TRACK REVIEW: Cormac O Caoimh - Silence and Sound

TRACK REVIEW:

 

Cormac O Caoimh

 Silence and Sound

9.5/10

 Silence and Sound is available at:

https://cormaco.bandcamp.com/album/silence-and-sound-single

GENRES:

Singer-Songwriter; Folk

ORIGIN:

Cork, E.I.R.E.

RELEASE DATE:

15th September, 2017

The album, Shiny Silvery Things, is available at:

https://open.spotify.com/album/7x9gKK4KX0B1Vg7zJXv41k

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I always aim to keep reviews relatively brief…

but, when approaching a subject, find myself going on forever! That is going to be the case when I tell you about Cormac O Caoimh. When assessing O Caoimh; one must talk about a number of things. I shall start, I think, by looking at Ireland and the variety of landscape – not only geography but musical. Then, I will come to investigate more established/mature artists and longevity in the music industry. From there, rather niche, I want to look at Joni Mitchell’s album, Blue – as an example of a Folk album that has stood the test of time. O Caoimh’s songwriting has been heralded and celebrated by big publications and gained kudos around the world – I need to address that. Finishing off with a word about the underappreciated nuances and pleasure of a finely-crafted lyrics. Let’s talk about Ireland/E.I.R.E. and the sheer depth of its art. Yesterday, when reviewing Dublin-based Indie-Folk artist Blake’s Fortune (John Lennon); I was stunned by the artists coming out of the capital – so many different flavours and varieties of a musician! It is amazing how many great musicians Dublin has in her midst. I have never been there but, from reliable testimony, there is a very strong and productive music economy. That does not surprise me because, looking at O Caoimh, and one discovers a musician who feeds and writes from that energy and supportiveness. Although he is from Cork; that gives me chance to look at that part of the country. Many might look befuddled and perplexed when being tasked with naming famous musicians from Cork. It is a part of the world not many are over-familiar with. I, myself, have a little knowledge of the place but, bringing to mind a couple of artists, it is clear there’s a healthy music economy there. Miracle of Sound (Gavin Dunne) has made headlines because he has wracked-up millions of views on YouTube. His speciality is writing songs based on fictional characters – including those from Breaking Bad and Guardians of the Galaxy. The music, it has been written, provides uplift and hope for a long of young people; a niche and original take on songwriting – no wonder he has amassed a loyal fanbase.

Altar of Plagues and Simple Kid are (diversely) two artists that call Cork home – it is a county that has produced some fine musicians but does not give the credit it deserves. E.I.R.E. is a wide and varied landscape so, depending which part you travel to, the sound is likely to change. What amazes me about Irish music is the fact people like Cormac O Caoimh are world-class and established – yet there are many here yet to discover him. That is not his fault but the media, to an extent, who tend to stick with particular kind of artists. I often wonder whether we overlook certain nations and genres because it does not fit into the traditional moulds and commercial remits. Regardless of sound and quality; music should be a meritocracy that promotes the finest and most pure – rather than those with a certain look, mannerism and attitude. O Caoimh is a notable and dignified artist who has crafted some of the world’s finest music – over the years – and is one of those songwriters we should use as a guide and inspiration. There are few who can pen a lyric like him and I wonder how much that has to do with his surroundings. I mentioned how evocative and diverse the Irish landscape is. Such is the beauty of the surroundings; songwriters cannot help but be moved and compelled by what they see. I know O Caoimh borrows and sources from his own life but I wonder how much of nature goes into that extraordinary music. It is interesting to ponder but, one knows, the nation, in general, is a key Muse. One wonders whether O Caoimh would produce the same quality of music was he based somewhere like London. I will move on to another point but wanted to recommend people investigate Irish music more. From Dublin’s hard-hitting and memorable Pillow Queens to the likes of Blake’s Fortune; the eclectic mixture of musicians one can find in all the counties – it is a stunning country that warrants huge acclaim and attention. I hope that will come but, for now, there are steely godfathers like Cormac O Caoimh who are leading a noble charge.

We often think of music as being about fresh and brand-new artists. I think there is undue focus and exposure towards the younger artists of the music world. One cannot call music a young person’s game: they cannot see someone like Cormac O Caoimh as being irrelevance or deserving of less acclaim. To me, the finest music is made by the finest artists – regardless of age, situation or location. The media seems to place too much emphasis on the youth of music; they ignore the established artists that have made an impact and are producing sensational music. I will bring in publications like Mojo, who have backed O Caoimh and his latest album, but it seems strange we still promulgate the young and ingénue above everything else. It is vital we offer encouragement and help to those brand-new but the spotlight is put on age rather than quality. I know Cormac O Caoimh has a big fanbase but there are many here yet to discover the wonders of his craft. Even if you are not a fan of the Singer-Songwriter/Folk genres; one cannot ignore the beauty, appeal and effect of his music. The only reason music progresses and inspires new artists is those stalwarts that lay down their marker and survive the tests of time. One of the saddest things about music is how disposable and unpredictable it is. I have seen many terrific bands and artists produce wonderful music; only to be overlooked and see their career end. There are others who have a cliché and commercial sound that manage to succeed for years to come. It is baffling so, for that reason, we must look to those musicians that have been providing the world music for many years. O Caoimh has been around a while but does not rest on his laurels. Rather than repeat earlier sounds; he continues to evolve and search for fresh inspiration. That quality remains the same but the subject matter leads to discovery, compelling avenues and some of the most beautiful music around.

How sad a music world where there seems to be so much imbalance. I have talked about sexism and racism in music – and how we NEED to make improvements and changes – but there is an interlinking trouble that worries me. I shall not call it ageism (I am sure O Caoimh does not want me to think of him as old) but it is, let’s say, experienceism. That word would be perfect to describe the comparative ignorance established musicians are afforded in music. I know a host of artists who might not have lit the charts up but has been producing consistently beautiful and strong music for years. We are still proffering those artists young, sexy and vibrant. Naturally, there are a lot of young artists who do not get attention simply because of their looks – they still have to work a lot harder than they should. I am not sure whether Cormac O Caoimh is disgruntled by the fact he has to work harder to get the same affection of a lot of brand-new artists but I guess he is happy knowing so many people respond to his music. Regardless of the fact, it would be nice to see the Cork musician ascend to a new peak. I have only recently come across his music so I wonder whether, with better representation, I would know about it a lot earlier. It is down to the media to show equity and parity with regards promoting music. I know one must concentrate on new albums and foster those making their way into music. That cannot come at the expense of artists who have worked for years to earn respect and acclaim. They cannot be reduced to the back pages and afforded a few column inches. I will rest this point but, if anything comes out of this diatribe, it is to force the media to re-evaluate and reassess the way they promote artists. There needs to be that fairness so the likes of O Caoimh are brought to a wider audience. He is doing a sterling job getting his native Ireland involved but one can only wonder the international possibilities were his songs to be provided adequate promotion by the mainstream media.

It may seem inconsequential mentioning an album like Blue but, when thinking of Joni Mitchell’s writing style; I think of O Caoimh and the way he pens. That album is forty-six and is enduring because it is so universal and affecting. Its longevity and fame exist because of Mitchell’s ability to make her personal songs speak to every listener. It is a record that is flawless and shows so emotion, revelation and honesty. Focused around, mainly, relationships and experiences: a wondrous creation that has inspired countless musicians to put their voice on record. Before the album was recorded, she broke up with songwriter Graham Nash. When it was being made; a relationship with James Taylor turned sour – heroin addiction and other troubles (Taylor) did not help – and many of the songs address the reasons behind the split. The reason I mention it alongside O Caoimh is the fact he, like Mitchell, can write in the most sumptuous and tender way. His voice is more accessible and refined than Mitchell – some feel her voice a little raw and atonal – but that is the beauty of her appeal. It is gorgeous but does have those moments when it flies and wanders. That expressiveness and stripped-back openness is something I hear in O Caoimh and his album, Shiny Silvery Things. I have not really alluded to the album – I will do more – but, listening to his upcoming single, Silence and Sound, it seems to be a song that could have come from Joni Mitchell’s heart. What strikes me about Cormac O Caoimh is the way he summons sensational poetry and imagery but does not let the words do all the talking. The performances and compositions speak volumes and project incredible images and emotions. The same can be said of O Caoimh’s expressive and assured vocals that have the same gravitas and richness as Mitchell. Perhaps Shiny Silvery Things is not the equal of Blue but, in many ways, it has similarities. Perhaps, too, the background is not as turbulent and fractured but, when listening to the songs, I get a real sense of a songwriter wrestling with some harder times but, in essence, providing the listener with the most personal and perfect music possible.

