artist who appeals to a certain sector/genre. Her Electro-Pop blends are open and versatile enough they appeal to every type of music lover. For a new artist, the desire is to get into the critical mindset and get some positive impressions. Naturally, social media feedback is key; comments on YouTube can be constructive but the journalists are the ones who can make or break an artist – impressing them is quite important. Of course, Erez does not make music solely for critics. She is a singular talent creating music for her fans but, reading that impassioned list of reviews, it must give Erez heart and determination. There are some big newspapers/sites on that list which she should wear with pride. One can underestimate the relevance of mainstream/press positivity but it is very important. I will try and add my own spin to Erez’s music and try to pen some unique thoughts. Many have highlighted her brave and experimental approach; the way she mingles stunning visuals with bracing music – a wonderful young star who has the makings of a future legend.

It has been a little while since I have been to Israel for my reviews. ADI was the last artist I reviewed from the country. There are a fair few who might be unfamiliar with Israel and assume its music scene is quite bare. In terms of historic acts; one has plenty of options. Hadorbanim was an Israeli Disco/Pop/Funk/Rock band who was famed for their howling guitars and spectacular instrumental blends – they even employed a philharmonic orchestra to create some of their songs. They split in 1999 but left the world with three incredible albums. Zohar Argov, considered the king of Mizrahi music, is one of Israel’s most popular talents. Lazer Lloyd was born in New York but spent the majority of his career in Israel. Taught by musicians like Milt Hinton and Randy Brecker; Lloyd’s melting of religion and music was won him many fans. Rockfour, still going, are a Psychedelic-Rock band who writes in English. Influenced by The Beatles and The Who – among others – they are one of Israel’s biggest acts. There are some other legendary artists but it is the new breed that interests me. I have already mentioned ADI. She is a Future-Beats talent who has gained a huge following around the world. She is certainly one of Tel Aviv’s biggest exports – even though she remains there - and is someone to watch carefully. Erez is based in a nation that should not be ignored when it comes to new music. The local press has been a bit quiet for the last couple of years (in Israel) but, they have suggested some terrific names. Tamar Eisenman is a guitar-singer who produces her own work and has a long list of fantastic songs. Hit Me is, perhaps, her biggest track but has plenty of incredible songs to her name. She is based out of Jerusalem and sings in English and Hebrew. Tiny Fingers are the Post-Rock/Electronic groove band who have forged a name for themselves in Israel, the U.S. and Europe. The quartet provides soundscapes – some lasting forty-five minutes – that enchant the listener and has impressed critics. Ethiopian-Israeli singer-songwriter Ester Rada has progressed well the last couple of years and brings a unique blend of Ethio-Jazz and R&B to the adoring public.

Noga Erez is, in my view, the finest artist coming out of Tel Aviv – I shall talk more about the city in a minute. It is unsurprising she is so driven and productive right now. If one looks at some of the more modern artists she is surrounded by; there is enough to suggest Israel is one of the most fertile and fascinating nations for music. Lola Marsh is a band most have heard of. The synchronised harmonies and stunning songs have resounded around the world. They formed in 2013 (in Tel Aviv) and started as a duo – Yael Shoshana Cohen and Gil Landau; they are now a quintet. Sirens, their biggest hit, gained one-million streams on Spotify and has appeared on American T.V. Hoodna Orchestra is an ensemble from Tel Aviv who have free-flowing Afrobeat at their disposal; Middle Eastern flavours and dancefloor-filing rhythms. They are a hugely sought-after live act and make the feet move – gig-goers are helpless to resist the power and prowess of the beats. The band formed in 2012 and released their debut album in 2015 – last year was hugely successful and they are making big moves this year. Vocalist/songwriter Gal De Paz has been labelled ‘Israel’s Janis Joplin’ and is the leader of Rock band, The Paz Band. A fantastic group who have the potential to evolve from local roots and make an impression in other nations; Tigris see themselves as an ‘Afrodelic Power-Pop’ band but, in truth, are a crazy-catchy band that brings together a plethora of styles. They source from Ethiopia and West Africa; Caribbean splashes of the 1970s and contemporary Rock and Electronic. On Shoulder of Giants is an eight-member collective who have a background in Punk, Metal and Jazz. They provide a huge explosion of sounds and colours: one of the most astonishing live acts in Israel and ones to watch. This seems like a length diversion but it shows the type of acts playing in Israel. Noga Erez hails from a city that, not only has a vibrant and consistent music scene, but some of the best venues around.