Previous albums from O Caoimh have been concept-based and looked at specific narratives/arcs. Here, there is a more traditional mindset that means there is greater lyrical/musical freedom. Another reason I wanted to compared the moody hue of Blue with the sheen of Shiny Silvery Things is because of the range and confidence displayed within. When Joni Mitchell released that seminal album in 1971; it resonated with critics and the public because of the vast array of pleasures. Songs did not simply repeat one another or stick to a simple theme. The finger-picking sublime throughout; the stories compelling and diverse; the singing always captivating and nuanced – a rich bouquet of sounds that, no surprise, have been inspiring musicians since its release. O Caoimh’s latest record mixes genres and does not stand still. It is a curious and agile album that, given its title, suggests something inattentive and dazed – it, actually, focused and alive. I am amazed by the songwriting quality throughout and how it seems vintage and modern at the same time. It has that quality and prowess of Blue and manages to sound completely new and traditional. Both are complex and stunning works but, like Joni Mitchell, one hears a stunning songwriter whose words are among the finest in the world. I do hope the promotion and media situation changes so albums like O Caoimh’s latest endure and survive decades down the line. I am sure he wants to inspire the new generation and make sure his music is protected and shared many years forth. I look at Blue and, when Mitchell was assessing her position at the time, she felt like she had no defences at the time; no secrets left and she was like a cellophane wrapper on a pack of cigarettes. There is a rawness and personal vulnerability from O Caoimh but, unlike Mitchell, he mixes in optimism, uplift and hopefulness.

I am pleased O Caoimh has seen Shiny Silvery Things get into the ears of the guys at Mojo. They felt each song superglued to the memory and made an indelible impression. Others, with slightly less articulate views, saw the album as a mix of genres and a Pop-y, Jazz-y kind of thing. The record has gained kudos in Ireland but, unlike other efforts, made an impact around the world. It is the praise from Mojo that really speaks to me. They, unlike publications such as NME, have a broader remit and tend to look at a greater range of artists. So many magazines and sites focus on a certain set of albums but Mojo go further and look at albums one might not normally see reviewed. It is a shame to think O Caoimh is a niche artist but that is the fault of the media. Mojo’s passion for representing the best music in the world means they sat down and spent time with the album. Looking at the songs – seeing them as “Acoustic gems” – they understand how the music enveloped the imagination and demanded repeated listens. I do not have the same sort of time to review the entire record – lest my fingers fall off! – but I will be looking at O Caoimh’s forthcoming single. I only wanted to mention getting great reviews from big publications because it shows how good an artist is and the fact they deserve wider appeal. It would have been good to see the likes of NME and The Guardian to spare more words; get all the broadsheets sparing more time promoting the record. It is heartening seeing Shiny Silvery Things collect kind words from some respectable sources. I will try and lend my positivity to the mix but, lacking the same reputation as Mojo, know this is the start of bigger things for O Caoimh.

Let us move onto lyrics and making sure your words are as fine and concise as possible. There is a division in modern music between artists who can pen exceptional and memorable lyrics – those who prefer something shallower and less assured. That might seem cruel but one cannot underestimate the importance of words. It is the heart and soul of every song; the storybook and narrative that defines the moment. There is a lot of importance to be found in the music and vocals but it is the lyrics that, to me, represent a track best. Making sure you craft lyrics that have intelligence and meaning is as vital as anything. I see so many artists create lazy and uninspiring lyrics and that, in turn, will reflect negatively on future generations. Maybe it is a problem that exists in the mainstream. There is such a proliferation and focus on those chart songs that are, usually, not defined by depth and intelligence. The average listener – teenagers and the very young – want something easy to remember and chantable. The music is often pumped and energised; the vocals primal and spirited; the overall package designed to be heralded and loved by those who do not necessarily have a great understanding of music’s past. I guess the mainstream has always been like that but, lately, I am seeing too many annoying Dance and Pop songs being highlighted for the wrong reasons. There is such emphasis on streaming figures and views – often, these come because of songs/videos that promote sexualisation and subjects not tied to the music itself. One cannot get a true impression of quality based on streaming figures: one needs to truly listen to a song and judge it without any outside influence. I have been listening to a lot of modern music and find it is those artists away from the charts, as you’d expect, producing the finest lyrics. O Caoimh is a songwriter that has been creating music for years but always been an exceptional writer. I look at his words and am instantly transported to a wonderful place.

There are few that can deny the strength and personality one finds in O Caoimh’s songs. Some of the lyrics are oblique and demand unique interpretations: others are more clear-cut and cannot be misunderstood. Poetry and intelligence run through all of his lyrics and, because of that, songs like Silence and Sound should be getting more focus from the mainstream as a guide to young songwriters. I have mentioned publications like Mojo but, if one looks at O Caoimh’s official website – link at the bottom of this review – there are plenty of sites that have heaped praise on his current album. Similarly; the songwriting is not purely Folk and Mitchell-esque. I mentioned Joni because of her lyrical strengths but, in terms of compositional and thematic exploration; there have been comparisons to Paul Simon and Paddy McAloon. Those are lofty comparisons but deserved when you listen to O Caoimh’s music. I am a big fan of McAloon and love his witty and wonderful words. He is someone who can write about the heartache and complexity of love (When Love Breaks Down) and, via Prefab Sprout, pen sillier songs like The King of Rock and Roll. Paul Simon, too, has a diverse pen and someone I can see a lot of in Cormac O Caoimh. It is intriguing watching the scenes and stories unravel on an album like Shiny Silvery Things. I have a lot of respect for O Caoimh for he is a writer that seems to speak to the masses. It is no coincidence he has managed to accrue such a wealth of positive reviews – seeing as his music addresses common concerns but does so with a lot of unique perspective. Throw in a sumptuous and alluring voice and a masterful musician of epic repute – you have a true star that should act as how young songwriters should be doing things. It is those words that, to me, define O Caoimh and what makes him so special.

I will come and look at O Caoimh’s forthcoming single soon but, to end this section, a slight return to Ireland. It is hard linking geography and the people to a certain type of music but, as I mooted earlier; one could not expect to see a songwriter like O Caoimh in London. Maybe it is the stress of life (in London) or the easier pace of Cork. I feel O Caoimh has more room to think and dream in Ireland. Maybe it is the people and community that compels his mind and leads to some of the wonderful songs we hear. I am not sure but know the country has such a wide range of art and culture. It is a part of the world that many overlook but, take a trip there, and you will discover incredible music, wonderful poetry and some of the finest writers anywhere. That is true of O Caoimh who is a treasure of the nation. His music has always garnered respect but it seems, right now, he is hitting new heights and finding fresh inspiration. There are so many great Irish musicians around so I wonder how instrumental having that close-knit network is. E.I.R.E. is somewhere we should all be looking towards because, as we can see with O Caoimh, he is getting a lot of fond praise. There are few as able to take from the surroundings and dip into his heart. He has that innate ability to speak about the intimate with grandeur and compress the epic landscapes into something portable and close. That is a talent that cannot be overlooked - and skills that have taken the time to craft. The Irish musical magician has left critics spellbound and, aside from his wonderful talent, I have the feeling the people around him are responsible for some of that success. It is interesting to wax and wonder but, when Silence and Sound is unveiled, I think O Caoimh will get a lot of gig requests around the world. I have talked a lot about Cormac O Caoimh and issues related to him but not come to the main event: the issue of reviewing Silence and Sound. I must get on, then…

It is the way O Caoimh articulates and announces his lyrics that really gets to me. The opening verse – “Time is like a church/Its signs remind me/A choir of ghosts sing rhymes/A bell tower chimes/Statues stand still in lines/Silence and sound remind me” – changes course and speed as the words are presented. There is a fast sense at the beginning but elongated; syncopation and a breeziness that all occurs over a few lines. The composition is largely composed of strings but it is such a fulsome and flourishing thing. Rather than delicate acoustic: one gets a rush of various tones that create a near-symphonic rush of the ocean. The lyrics, let’s look at them, maybe there are regrets and haunted memories. That ‘choir of ghosts’, as it is sung, might refer to past memories and bad times. There is something distant and oblique that means one can interpret the lyrics how they see fit. The way O Caoimh delivers the words mean they come to life a lot more readily than you’d normally hear – so many other artists would make the presentation simplistic and obvious. Instead, I was looking at past romances and some regrets. That ecumenical foundation gives the song a sacred and dignified skin. “A lover’s spurring tongue” and “Young love undone” are brought in and it makes me think it is less about O Caoimh and his testimony – more about observations and the nature of love. One can understand the comparisons to Paul Simon: it is easy seeing similarities in the lyrics and the way the music is delivered. So much emotion and physicality is evoked from the words; the singer skips and hovers; he delights and distances in equal measures. It is that oblique nature that keeps coming through. I look at the song as a paen to the diversity and balance of love: never being able to predict it; everyone has their own ghosts and takes something different from it. Every O Caoimh song, to an extent, is based in personal experiences so I wonder whether there are demons he is trying to bury.