Barby – down in Derech Kibbutz Galiot 52 – is one of the most reputable Indie-Rock venues in the city. Thurston Moore and Blonde Redhead have played there – a terrific space for upcoming acts and legendary groups.  Zappa Club has outposts in Jerusalem and Haifa that has seen the likes of Hadag Nachasha and Animal Collective play. It is situated away from the hurly-burly of the inner-city (up in the north of Tel Aviv) and perfect if you want some quiet (comparatively) and a wonderful spread of music. Park Hayarkon has hosted some legends in the past – Michael Jackson and The Rolling Stones – and contemporary figures such as Rihanna. Radio EPGB has graffiti-painted inner décor and replicates the flair and looks of New York’s CBGB and brings together well-known artists with the best of the new breed. The Tel Aviv nightlife is bustling with funky beats, renowned D.J.s and bands that set alight the live scene. One can enjoy a film down at Lev or the Cinematheque or enjoy the fantastic history and beauty of the city. It is the live music – from Jazz jams to multi-genre festivals – that sets Tel Aviv apart. Small wonder Noga Erez has taken so much from Tel Aviv and creates such spectacular and immediate sounds. She makes music that unites various different people and has created an enormous amount of affection. It is hard creating music that brings disparate groups together but that is what Erez has done. Maybe it is her range of influences – more on that in a bit – but, I feel, it has something to do with Tel Aviv and the way she works. Certainty, there is something magic in the air (out there) but, as a musician, she tackles songwriting in a different way. There is that fearlessness and bold approach that has already stunned critics. The sounds are never overly-marketable but have that tangibility – keen not to push the listener away with anything too strange and odd. What strikes me about Erez is her blend of Israeli sounds and U.K./U.S. influences. It is obvious her home provides so much impetus and inspiration. From the bustling streets and gorgeous views; that mix of cultures, nationalities and religions – the incredible nightlife and spectacular music that drips from every wall and window.

I shall move on soon but, before then, I wanted to look at something not often mention in music reviews: the music video and how vital that is. Many artists, most, in fact, have to produce them but I wonder how much prominence they are afforded. By that, I am concerned many see it as an inevitable stage of marketing: not expending too much effort and imagination with their videos. It is understandable, to a degree. It is exhausting taking care of all parts of music and it can be difficult finding a budget to create a video that is ‘sufficient’ and impressive. That said; one can produce a video that captures the mind and remains in the memory. I am really interested in the music video and what artists can come up with. It is the chance to do something fantastic and get involved in filmmaking. Look back through the years and all those music videos we love and cherish. For me, I remember those videos that stray from the ordinary and take a lot of skill. I have admiration for simplicity but, thinking about directors like Michel Gondry: his videos are some of the most enduring of all time. The French director has just created a film, Détour, shot entirely on the iPhone 7 Plus. It is worth watching this because; it shows what an imagination and low budget can lead to. Of course, Gondry is famed for his stylish and magical videos – ones that skew visuals and mess with the mind. It is Hard to summarise and define but you need to look at his back catalogue and impressive C.V. Looking at Erez and one gets a similar sense of amazement and originality. Off the Radar, her previous song, was met with acclaim. Not only because of the phenomenal sound but its arresting visuals. "The video takes place at a bizarre sports event where all the participants are weird and eccentric creatures,” says Erez. “We wanted to create a world that shows characters who are trapped in a loop of trying to prove themselves. The judges of this contest are faceless. They express their approval by their moving hands, though you can't really tell whether they like or dislike the performances. It's a very festive looking, yet very alienated world". 

PHOTO CREDIT: @juliadrummond

Directors Eden Kalif and Daniella Meroz add that it “deals with the concept of being judged, and the perceived necessity of having to meet the expectations of others. The characters perform in a ‘competition’ that has no real ending or winner, just like we feel when we put ourselves deep in the race of life”. It is small wonder the video got such a reaction and acclaim when it was unveiled to the world. New track, Noisy, provides a similar treat for the senses. It is a remarkable promotional video that emanates from an artist fascinated by visuals and their power. What I love about Noga Erez is the way she mixes the surreal with fantastical. There are dancers and strange figures; mind-melting, drug-infused trippiness and all manner of incredible scenes. For Noisy; it is more conventional but no less striking. There are dancers and attacks; a confidence that reminds me of Beyoncé and M.I.A. In fact, both artists come to mind when watching the video. Erez, in it, is in command and strutting; she wields a baseball bat and creates a sassiness and vitality that puts me in mind of those legends. The video is different to her previous work but shows a consistency and sense of creativity few of her peers share. I am amazed by the visuals of Noisy and the way the video gets into the mind. Whilst there have been some YouTube detractors – isn’t it always the way there?! – one cannot deny the way the video makes its presence known and perfectly accompanies the song’s lyrics. The track itself, as I shall expand upon, is brimming with passion, prowess and force. It would be easy to make a video that was needlessly brash – with very little imagination and intelligence – but that is not the case with Noga Erez.

I have mentioned artists like M.I.A. already. That is someone Erez takes inspiration from. Aside from that; Björk is someone who has made a big impression. It is hard to say when these artists came to Erez’s mind but, looking at her background, it is extraordinary the way she came into music. She was born four days before the Gulf War started and there was, it seems, no doubt music would be her vocation. It would have been easy to let the turmoil and instability around her derail her flair and passion for music. That way of escaping – getting inside the music and a safer world – was instrumental in her young life. Growing up on local artists of Tel Aviv and sounds she heard on the radio; that has led to a young artist who combines some inspiration legends and fresh sounds. Of course, she is her own boss and not beholden to any other musicians. She wants to, as she’s said, provide escapism and fun for people – Erez is not naïve and knows what importance music has. Not taking that for granted; the way she blends her influences into her own works is deeply impressive. Working in collaboration with her partner Ori Rousso; there is a cerebral quality and curiosity that is loveable and mind-blowing. Yes, there are elements of M.I.A. and fka Twigs; bit of Frank Ocean and Flying Lotuses – acts she takes guidance from – but the individuality and originality reign large. Erez explains how people come from different backgrounds – and can have different stories – but share the same love of music. There is a singularity that can be born from the compartmentalisation of the human experience. Every musician has influences but I am impressed by the range and quality of the names Erez takes from. Kendrick Lamar and Frank Ocean are two of America’s best; there are shades of Tel Aviv musicians and some British idols too. I have mentioned how sensational Tel Aviv’s sounds and artists have made an impression on the wider world.

 PHOTO CREDIT: @chrisssalmeida

I will come to look at Noisy very soon but, before I come to the song, I want to chat about international artists that manage to transcend from local levels and make a name for themselves in the world market. For Erez, she has worked around Israel and spent her formative years performing at some of the best spots in Tel Aviv. It is easy to remain there and take full advantage of the magnitude and diversity of the live scene. Gaining popularity and acclaim; Erez embraced her wanderlust and has travelled the world. Erez has been busy touring and has many great dates approaching – I shall allude to them in the conclusion. It is always encouraging when artists manage to cement a reputation internationally. Critics and journalists are aware of Israel’s music scene but one wonders how effective their features are. I have mentioned some great artists in Israel but how many other people are aware of the country’s music scene? It seems likely those genuine music lovers know about Israel but you’d be surprised. Too much focus is reserved for the U.S. and U.K. – we do not often explore beyond the obvious and different nations. That has to change because, as I have found, being more adventurous leads to some fantastic discoveries. Israel is hardly a new nation or minor one of that: it is a packed and stunning nation for new music. International artists play there and always take something special away. Erez has gained local acclaim but has seen her music translate throughout the world. The demand is there, and so, she has found herself traversing the globe and taking her music to the masses. I hope that continues because she is one of those artists you feel will be hitting the mainstream very soon. The U.K. is a natural base for her and country that has taken Erez’s music to heart. I hope she spends more time in the country and gets requests from other nations.