There is light and darkness; shadows and shade – plenty of light and contrasting embers. One hears a real and honest voice present something meaningful and meaningful. What O Caoimh is talking about is up to you but one is seduced and entranced by the words. If you are not affected by the complexities of the lyrics, then that rich and rewarding composition surely has to be highlighted? It brings in some burning desire and refinement. There is all manner of shades and contours working away in the compositions. O Caoimh’s voice holds everything together like a priest administrating to his flock. I delved and dived into the song, following O Caoimh as he sings, and was traversing the graveyards and woodlands one hears about. The vocal continues to extract pleasure and delight with every line. It has that unpredictable nature where some words are rushed and others are given more attention. It makes the song nuanced and, when you revisit it, you’ll find something you do expect. There are backing vocals and ethereal backdrop that heightens that sense of tease, intrigue and beauty. In the same way Nick Drake talked about time as being cruel and provoking; O Caoimh, in his most interesting offering, reveals more pieces of the puzzle – “Souls walk where once
Walls stood years and months”. Time takes on different aspects and can be kind of foreboding. It is this thing that bonds and defines us all and, depending on your situation in life, can be a blessing or curse. There is a sense of loss and people passing through. Where once something physical stood: now, there are memories, spirits and the spiritual. Time, as later revealed, is a clique that watches how you bow and who you do it to. It can shut the door hard and ignore you. It is interesting listening to O Caoimh sing and what his words can do. They have such power because every listener will have their own views.

Rather than being painfully straightforward and obvious; we get lines that are poetic and deep. It takes a long time before all the images coalesce and you can form a story. Silence and Sound is a contradiction of a title and that is a pretty appropriate representation of the track. It looks at time and passings; the nature of being and belonging; how love can go fast and endure for years. Whatever the inspiration for the song; it is obvious it has a special place in O Caoimh’s heart. Maybe it reflects a lost love or a general view of the world. The crosscurrent emotions of love and romance might be behind the story’s truths. I am not sure but have loved investigating the song and how it resonates. It is a very powerful and fascinating song that shows how strong Shiny Silvery Things (album) is. Few will come away from the song not being enriched and improved. It is a fantastic song that recalls songwriting greats but, the way O Caoimh sings his lines, it is almost like nothing else out there. I am not shocked his music has gained huge reviews because the best songwriters are those that go beyond the obvious but ensure their music remains appealing to the masses. That is what one gets from Silence and Sound. It is a treasure of a song and fabulous moment from Cork’s very own Cormac O Caoimh.

I have talked about a number of things and shall, briefly, return to one or two before I close things. Before then; it seems like Cormac O Caoimh’s next few months are going to be busy. He has dates around Ireland and one hopes he gets to the U.K. very soon. He plays Clare and Dublin before the year is done but I know he would go down a storm in London. In fact, there are so many cities that would love to see O Caoimh play. I know he would be welcomed in Manchester, Leeds and Glasgow; some of the smaller areas - maybe some international dates could follow? Who knows how far he can go but one thing is for sure: the music one hears throughout Shiny Silvery Things is of the highest order. I am not sure whether there is new music planned and how far ahead the Cork musician is looking. He is a prolific artist so I know there will be ruminations and ideas in the back of his mind. I look at O Caoimh’s social media feeds and come to the conclusion he deserves a lot more fans. He is doing his utmost to get the music out there but it is incumbent on the listeners and fans to get the music to new realms. I can see recent pictures that show him on the road at some of Ireland’s finest and most evocative sights. It is small wonder he feels so comfortable and ‘at home’ in the country. Perhaps he does not want to travel and stray too far but there is plenty of energy in the legendary songwriter. He has a lot more to say and many more songs inside him. That worldwide tour will come but, right now, he seems happy playing and seducing the audiences of his native country. Let’s wrap things up but, before that moment, I want to return to Irish music and longevity in music; a little about musical diversity and acclaim O Caoimh has been receiving.

Let’s return to that last point because one cannot underestimate the importance of those big reviews. O Caoimh is held in high esteem and is an artist that has struck the heart of publications and sites all around the world. A lot of the praise has been local but it is heartening to see the big music magazines throw their weight into the agenda. Mojo are an example of a huge name who has taken the time to listen to Shiny Silvery Things. It is an album brimming with imagination, life and quality. Reviewers have been aghast because Cormac O Caoimh is an artist impossible to pin down. He mixes styles and, at once can be quite simple and direct; the next, he is inscrutable, complex and deep. The same can be said of his music that does not stick in the Folk/Singer-Songwriter realm. He does not unleash an unexpected Dance banger but there is array and diversity to be discovered in the Irishman’s work. Consider a song like Silence and Sound and it represents one of the deeper and more contemplative aspects of the album. Second Hand Clothes is different to Born and Big Mirror. The songs all have their own dynamic but there is that distinct sound and personality that unifies the entire album. It is no surprise O Caoimh has gathered effusive reviews and been celebrated by a vast array of reviewers. Longevity and diversity can be interlinked but, in O Caoimh’s case, he has managed to survive and prosper because of his variations and inherent talent. From those concept albums to his latest record: an amazing songwriter that continues to write the finest music around. There is something about his songs that stay in the mind and rattles around the brain for many weeks. I have been listening to various songs on Shiny Silvery Things and, each time I hear them, take something new away. That is the mark of a quality songwriter who knows how to captivate an audience.

I will wrap things up but state how important Cormac O Caoimh is to our music landscape. I opened by suggesting there is too much attention paid to younger artists. O Caoimh is not an old man but he is not a twenty-something (young) buck leaping onto the scene. There is a hard ethical dilemma to address. Many sites and reviewers have to support the new breed and ensure they get all the support they require. That being said; one cannot compromise the music of the more established songwriter. O Caoimh has been performing for years and built up a reputation based on exceptional songwriting and consistency. There shouldn’t be a point of a career where artists are being ignored and confined to narrow sources. If it is not ageism that there is a certain ignorance of focusing entirely on new/mainstream music. It is just as well magazines like Mojo go further and represent the full spectrum of music. Second Hand Clothes, the first song released from Shiny Silvery Things, has reached more than two-million listeners around the world and thirty different stations. That is no small feat and shows there is a lot of love for O Caoimh. Let me wrap things up because, as you can tell (I hope) from my words; there is so much to recommend when it comes to the Cork treasure. I love Silence and Sound and it is one of those songs that makes one forget their troubles; enriches their mind and remains in the memory. That is the mark of an artist who is unlike any other and deserves a lot more success and acclaim. Cormac O Caoimh is a songwriter that should not be ignored…

DARE one ignore that fact.

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Follow Cormac O Caoimh

 Official:

http://www.cormacocaoimh.net/

Twitter:

https://twitter.com/cocaoimh

Facebook:

https://www.facebook.com/cormacmusic

YouTube:

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

Spotify:

https://open.spotify.com/artist/5tTI635bEYNCY5PDx79cvt

SoundCloud:

https://soundcloud.com/cormaco

FEATURE: Busking and the Road to Success: Change Is Gonna Come?

FEATURE:

 

Busking and the Road to Success: 

PHOTO CREDIT: Unsplash

Change Is Gonna Come?

________

IF you’ll forgive the pen-laden cringe of the title’s sensibilities…

I wanted to address a side of the music industry that has caught my mind recently. Living where I do; unfortunately, one does come across buskers whose quality and worth are not exactly sky-high. Sure, there are some occasional standouts but, by and large, when I am situated, in busking terms, seems to be stuck in the 1940s. Maybe it is a reaction to the coolness/demographics of the area or a real lack of any ambition – getting people smiling rather than offering any depth, quality or credibility. If you are performing on the street to raise fun, that is okay, but I find myself travelling to the city in order to discoverer the decent and worthy buskers. There is a codified legislation – sternly known as Buskers’ Code – that details the rules and regulations all buskers must adhere to:

Where to busk

·         Busking is legal on public land and there are lots of great places to busk in London.

·         All pitches operate differently. Chat to local buskers to get the lowdown.

·         If you trying out a new area, talk to local busker, businesses and traders. You are less likely to get a complaint.

·         Let people get past. There should be space to push a piano past you and your audience - even at busy times.

·         If your audience blocks a doorway, market stall, pavement, ATM or loo, please stop and clear the blockage! You may want to try a bigger pitch or adapt your act for a smaller audience.

·         If there isn’t a suitable space, wait for one to become free. Ask other buskers if there's a queue you can join.

·         If a performer is waiting for your pitch please share it. On really popular pitches this could mean sharing after one hour or less.

·         Avoid sound clash! Acts involving sound should have lots of space between them.

IN THIS PHOTO: Mercy Grace (one of the competitors at this year's GIGS: Big Busk)

Your Performance

·         Your performance will have an impact on people nearby. Please be aware of this and be willing to move or adjust your performance if necessary.

·         Please don’t cause offence or humiliation.

Sound

·         The biggest cause of complaints is sound. Sound can travel a long way and go high into the air. Many busking locations are surrounded by flats, shops, offices or hotels. Because the people inside can’t walk away, please make sure your volume doesn't bother them.

·         As a rule - keep your volume just above the level of background street noise and check that it is not distorted.

·         Please don’t repeat music in the same location. Acts with varied content are much more popular.

·         Some sounds have a big impact on people. If your act has loud, bass heavy or percussive sounds, please monitor your volume regularly, vary your music and limit your time at each location.

·         Keep backing tracks unobtrusive and turn them off when you’re not performing.

Equipment

·         Make sure no-one could trip over your equipment.

·         Never leave equipment unattended.