PHOTO CREDIT: @Yinon fuchs

The opening seconds of Noisy feature a bit of howl and spectral electronics. The song sort of rushing in from nowhere and catches you off guard. There is no huge compositional arrival but the sound of Erez in the spotlight. Her voice is stern and resonant but has some vulnerability and affection to it. “Hold me/I’m just trying to be good” are intriguing opening sentiments that get the mind working in all sorts of ways. There is that romantic possibility but, also, the potential of rebellion and a free spirit – someone who needs to be held back because there is that temptation to strike and run. It seems it is “all talking” at the moment and the noise is quite distracting. There is the need to shut it all off – that sentiment is repeated for maximum effect – and, whether it is a needless conversation or an explosion of sound, it causes the heroine to flee and take action. In the first stages, there are those tribal/bellicose beats that summon physicality and provoke strutting. The listener engages with a funkiness and swagger of the beats; the sheer sway and entrance of the electronics – the heroine up-front and singing with pride and intent. Soon enough, maybe as an ironic nod to the noise and chatter around her – Erez unleashes a repeated wordless chorus that mimics an electronic beat. It stridulates and vibrates to create the sensation of the head spinning and mind buzzing. It is at this point – building from the tension and stress of the opening –the heroine gets involved and strides into the open. Follow the video and one will see Erez joined by some female cohorts. They step boldly into action – Erez wielding a baseball bat – and seem to be confronting a person. The “poor kid in a wealthy town” does not want sympathy or any sort of dispensation. She does not want problems or troubles but is responding to a situation that is causing her dismay and annoyance.

Perhaps, Erez is responding to the way she views music – all noise and chatter without much substance and meaning. She is in a part of Israel that is quite prosperous but not enjoying the same comforts and privilege of many. The same can be said of somewhere like London: different boroughs that vary in terms of their people and wealth. Erez does not want to be understood but she knows this countdown – perhaps the struggle and time it takes to create a music career – is going to be long. She knows all this and is not naïve. Many come into music and assume things are going to happen instantly. This is not the case here: the heroine is armed for the challenge and ready for the fight. Maybe, there is somewhere who assumes she is ingénue and rather young – not quite ready for what is ahead of her. Instead, she is hungry but has a pragmatic and settled perspective. The lyrics have an oblique quality to them and do not instantly allude to a particular person or subject. One can extrapolate what they want and interpret the words in different ways. In my mind; I got the idea of a young woman who wants a lot of success and accomplishment but is entering music at a difficult time. Her homeland is wonderful and vibrant but she is modest and candid. There are those who try to deter her or build up unrealistic expectations; maybe try and get to her or assume she is someone she is not. Noisy builds throughout and gets more intense as it progresses. A lot of Tel Aviv’s finest and most striking young artists mix electronic sounds and beats with elements of other nations. Like ADI; Erez creates warrior vibes and rumbling percussion; together with African beats and British-American sounds. It is a scintillating concoction that provokes all manner of reactions.

PHOTO CREDIT: Ron Kohen

There is, it seems, contractual obligations and issues in music. Perhaps personal relationships are being assessed but, one hears a young woman who is addressing the struggles and realities of music. There might be some people trying to distract Erez and tell her she can’t make it. That endless noise and chatter is getting to her but she is fighting back and brashly reacting. That sense of confidence and physicality is the biggest impression one gets from Noisy. The song is a mantra and anthem from a young woman who is trying to make her own way in music – she is, it seems, having to confront a lot of naysayers and people that are not on her side. Many artists might take it to heart and let it get them down. Conversely, Erez is reacting with defiance and self-pride. She knows it will be a long road but is prepared for the fight and tough days. Maybe I am misinterpreting the lyrics but that is what I get from the song. It is a track about purity and individuality – voices contradicting and trying to lead her stray – and that battle to remain pure and original. Noisy is a typically strong and exciting cut from Off the Radar. Thinking about that album title, in the context of the song, and it might be about a yearning for anonymity and private. Erez may yearn for time to create music and a life she wants to live. That pressure and expectation is on her: leading to tension and a need to speak out. Whatever the true circumstances of Noisy; it is a passionate and fantastic moment from a young artist who is no short supply of confidence and ability. Her L.P. has fifteen tracks and each sound essential and needed. There is no wastage and indulgence when it comes to Noga Erez. Make sure you check out Noisy – and its incredible video – and fall for a musician who has many more years to come.