·         Keep it safe! Check out our guidance page if your act involves anything risky (e.g. fire, knives, high wire, unicycle, diabolo, juggling).

·         Please don't cover your face (e.g. by wearing a mask) as this puts people off talking to you if there is a problem.

If you use fixtures such as furniture, lamp-posts or railings, or you draw on the ground, please get permission beforehand and make sure nothing gets damaged.

·         Please keep the pitch clean and tidy-up afterwards.

Collecting Money

·         Performers can accept donations but the public must never feel obliged to pay.

·         You can give away CDs or other items, but you cannot charge a fee for them. To sell items for a fee you need a street trading licence.

·         If you are collecting for charity you'll need a permit.

Resolving Problems

Talking with the performer is the starting point for solving all busking related problems. Unless there is an imminent risk to the performer or others, they should be given the chance to change their performance so that it follows the Buskers' Code.

Enforcement action should only be taken once the following three steps have been taken:

·         STEP 1 - Don't wait until you're irate! If a performer or group is causing a problem it can usually be resolved quickly and amicably by talking. Where possible, wait for a suitable break before talking to the performer(s). Introduce yourself and explain the impact that their performance is having on you. Ask the performer if they know about the Buskers' Code and refer them to Busk in London website.

·         STEP 2 - If you have spoken to the performer(s) and the problem continues, please contact you local authority. This might be via an on-street warden/officer or by calling council hotline. They will decided what steps to take, which may be enforcement.

The Law and Enforcement

Is busking legal?

Yes - busking on public land is legal in most places. However there are some exceptions:

·         The London Borough of Camden has introduced a bylaw that requires acts with music or amplification to have a busking licence. If you perform without one you could be arrested and have your equipment seized.

·         Uxbridge Town Centre in the London Borough of Hillingdon has introduced a bylaw that requires all acts using the four town centre pitches to have a busking licence. If you perform without one you could be arrested and have your equipment seized.

·         The financial district of the City of London (known as the Square Mile) allows performers but does not allow money to be collected in public places.

·         Some parks and squares have bylaws that don't allow busking.

·         Private land owners may have their own policy on busking and you may require permission from the landowner. It is often hard to tell private from public land, so please check with a local warden or business or contact Busk in London if you are unsure.

·         Private busking schemes that have entry requirements, such as auditions, permits or licences, include: the London Underground Busking Scheme; some pitches at Covent Garden; and the Southbank Centre Busking Scheme (between the London Eye and Hungerford Bridge).

IN THIS PHOTO: Dawson

Anti-social behaviour

·         If your behaviour is unreasonable and you are having a persistent, detrimental effect on the quality of life of people in the area, you will receive a verbal warning.

·         If you carry on, you could be issued with a formal warning letter, followed by a Community Protection Notice under the Anti-social Behaviour, Crime and Policing Act (2014).

·         If you breach the notice, you could be fined or have your equipment seized.

That is, actually, a simplified truncation of the full ins-and-outs. If one wants to play their music on the streets of London; it is not quite as romantic and easy as the likes of Jerry Rafferty and Ralph McTell romanticise – the ease one can work their craft and discover some great music. The reason I raise this article is the discrepancies between town and city; why people busk and whether it can open doors – or if it is a way for musicians to cut their teeth and get first-hand feedback. One of the incongruous aspects of my local busking scene is how unregulated it seems to be. Anyone can busk which creates a couple of issues: the high streets can, especially at the weekend, be awash with ill-fitting sounds that cause some hostile reactions. One might move down one section and hear Hokum bands covering relatively modern songs with all the cheesy charm and jug-blowing coolness one might expect from counties away from London. A few metres down the street and there will be a wannabe X Factor warbler or droning, sonorous Folk singer – mangling some classics and draining the emotion from them.

One is ‘treated to’/threatened with’ so many different performers in the space of a few seconds. Other than the fact the quality is seriously questionable – so many musicians covering songs badly is not going to get me heading for the wallet – it makes me wonder the reasons behind this. Unregulated performances give freedom for artists to ply their trade on the street but does it create a culture of over-saturation? I walk down some streets and find myself inundated with crooning, strumming and sounds of various offensiveness. Even if one discovers a gem down a side-street; that is often washed away by a caterwauling singer a few yards down the road. London’s rigid and rigorous book of rules ensures their buskers are selected in terms of quality and potential.

IN THIS PHOTO: The cast of Once; busking at Leicester Square Tube/PHOTO CREDIT: Matt Crockett

I remember a few friends of mine auditioning for Busk London and trying to secure a spot on the London Underground. It is a competitive and much-contested process that sees musicians battle for converted spots in some of the capital’s prime locations. I will come to look at the ‘goods’ and ‘bads’ of busking but, considering London, I want to introduce a piece from TimeOut London written a few years ago:

“Actually, it’s pretty hard to compete as a busker in general. The tube is out of bounds for newbies. There are currently 280 licensed buskers on the Underground in a TfL-run scheme. It’s proved so popular since its inception in 2003 that it now attracts 4,000 applications when auditions for new licences are held every two years.

Above ground, the outlook isn’t much sunnier. We’ve got away with playing music freely in Trafalgar Square without being moved on by the authorities. But we’ve been lucky. ‘There are times when the police come round Trafalgar Square and tell everyone to stop without any reason,’ says Olly Corpe, one of The King’s Parade, the quartet arrested in Leicester Square. ‘It’s really strange. It depends on the day, it depends on the officers on duty. Sometimes there’s complete hostility towards you.’

Part of the problem is the lack of a citywide consensus on how authorities and the police should treat buskers. For example, The King’s Parade were carted away under the Metropolitan Police Act, an obscure piece of legislation from 1839. They weren’t formally charged according to Corpe: ‘When we got to the police station the officer in charge didn’t even know what the Metropolitan Police Act was.’ Still, it was later defended by the Met in a statement to press. The reason? ‘There is strong evidence that this type of street performing attracts thieves.’

To remove this confusion, the Mayor’s Office is running a #BackBusking campaign to establish a universal code of conduct. It should allow non-nuisance, unlicensed buskers to perform without recrimination. It’s tricky, though. When we asked Camden Council to explain their clampdown on unlicensed acts they said it was ‘light touch regulation’ due to ‘a rising number of complaints from residents […] particularly where amplified and percussion instruments are used’. The number of complaints? One hundred. In a year. If the councillors felt this sufficient to act against spontaneous street performance it seems unlikely they’ll get on board with a mayoral campaign which asks councils to ‘make sure [that] genuine buskers outside designated schemes don’t get moved on.’

‘It’d just be nice to change the image of a busker to someone that adds to the character of the city rather than being a nuisance,’ says Charlotte as we return to the South Bank, this time setting up at an unlicensed area by Gabriel’s Wharf. Apparently, the public agree. As Charlotte begins to coat chart hits with her honeyed voice, nearby office workers eating sandwiches on benches flash megawatt smiles at us.

IN THIS PHOTO: Ina Reni (an artist, whom I have interviewed, who has taken part in London's biggest busking competition)

Fifty daytripping kiddiwinks in luminous jackets are dragged over by an excited teacher. They clap along until Charlotte finishes singing and then run at her, wrapping their arms around her waist, squeaking ‘Another! Another!’ Pocket money fills the guitar case (we later find that we’ve made £45.26 in two hours) and the youngsters sit in a big crosslegged huddle in front of us, gazing up in adoration”.

It is that ‘public appreciation’ that seems to get to me. Not only does London prove to be a perfect place for busker hostility – people taking ‘offense’ at the music being played – but deters artists who want to bring the streets alive – and make some money for themselves. What troubles me is the fact some of these artists are genuinely trying to make a career and path for themselves. Even if they are there to provide happiness and music: should they be protected and safeguarded more than they are? The article above – I urge you to read it in full – is supported by testimony from many buskers in London. A recent piece in Metro added another dynamic to the argument:

“Buskers and street performers could be forced to buy a licence in order to legally perform in one London borough.

Councillors representing Kensington and Chelsea will discuss a proposed clampdown on buskers, mime artists and ‘living statues’ that would involve street performers needing a licence.

The plans state a new policy would ‘help eliminate people who are not providing a genuine performance’, the Evening Standard reported.

IN THIS PHOTO: Boris Johnson (Mayor of London at the time) and Newton Faulkner

It is not known how expensive the licence would be, but nearby Camden charges £17 a year, or £47 if they use amplifiers, drums or bagpipes.

In a report, councillor Tim Ahern said the proposal would reduce ‘nuisance and inconvenience to residents and businesses’.

He said: ‘It has proved difficult for enforcement officers to attribute anti-social behaviour to an individual busker. Officers would now like to license busking across the whole borough, initially for a trial period of 12 months.

‘The proposal is that all categories of busking performance, including those that are considered low impact, such as mime and living statues, will require a busking licence.

IN THIS PHOTO: Luca (a former winner of a London busking comepetition)

The borough would make about 100 permits available on a first-come, first-served basis.

Kensington and Chelsea is the first council in Britain to propose a ban on unlicensed street performers”.