Off the Radar is the fifteen-track album from Nora Erez – it is a month old and has been gathering some great reviews. That is no surprise considering the quality and innovation she brings to the songs. Noisy is a terrific and bold track that has caught the imagination and made a big impact with critics around the world. She plays the Melt! Festival, in Germany, on 13th July; she heads to Italy at the end of the month. We will hear her in the U.K. on 5th August – as part of the Visions 2017 festival – and she remains in Europe until November. Well, she gets to go back home but it seems there is a huge amount of love for her over here. I see there are few U.S. dates approaching but that is likely to change. Let’s hope cities like New York and Los Angeles come to their senses and get Erez over there. The U.S. approach has provided her some kind words: there is a big fanbase for her music in America and I know that is only likely to increase. I would be shocked were she to remain quiet in the next few years. Off the Radar is an ironical title: the Israeli singer is very much ON the radar and in the mindset right now. I am confident Erez will transcend to rare heights and, very soon, make it as a mainstream artist. She has the potential and the aptitude to handle the responsibilities. I can appreciate the lure and gravitas of Tel Aviv. It is a marvellous city and one that has created so many great musicians. It would be tempting to remain there but I can see Erez relocating to somewhere like the U.S. I know there are opportunities in Israel but, the bigger she becomes, the harder it might be sustaining a career there. The U.S. and U.K. are stocked and capacious enough to accommodate her ambitions and demands. Maybe I am wrong but it would be nice, selfishly, if she moved to London.

I will bring the review down but, before I do, a quick recap concerning some of the points I raised earlier. I want to look back at Israel and Tel Aviv; music videos and creating memorable visuals; bringing influences into your music and why it is important to get under the critical skin. As I said earlier; I have not reviewed an Israeli artist for a while – ADI was on these pages a few months back. How many of us ‘get away’ from the U.K. and investigate musicians from other parts of the globe?! I think we are too restricted and have little time seeing what other nations are producing. Many countries are a bit threadbare when it comes to impressive music. That is not the case with Israel: one of those nations that consistently pumps out tremendous and promising musicians. There are some incredible live venues there and a great atmosphere. The people are warm and friendly; the history of places like Tel Aviv eye-catching and wondrous. I have never been there but must make time to visit the nation. I can see why Tel Aviv is so special to Erez. She is surrounded by myriad sounds – African and Middle Eastern elements; Western influence and all styles – and every genre you can think of. I have mentioned a few Israeli artists that are worth time and appreciation. It is a wonderful nation and one that deserves a lot more time. Noga Erez is one of the biggest exports of Israel and shows the inventiveness and quality of the music emanating from there. I am fascinated by the music videos Noga Erez produces. They are always staggering and skilful. I love Noisy’s video as it is one that differs from previous work but is no less bold and imaginative. Many artists struggle to create enduring music videos and one wonders whether that is an issue with the budget. Noisy is a track/video that does not need a lot of money to make sure it sticks in the mind.

PHOTO CREDIT: Sasha Prilutsky

I am fascinated by music videos and why various musicians chose to create the films they do. The classic videos are notable for a number of different reasons. I have mentioned Michel Gondry already. He is someone who pushes the limits of the mind and can summon something profound and mind-blowing with little budget. Other directors, like Chris Cunningham, are noted for their darker and more disturbing videos – although he has a great emotional range and should not be pigeonholed. Whatever you look for in a music video; there are plenty of options out there. Noga Erez is an artist who grew up at a time when great artists like Björk were hitting their stride. She is someone I hear a lot of in Erez. That same quirkiness and genre-fusing ability. There are elements of M.I.A. in Erez; older artists and legends from the 1970s – plenty of modern artists, local and international, that go into a terrific melting pot. There are few that have such a variegated, vibrant and fulsome set of influences as Erez. It is clear music was a huge role model in her early life. Being born after the turmoil of the Gulf War; the distraction and escapism of music was vital. Erez writes music that helps others escape so that must stem from her childhood. I engaged myself in music from a young age but did not have the same upbringing and circumstances as Erez. I am impressed by the way she can unite disparate sounds and make it sound original and fresh. I will bring this to a close but want to return to that opening point about critical acclaim and how important that is. If some YouTube commentators have been less-than-positive regarding Erez: the critics have been fairer and seen the true potential of her music. There are few as immediate, impactful and urgent as Erez. I know there are artists who take from M.I.A. and acts like that – able to summon the same sort of command and physicality. There is something special about Noga Erez that means her music (and visuals) get into the brain and compel you to follow her career. That career is getting stronger and more impressive by the release. Off the Radar is an album that announces her potential and key strengths. The critics have already shown their affection and, given the fact the album is so affecting, that praise is going to increase. Noisy is a typical cut that proves Tel Aviv’s Noga Erez is…