This seems like a super-harsh taxation on people who are trying to create something pure – not bilk and swindle credulous tourists. I walk through London a lot and, away from the Tube stations, one does not encounter many musicians on the bigger streets. It used to be the case I would discover a lot of musicians performing through Oxford Street and Piccadilly. One finds more homeless than musicians these days: should we reverse a policy that seems to strangle a sense of artistic freedom?! It is a complicated brew but one we need to decode, review and amend. One can apply to busk on the Underground because, in my mind, we need to encourage and nurture those who risk performing to the bustling, unpredictable commuters of London. I am not down on London but feel cities like Manchester and Glasgow afford their buskers greater humanity and financial remuneration. I will, when passing through the London Underground, dip into my pocket when I hear a great musician play – it makes commuting more pleasant and appealing.

There are negatives when it comes to city busking. Recently, when travelling on the Jubilee Line; a trio of accordion-playing buskers leapt onto a Tube and ‘serenaded’ the patrons to a very loud and confined ditty. The pressure to compensate them – one could not easily look away or get private – was a pressure I surrendered to. There are rogue and rebellious artists that do offer sonic force and pressure. There is a minor element many associate with ‘London busking’. That is not the majority and is an unfair representation of what one can expect from the city. You can say the same of any major city where a variety of artists want to play. I am soured and off-put by the musicians one gets in smaller towns and local environs – often anyone can rock up and you might find, say, one half-decent busker in ten. To perform in the city; there are more stipulations and obstacles one has to navigate – to ensure there is an emphasis on quality and promise.

IN THIS PHOTO: Maeve Fitzpatrick (a contestant at this year's GIGS: Big Busk)

There are a few points from Roland’s guide to busking that offers tips to any wannabe busker:

#10. Loosen their wallets
“Most buskers ‘salt’ their cases before starting the set, slipping in a handful of their own money so punters recognise that tipping is welcome and know where to throw coins. As the set progresses, you want enough coins in the case to imply that you’re popular, but not so many that people conclude you don’t need more. Every few songs, take out some of the accumulated coins to stop a passing toerag stealing the loot. And that leads us onto…

#11. Grin and bear it
You’ll get drunks, nutters, thieves, pensioners informing you that you suck and hoodies gobbing in your case. Take it all on the chin. If you get heckled, laugh it off. If you get robbed, don’t chase them. Dealing with borderline psychopaths is an invaluable lesson for anyone hoping for a career in music.

#12. Use it as an apprenticeship
Busking can teach you everything you need to know about live performance. Spend a few weeks out there and you’ll work out what engages people and what leaves them cold, which songs spark a singalong and which ones get you punched. Learn your trade on the streets and who knows: maybe you’ll follow in the footsteps of ex-buskers like Ed Sheeran and Rodrigo Y Gabriela, and use the experience as a springboard to a gold-plated career. Today, the doorway of a defunct Woolworths. Tomorrow, the world…”

IN THIS PHOTO: Donna - Lois Andrea Music (a contestant at this year's GIGS: Big Busk)

We have all heard the story of famous musicians starting their lives as buskers. Ed Sheeran is a modern example of someone with those humble roots – transitioning, over the years, to the mainstream. That success did not occur overnight but, seeing him rise to prominence, gives heart and hope to buskers who, on an average day might seem deflated and lacklustre. Of course, one cannot say whether busking was instrumental in Sheeran’s success – and whether he was ‘spotted’ and discovered. There are few that have managed to rise from the streets to the mainstream but it is not impossible. Most musicians, when they busk, do not yearn for instant stardom: the fact they are able to get their music out there is the most important thing. I have reviewed and interviewed many musicians who busk; for different reasons. Some do it to showcase their music and get the first-hand reaction. It can be a terrific forum to see how songs are perceived by the British public. If one can navigate the ignorance and attitudes of the average citizen; you do get a core that recognises the hard craft and talent of musicians trying to make other’s lives better. Many busk to earn extra money or provide an outlet for amateur designs – not necessarily parlaying into a career in music or play at a professional level. Whatever the scale of ambition – and magnitude of their performance – we must provide better reception to buskers; those doing it legitimately and imbued with actual talent. There are many, as I have explained, who pollute the streets and crowd the eardrums – so many streets laden with similar-sounding buskers; none of whom warrant a pitch or any second thought. Bigger cities have greater quality control but, with such stringent guidelines being introduced, many are forced to pay to set up a pitch – often not able to turn any sort of profit over the course of a week.

We need protectionism and stricter codes in the RIGHT direction. Of course, nobody wants to see a cavalcade of semi-talented buskers singing at them but, at the same time, we do not want to purge the streets of genuine musicians who have something to say. I go to London and discover a range of wonderful sounds and artists. From the edgy and cramped conditions of the Underground to the open and swaying Oxford Street – it can be a great way of enlivening and enhancing a city. I fear, with venues under threat, many musicians will have to busk in order to get their music heard and honed. The danger of verbal and physical abuse; the criticism, banning and costs: all of this is muddying and diluting a culture that needs to survive and grow. I can understand the need to limit buskers in towns and smaller areas. Those who do not have a license should be punished by those who have the right to perform should not have to face taxation, repression and curfew.

IN THIS PHOTO: Ed Sheeran (busking in Brighton in 2010)

Music is an industry that should welcome people in and promote growth and expression. We cannot see our live venues close and struggle and push people off the streets. Maybe busking is not an easy way to success – it is part of a gruelling series of steps – but it needs to be protected and strengthened. I am split when it comes to town vs. city but, in terms of those instilled with promise and talent – they should not feel fearful and unable to follow a busking path. It is not a big ‘industry’ but, from the street-level player and artists looking for larger success, it is absolutely crucial. Whether we see buskers on the streets, cities or trains; I feel we all…

SHOULD be a lot more hospitable.

INTERVIEW: FØNX

INTERVIEW:

PHOTO CREDIT: Emily Elizabeth

 FØNX

________

THERE is a rare charisma and sense of attraction one feels when listening to…

PHOTO CREDIT: Asia Pracz Photography

the music of FØNX. I have been spinning his new track, Can’t Get Enough, for a while and find something new each time I play it. For that reason, it was interesting chatting with the East Sussex-based songwriter about the track’s origins. He discusses working alongside Grammy-winning producer Tommaso Colliva and how he managed to transition between a period of sofa-surfing and where he is now.

I get a peek into the creative mindset of someone who recommends the music of Eminem alongside Frank Ocean and Ben Howard. The enigma and contrasts of FØNX are apparent in the music – that imbued with so much nuance and allure.

FØNX is live-streaming his latest track tomorrow - via his Facebook page - so make sure you get a first-hand representation and experience of the incredible music.

_________

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

I’m great, thanks. How are you doing?

It’s been an awesome week so far! The single came out last Friday - so there’s been a constant stream of things to do and people to talk to which is great.

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

I’m FØNX. I’m an artist/songwriter/producer - forever on the move.

Tell me a bit about your new track, Can’t Get Enough. What compelled the song?

The track, Can’t Get Enough, came about after a night out with a friend in Brighton - during The Great Escape Festival weekend. During the night, he told me how he recently had a bad trip on something funky and was tripping out for twenty-hours straight - which sounded pretty horrendous.

Forward a few days later, and I still had his story going through my head and thinking how nuts it sounded, so, I started penning some lyrics down and that’s how the initial ideas starting flowing.

Was it true you found yourself sofa-surfing and busking? How did things get to that point where you had to live like that?

When you put it like that, it sounds bad - but it wasn’t quite like that. I was moving house and it was that in-between stage where you don’t have your old home to live in anymore and you don’t have a new one to move into yet.

So, I was just sofa-surfing with friends for a couple of months, which was cool, but a bit random not knowing where you’re going to be staying the next night!

Lucky, I have some cool friends with sofas to lend! It was during this time that I started writing Can’t Get Enough and I remember turning my mate’s living-room into a little make-shift studio - while he was at work during the day - to record the demo.

IN THIS PHOTO: Tommaso Colliva

Tommaso Colliva produced. Was it quite daunting working with a Grammy-winning producer? What did Colliva bring to the process in terms of expertise and insight?

It was awesome working with Tommaso because he really wanted to get to know where my mind was at and what I liked; down to my favourite films, music I’m digging and everything else - so we could draw from that palette, if you like. It felt like we were on the same wave-length in terms of wanting to experiment with sounds; find something unique within what we were doing and not being afraid to try something outside the box. His studio is sick too. He has a lot of analogue and vintage gear, so we used some bits in our recording sessions.

The whole process just felt really exciting for me as it was the first time I had worked with a producer on my stuff. It was amazing going to the studio every day to work on these songs and ideas that were born in my room.

Tommaso won his Grammy during our initial recording sessions so it was pretty cool walking into the studio, one day, to see his Grammy had arrived. It definitely has a presence to it. Feels like you’re in good hands when you can see that in the corner of your eye!

How do songs like Can’t Get Enough come together? Do you set time aside to write or is it a more natural process?

The initial spark of an idea is usually a natural process as something will trigger an idea or story for me that I’ll want to carry on writing about. I guess, once I have that, it becomes more about setting the time aside for writing. I usually want to write about something specific or express a certain way I’m feeling before I write it - instead of forcing a thought or a song idea to then write a song out of it (if that makes sense?!).

Then there’s a point where musical ideas meet the lyrics. This process I find has to be more forced as you are trying out different musical ideas with different lyrics until something clicks - and you feel like you’re onto something.

Sometimes, I can write most of a song, produce (up) a demo for it and still be missing a verse. But I know I will eventually find what I want to say and come back to it later.

PHOTO CREDIT: Emily Nelson

What has been your most-treasured memory in terms of gigs and achievements?

I think writing the next song feels like the biggest achievement each time for me because that’s my favourite part of the process - and means the most to me as it’s something I’ve created and can treasure forever - whether it reaches a lot of other people or not.

Hearing my song being played on BBC Radio 1 for the first time was a big deal for me too. This was when I wrote music under my old name, in a slightly different vibe.

How important is London to your work and outlook on life? It seems like you vibe hard from the people and sights of the city.

London is really important.

There’s this buzz I feel when I’m London that I can feed off for inspiration. When I’m there, I feel more inspired than anywhere else. I feel I can think outside the box and look at things in a different way.

It’s definitely a good place to write for me.

Is there going to be new material or hookups in the future? What have you got brewing?

Definitely: lots of new material to come in the near-future.

I’ve been writing solidly for the past couple of years and I almost feel like the music, in terms of releasing and sharing, has now got to catch up with where I’m at now. So, yes, there’s a lot more to come and I really can’t wait to start getting it out.

It seems like you take a lot of influence from the likes of Frank Ocean and Childish Gambino. Is American R&B music you connect hardest to or are your tastes quite broad?

Yeah, I’d say you’re right.

It’s definitely one of my favourite genres of music right now. It’s the sort of stuff I stick on with friends and dance to - but I also love how artists within that genre are pushing forward and searching for something different and surprising within production and song form. It’s exciting.

My tastes are pretty broad but, at the moment, I’m loving artists like Anderson Paak, Kendrick Lamar; John Mayer, Mac Miller; George Benson, Tom Misch and Francis and the Lights (to name a few!).

 PHOTO CREDIT: @emelizabeth

Do you have any tour dates approaching? Where can we come and see you play?

I’m playing a few intimate Sofar Sounds shows over August - which I’m really looking forward to. These are some of my favourite shows to play right now as you can really connect with people in a way you don’t in a big music venue or festival. I’m also going to be playing a few London shows in September:

Saturday 19th August - Sofar Sounds, London

Monday 21st August - Sofar Sounds, Bath

Sunday 27th August - Sofar Sounds, Cambridge

Wednesday 30th August - Sofar Sounds, Cardiff

Friday 8th September - The Spice of Life, London

Tuesday 19th September - The Bedford, Balham

Thursday 26th October - Aloft Hotel, Excel London

Tuesday 5th December - Sofar Sounds, Southampton.

IN THIS PHOTO: Tom Misch

Who are new acts you recommend we check out?

Puma Blue, WAX; Rob Araujo and Tom Misch.

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

That’s a really difficult question…can I pick ten?!

Earth, Wind & Fire - I Am

My earliest memory of music is listening to this album in the car…you just can’t go wrong. It’s a magic record from start to finish.

Eminem – Encore

This was the first album I bought with my own money. I used to listen to it on my Walkman on the way to school. I knew all the lyrics and played it on repeat for quite some time!

PHOTO CREDIT: Emily Nelson

Ben Howard - Every Kingdom

It reminds me of a magical time when I starting studying music in London and experiencing that buzz for the first time and falling in love. Not quite the style of music I’m listening to much these days, but still, a beautiful record.

What advice would you give to artists coming through right now?

Keep writing and never think you have the song - or ‘hit’, as people like to call it.

Support other artists.

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).

Tom Misch - South of the River

__________

Follow FØNX

PHOTO CREDIT: Emily Elizabeth 

Official:

https://www.fonxmusic.com/

Facebook:

https://www.facebook.com/fonxmusic/

Twitter:

https://twitter.com/fonxmusic

Instagram:

https://www.instagram.com/fonxmusic/

Spotify:

https://open.spotify.com/artist/1HKfOnFdrJOXSXHyx8JOvN

SoundCloud:

https://soundcloud.com/fonxmusic

YouTube:

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

TRACK REVIEW: Blake’s Fortune - Heart’s Roulette

TRACK REVIEW:

 

Blake’s Fortune

 Heart’s Roulette

9.3/10

Heart’s Roulette is available at:

https://blakesfortune.bandcamp.com/track/hearts-roulette

GENRES:

Folk; Americana; Indie-Folk

ORIGIN:

Dublin, E.I.R.E.

Vocals, Guitars and Percussion: John Lennon
Bass: Dave Buttner
Clarinet, Backing Vocals: Sarah Gallagher
Fiddle: Eileen O’Driscoll
Banjo: Lily Gems

The album, Hello World, is available at:

https://open.spotify.com/album/6IO5Bxi6QBcfIJW6h7iQhe

RELEASE DATE:

20th March, 2017

All songs written by John Lennon. 

Recorded from August 2016 to February 2017 at The Windmill in Dublin. Additional recordings at The Cottage in Aillebrack, Rory & Lily’s in Sallynoggin and Damo’s in Glasthule. 

Mixed by Tony Harris (tracks 1, 3, 4, 5) and Damien Walsh (tracks 2, 6, 7, 8, 9, 10). 

Mastered by Fergal Davis. 

Lighthouse at Point Reyes by Briano. 

Art Direction and Photography by Céline O’Donnell. 

_______

THIS weekend, I get to look at two male artists who…

hail from the same sort of part of the world. It is great to subject myself to Irish music and, in this case, Blake’s Fortune. That is the moniker of Dublin-born John Lennon so, as you can imagine, using his real name might have been a bit confusing – or else led to some lofty expectations. There are few, in the world of music, that do things quite like him.  I will come to John Lennon’s creative half in a minute but, right now, I will address a few subjects. Among them is Americana and Folk music; Dublin music and venues there; wishful/romantic music; male singer-songwriters and standing out from the crowd – artists who can provide beauty and lyrical/compositional range on debut albums. I will end things with social media and upping the visual side of music, too. I often get to look at Folk music and its various incarnations. I am not sure what it is but the genre is starting to grow. Artists are bonding with it and, like no other time in modern music, it is seeing more recruits than ever. To me, it represents a freedom and flexibility that most genres do not. There are those who say Folk is quite a boring and specialist medium. I would argue against that but, taking their side, suggest one could not listen to a lot of like-minded Folk artists for too long. By that, those performers who play rather placid and calm music – sounds meant to soothe and seduce the soul. It can be difficult listening to songwriters who do not get out of second-gear but, in the case of Blake’s Fortune; there is such a variation and depth one doesn’t fall into that trap. Yes, there is a lot of romance and tenderness but other sides to the artists. Recently, I investigated Folk and how multifarious it is.

One does not necessarily have to see it as an off-putting brand of music. We all have our tastes but Folk cannot be accused of being predictable and limited – not anymore, anyway! What Blake’s Fortune does is show what you can do by keeping Folk pure and modern. There are Americana roots that, interestingly, are coming into British music a lot more. Whilst we refute their world leaders, attitudes and negatives – we are embracing American music a lot more. Hip-Hop from the U.S. is assimilating into British culture more readily and Folk is taking a lot from America. Maybe that is not a shock, also. John Lennon, like many artists, is inspired by the best and brightest of U.S. Folk. I know Dublin is not in Britain but forgive my eager typing – you know what I mean! What I find, when listening to Lennon’s music, is someone who has immersed himself in Americana and Folk from a young age. There are many Folk contemporaries who limit themselves to a certain style but Blake’s Fortune is an outfit that has a lot to say; so many different stories that suit the full expanse and range of modern music. Why I wanted to look at Folk/Americana is how agile and popular it is. One cannot accuse it of being for acquired tastes. As the mainstream remains rooted in commercialism and a Pop sound: away from that, there are so many young Folk artists updating the genre and lending their voice. I feel, unlike other types of music, one is able to project an array of emotions without having to leap between genres. Folk/Americana have malleability and is attractive because of its freedom and potential. Blake’s Fortune enters a busy market that is as competitive and hostile as any other time. I mentioned how busy Folk music is becoming and that needs to be addressed. We are seeing so many different artists come into the genre and provide their own take. It might be scary for a young artist to join the fray but, as he shows, one can carve their own empire if they do not replicate and copycat.