PHOTO CREDIT: Ori Rousso

AS exciting as they come.

_______

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FEATURE: Pride: In the Name of…

FEATURE:

 

Pride:

 

 In the Name of…

________

IT is hard to believe it has been fifty years since…

PHOTO CREDIT: Katy Blackwood

homosexuality was decimalised. In fact, scrub that - quite an odd opening line, that one! What I mean is it is baffling homosexuality was ever illegal to begin with. I am glad we are in more civilised times and people are coming together to celebrate that anniversary. London has been lit up but a festival of colour and love: the two-day Pride festival has got underway in emphatic style! The event, in fact, started late last month but the major events have taken place today. Tomorrow is the final day of Pride: a chance for people to take to the capital’s streets and show their support. You can look at the official website and keep abreast of all the happenings. I have a musician friend who is involved with a charity single – all proceeds go to Pride in London. You can access it here - because, not only it is a fantastic song, but one that generates awareness and vital funds. If the past few months have taught us anything is how strong we are together. There have been events and tragedies that could have dragged us down and divided the nation. Instead, against the tide of fear and uncertainty, has been a relentless campaign of unity and positivity. We are a nation peerless when it comes to unifying and battling things/people who try and forge cracks. Right now, London is still buzzing from a day of music, marches and events. The people have come out in droves and, through performances, discussions and socialising, raised awareness of the L.G.B.T.Q. movement and marked a very special day. I know there is oppression and discrimination still – one wonders whether the L.G.B.T.Q. community will ever be truly accepted – but we have progressed from those dark days of the 1960s – when one could be arrested and imprisoned for expressing their human right: to love whoever they want.

Tomorrow will be an important and memorable day. The final chance, this year, to show your support and, quite literally, your colours. It is heartening seeing the thousands painted and daubed with variegation and vividness. The smiles have been on faces and a mystic cheer in the air. It is rare to see that happen in London – making it a shame things have to end – but it is just what the people need. Lest we forget those who fought for years to legalise homosexuality in this country. It was a long and hard fight but, fifty years down the line, we can remember them and know their struggle was not in vain. I know musicians who are homosexual and, even in 2017, there is that feeling they are not as accepted and comfortable as they’d like to me – a certain stigma still attached to having a lifestyle many feel it ‘strange’. Love of all types is beautiful so, God knows why, homosexuality was ever seen as sinful, immoral or wrong. I suppose those sort of narrow-minded people were a product of the times they lived in – generations who knew no different and were brought up to believe scurrilous ‘facts’. Those in the L.G.B.T.Q. community are among the warmest and most loving people you’ll ever meet: denying them a fundamental right, as I said, is criminal in itself. That is why this weekend – and today especially – have been so important. Most of the year, many do not see the realities of being homosexual. Many people are judged, sneered at and made to feel like second-class citizens – simply because their sexual orientation does not fit in with what is seen as ‘normal’. Even, in 2017, we are seeing some disturbing and prehistoric ideologies rearing their foul head. One hopes festivals like Pride make people think twice and makes real changes. We have come a long way in the past five decades but there is still work to be done. Like women in music; many musicians of the L.G.B.T.Q. community are afflicted with stigma and anxiety. It is not right but I am confident effective progressions are being felt. In honour of Pride – and marking the end of a rather special day – I have collated a playlist of, I think, the biggest ‘gay anthems’ and Pride-appropriate songs from across the ages.

Enjoy…