This might be the first time I have looked at a Dublin Folk artist this year. That might sound like a niche issue but many overlook the joys and potential of the city. Recently, I hosted Pillow Queens at The Finsbury in London. They are a girl group that rock hard and have the promise to ascend to the mainstream in years to come. Brilliant live; fantastic songwriters with a tight connection – few bands have the attributes and qualities they do. They are among a small selection of artists that genuinely have something different about them. Having Blake’s Fortune before me allows my mind to go to Dublin and the great music coming from there right now. Hare Squad and Bad Sea are two Dublin acts that, between them, offer energy, bangers and longevity. The former is an Electronic act making a name for themselves in E.I.R.E. The latter, a more contemplative and charmed. Their music has Folk embers but mixes Country and Aaliyah-like R&B into the fold. Saint Sister have links to Derry and Belfast but have that Dublin base. They are a terrific duo that has been touring the U.K. and Europe the past couple of months. True originals that have the opportunity to go as far as they want. Throw in the boys of Orchid Collective and one has a band that mixes Fleet Foxes-esque harmonies and Folk-Rock brilliance. I particularly love Farah Elle and all she promises. She has Libyan heritage and mixes that with flecks of R&B, Reggae, Ska and Pop: a brilliant artist who has a lot more to say. The urban realities of life are presented by Burnt Out. Their name might be an apt description of their lyrics and worldview. Songs address the harsh realities of the city and the kind of people they have encountered. The North Dublin guys have only a few songs under their belt but are another band to watch carefully.

The same can be said for TooFools whose membership expands – depending on whether they play live or record – and mix Funk, Soul and Stomp. Eden is a fantastic artist who has seen his fanbase expand and music take off. He has completed worldwide tours and is one of the most popular and promising new artists in Ireland. That is merely a reflection of the kind of act one can experience in the country. I did not include links to their social media but you can investigate for yourself. I did not want to distract one from Blake’s Fortune and what he is producing. I often think the quality of a city’s/country’s music depends on the people and the culture. Dublin is renowned for its friendliness, warmth and wit. It is an encouraging landscape for musicians and, as I shall show in the conclusion, full of great venues and sites. A fabulous city that is promoting and raising some future stars. I can understand why Lennon is based there and why his music has the character, heart and quality it does. Other areas like London, for example, have their own brand – and is immensely varied – but there is something unique about Dublin. I have discovered few areas that have that exceptional genre-fusion and immense quality. Maybe it is to do with the people and the fact musicians feel supported and hopeful. If one feels they will be successful and get long-term support; their music is going to be that much stronger and solid. I have not been to Dublin myself but know, from reports people send back, what a place it is. There is a loyal and tight-knit music community that is encouraging its inhabitants to remain there – rather than come over to England and live here. Blake’s Fortune has many Folk/Americana compatriots but, when it comes to his combination of sounds/emotions, there are few like him.

One might look at John Lennon and assume they have him all figured out. The hirsute musician strikes you as a Badly Drawn Boy-esque act whose music will be beautiful and appealing – but lack the marrow of diversity, energy and edginess. Hello World, by its title implications alone, is an album that welcomes people in and has a positive disposition. There are some more introverted and moody moments but, largely, the music has an optimism and hopefulness. That is reflected in the ambition and flexibility of Lennon as a writer. He switches genres and ensures his songs never become too repetitive and predictable. Not only does he keep the compositions interchangeable and broad but carries that over into his lyrics. On his album, from the opening number, there is that sense of emotional space and recuperation. Hiatus is, literally, the man spending time away from home and getting a break – returning and finding himself refreshed and rejuvenated. Other tracks look at romance and something tender and pure. I shall look at a particular track from the album but, if one goes to his BandCamp page – link is at the bottom of this review – you can read the lyrics and the stunning wordplay at work. Scanning the words and one finds senatorial dignity and curious come-on; beautifully weaving poetry and incredible imagery. Blake’s Fortune reminds me of Nick Drake and his incredible songwriting. You only need read the lyrics and you can immerse yourself and picture the scenes. The best part of the lyrics, to me, is the romance and the angle Lennon puts on the trope. That is an appropriate word because a lot of songwriters, when addressing longing and passion, tend not to differentiate themselves from the pack. Here, one discovers an artist who casts from his own experience and makes sure his words contain no clichés and stereotypes. There are few who project the same majesty and beauty as John Lennon. From my perspective, having affection for someone and pining for a person I cannot have, I find a lot of comfort and solace in the work of Blake’s Fortune. The words provide a sense of hope and guidance. One, when intoxicated by the relentlessness of love, need answers and clarity. When listening to the songs throughout Hello World; not only did I find answers to some arresting questions but some perspective and hope. I will not go into the details of my predicament but am glad I have discovered Blake’s Fortune. Wistfulness and romance and words that might balk some; get under the skin in a bad way – assuming the music will be soppy and cloying. A lot of artists do write that way but there is a real intelligence, dignity and depth to Hello World.

Listen to the album in full and one is enriched, enlivened and encouraged. Few can deny the incredible voice of John Lennon helps embolden and define his lyrics. It is the songwriting that, in many artists, is overlooked. We look at the surface and sound but rarely dig down to the core. Whether that indicates a lack of interesting songwriters – and whether they are saying anything original – or a naivety, I am not sure. I feel too many take songwriters at face-value and do not spend time looking underneath the bonnet, as it were. When listening to Blake’s Fortune; those words are as instrumental and effective as anything. The genre of Folk/Americana is a crowded one and so, for that reason, one cannot be lazy and complacent with their music. Blake’s Fortune has a style that many can apply to others but, when seeking that U.S.P., it only takes a brief sip of the opening track (of the album) and there is that hit. The fact John Lennon takes in many different sounds and styles keeps the songs unexpected and innovative. I find many artists last a short time because they do not take the trouble to study and see what people want. Maybe they are obsessed by commercialism and replicate mainstream acts: some go the other way and try to be unique – but lack any identity and focus. It is tough coming into music and creating music sustainable, interesting and enduring. Such is the capricious and ever-changing nature of tastes; it is challenging discovering what people want. Blake’s Fortune is unconcerned about hollow fame but he wants that credibility and respect as a songwriter. Because of that, his music comes from the heart but is not exclusive. It is intended for the people and welcomes the listener in. I will touch on this subject in greater depth later but, for now, a nod to the male singer-songwriters.

One of the most noticeable fashions/trends in modern music is the switch in genre and tastes. People are becoming bolder and broader with their music choices and not rely on the charts to tell them what to like. Also, one sees the shift from bands dominating: female artists are taking a lot of ground and influence from the chaps. This is good to see and, whilst this quality and talent is not translated into festival headliners, there is evidence to suggest changes will occur down the line. Once was the time male bands were all the rage and dominating the landscape. I am not sure what one can attribute the change to but I am discovering a lot of female acts replace them. That means the male singer-songwriter, by comparison, gets less attention. I am not suggesting the male singer-songwriter is weaker and less important but I am finding fewer examples that can match their female peers. This is good in regards gender equality but suggests there are issues inherent that need addressing. I feel a lot of the best female artists are solo acts. Not to stereotype, but certain genres have particular dynamics. Grime and Hip-Hop tend to have a greater number of black artists; Folk more white artists; one can look at various genres and know what the demographic will look like. Pop, Folk and Electronic music are starting to eek greater reactions than modern Rock and Indie. These styles, when bands dominated, were favoured but right now there is a structural weakening and lack of motivation. I find the finest new Pop and Folk artists are women. The reason for this, I think, is because of the voice and music approach. The sheer beauty and comfort from the voice; the vocal range and the lyrical balance of warmth and physicality. That is a generalised and simplistic definition but I notice a real difference between male and female songwriters.

One finds more range, diversity and nuance with female artists. Folk and Pop are genres that have so much room for manoeuvre – they are exploiting this and making some real strides. Look at newcomers like Phoebe Bridgers and that says everything, really. In a way, she reminds me of Billie Marten – maybe Bridgers came first – and has that sweet and impactful vocal. She is a young songwriter but has older shoulders. Listen to her music and she talks about older bands and strange romance; quirkiness and an insight into her day-to-day life. You jump into the music and stand alongside Bridgers. She is someone to watch closely and one of many incredible female songwriters that have something very special about them. I am finding fewer male comparisons: those who possess the same quality, talent and range. Maybe I am not looking hard enough but I do not think I am wrong. Blake’s Fortune is one of a promising brand of musicians that have the chance to steal back some focus. I feel one of the reasons for the gender discrepancies is the way artists look at life and love. They are solid foundations for tracks and a currency many still yearn for. They are solid foundations for tracks and a currency many still yearn for. It can be tricky writing from the heart and making your words sound new but that is why the women are ahead. Maybe it is a mindset or perspective that makes them more intriguing but I find it is a combination of interesting and poetic lyrics and vocals that can express greater emotional range. The boys are too rigid and few stand in the memory for as long. This is not the case with Blake’s Fortune who has something about him. Like the finest female songwriters around; he goes the extra mile and away from the predictable. It is hard to characterise but I hear so many male songwriters that come across boring, formulaic and uninspired. In order for music to grow and evolve, we need to encourage those artists that have something special about them. One hears that in Blake’s Fortune and an album like Hello World.

I shall come to the music very soon but, before then, a look at debut album and social media. On the first point: Hello World, could have been quite a defined and limited album that stuck with a single genre and taking its inspiration from a shallow well. I hear a lot of debut album that shows a lack of courage and innovation. That is understandable in an industry that is unstable and cruel. What I mean is many artists can be overlooked if they try to be different and unconventional. Because of that; an opening salvo is personable and strong but lacks any real experimentation and difference. You may hear the odd song that has a unique flair but few artists come in with such a kaleidoscopic and inventive approach to music. That is not to say Blake’s Fortune has come in with a Paul’s Boutique style of album (Beastie Boys) but neither does it sit still and play it cool. There is a banquet of different stories, sounds and possibilities.  I am always surprised when new artists play it safe on their first album and do not take chances. Maybe it is a commercial risk but, considering most are not under the radar of the big labels, they have the opportunity to do something unexpected and stand out. Far too many are repeating what others have said or producing rather average albums. Musicians like Blake’s Fortune are not looking for the big streaming figures and getting into the charts. Here is a pure and proper musician who is inspired by multiple genres and artists – putting this into his work and matching that with stories from his past and present. Whether this will continue as he goes deeper into his career I am not sure – I would like to think it will. At this early stage; the signs are promising and it looks very rosy. Hello World has that wide-ranging ethos but manages to keep things grounded and focused. The songs are personal and intimate but, when you least expect it, they expand and take you somewhere else. A heady brew that many of his peers could learn from. I am excited to see where John Lennon’s alter ego can go and what the future holds.

Before I look at a song from his album, I wanted to talk about social media and images. The man behind the music has a lot of promise and aesthetic appeal. That is not saying he should be a model or shooting for calendars but there is an approachable and captivating artist that deserves greater representation. This review has a few photos but the vast majority do not feature John Lennon. One of my greatest tirades is when taking musicians to task regarding photographs. It can be quite frustrating when they do not put images online and want the music to do all the talking. That is something that irks me: no musician worth their salt is strong enough to ignore visual demands and solid music will only get you so far. In the case of Blake’s Fortune, there is a modesty and humbleness that dictates this omission – rather than an egotistical approach to his sounds and image. I would like to see him captured on the streets of Dublin as, not only will that ensure people put a face to the music but mean the big magazines and websites will go for him. The Dublin artists I mentioned earlier, between them, have a wide range of images and have social media pages fulsome and updated. Blake’s Fortune impresses me because of the number of sites one can find him on. All the social media and music-streaming platforms are included and he has an official website. That is a big and important aspect many musicians are overlooking. The only way to better this is for Blake’s Fortune to put more photos up and, perhaps, a bit more background and biography. He is a strong musician that has years ahead: getting a jump on these kinds of demands is paramount. Another thing I would like to see from him is some music videos. Maybe that is planned but, when promoting an album, YouTube visibility is vital. So many of the songs provoke clear images and fascinating stories. Having those represented through videos would bring more listeners in and get a greater number of followers onto his social media pages. Blake’s Fortune has a good fanbase but can increase the numbers with a few tweaks and developments. Maybe, again, that will come in time and something I would like to see happen.

The opening strings of Heart’s Roulette get you into the countryside and the landscape. Lennon’s voice is soft and assured but does not needlessly race and emote. There is a dignity and control that means the words are punctuated and precise. It seems like things have fallen apart of the seams and come apart. “Bridge the gap that was awfully/across my heart” is an example of lyrics that are oblique and interesting. The masculine, assured vocal has plenty of emotional and romance but there is some caution and wariness. Maybe things have gone sour in a relationship or, as the song title suggests, love is a real gamble. A past relationship may have made the hero sceptical but a new girl can change all of this. It seems like he is directing his words to a new love: someone who can overturn the bad days and bring some new inspiration to his life. I am not sure whether Heart’s Roulette is the result of a break-up but there are definite heartaches at work. When you think the song is going to be a straightforward and accessible thing – those who judge Folk and music upon few words – there are luscious and serene female vocals that back the hero up. It is a shot of colour and sensuality that raises the shivers and takes the mind elsewhere. I started off in the countryside – the sensation of rolling fields and pastoral solitude – but, now, go into the bedroom. Not in a seedy way but it seems like pillow-talk and intimate conversation is coming in. “Dreams can pull us together”, it is said. The hero has a hopefulness and wants to transition to better times. The heroine, it seems, left the bed for the sea.

It is quite an old-world view of fleeing lovers and new lands. The hero looks around and sees the heroine depart. Trying to take this all in; he casts the spotlight into his own soul and wonders where it went wrong. Maybe it was a natural breakup or the two were on different pages – she wanted something different and a new way of life. Whatever the origins, I get the sense of redemption and renewal. The hero, backed by gorgeous female vocals, investigates the wreckage but, rather than lament and wallow, seems to have a pragmatic imagination. Things will get better but it is important to take lessons away from this current love. I mentioned how a new love could be on his mind but I cannot shake that sense of being in the bedroom and looking from the window. The wilds and oceans are outside and, holding his heart firmly, there is a young man trying to make sense of things. The compositional broadens and expands as the song progresses. There are harder strings and Indie touches; bigger percussive influence and a change in the vocal dynamic. The hero did not expect to win the game of roulette but wants to take a chance. Fiddle and falsetto blends with electric licks and a stringent approach – a man who has doubts but wants things to be better. Those wordless vocals are such an inherent part of the song’s charm and strength. There are few lyrics on Heart’s Roulette but, the ones there are, give you all the story and revelation you need. Despite that; there is mystery and room for interpretation. Whether the hero found satisfaction and bonded with the new love – or was haunted by the fallout of the relationship – I am not sure but would like to imagine there is hope and new lease. The final stages of the song build those vocals and perfectly melt traditional Irish Folk and modern Indie. There is flair and energy but that passion and traditional element of Irish folklore. You swim through the song and imagine yourself out at sea. From the opening segments – where you picture countryside and calm – you go to the bedroom and the hero looking out. By the end; you are on the boat with the heroine and, perhaps, the hero is following her. Heart’s Roulette is a song that tackles lost love and the risk and gambles of relationships. It is a new take and aspect of love and the way it can take you by surprise.

I have written about Heart’s Roulette and why it represents Hello World perfectly. It is a song that gets inside the head and captures the heart. That brilliant track is in great company: the album has some brilliant moments and consistent quality. What grabs me about the album is the variation throughout. Some reviewers have noted how the music is Indie-Folk and has shades of War on Drugs. They are a band getting a lot of acclaim right now so is a good thing for Blake’s Fortune. To be fair, that comparison does not fully appreciate the talent and original aspects of his music. I will end by returning to some points I investigated early. At the moment, I am looking at Blake’s Fortune’s social media feeds and there is a lot of interesting developments. Not only has he recently encountered The Divine Comedy’s Neil Hannon – a cheeky signed photo and all – but the new album has been included in stores around Dublin. It seems things are going really well for John Lennon so I wonder how far he can go. I guess there are gigs happening around E.I.R.E. and, maybe, Northern Ireland. I am not sure whether artists from the South of Ireland are willing to gig there or if there are tensions still. I would not like to say but hope it is possible for Lennon to travel to the North. In any case; he can come to the U.K. and perform in countries like Scotland and England. We here would love to see him perform in places like London, Brighton and Manchester. There are so many areas that would welcome the fantastic music of Blake’s Fortune. Maybe he is already planning on coming to England but, maybe, financial restrictions mean he might stay in Dublin for a while. I can see the young songwriter making big strides in years to come and rising through the ranks.

Coming back to the Dublin music scene and the quality one can see there. The Grand Social and The Cobblestone are a couple of great venues that many local artists are taking advantage of. Vicar Street has played host to comedians but it is the musicians that pass through the doors that remain in the memory. It is a great space for artists of all genres to play to a welcoming and passionate city. The Button Factory and Whelan’s are incredible venues and, between them, having seen some legends of music pass through the doors – including Nick Cave and Jeff Buckley. There is so much to recommend about Dublin’s music scene – a part of the world that gets overlooked by many. Blake’s Fortune is part of an incredible scene that has so many world-class musicians performing. It is a magnificent part of the world and one you should naturally look to when it comes to future legends. I hope Blake’s Fortune takes full advantage of the city and the venues scattered throughout. Even if he does not play over there for a while; his music is going down a storm and it cannot be long before there are big demands around the world. I will end by looking at his music and how he is adding new life into Indie-Folk. That genre gets a bad reputation because, many associates it with a certain listlessness and fatigue. Whether you class Blake’s Fortune as pure Folk or Indie: he has so many different styles working through Hello World. It is hard to pin the man down but, on the surface, one might predict and judge. John Lennon has the look of a man one might find strumming the guitar and performing something gentle and unengaging. That is stereotyping and something a lot of critics and music-lovers do.

One cannot jump to conclusions and assume an artist is the grand total of their image. It takes merely a few minutes before John Lennon’s incredible music gets into the imagination. He portrays sides of Folk that would please fans of Joni Mitchell and Nick Drake but, dig deep, and there is a modern sensibility that is fresh and exciting. He has incredible songwriting ability and can take the listener in multiple directions. The songs are deep and compelling; the singing varies from warm to rousing. An accomplished composer who feeds from the city and people. Earlier, I listed a few of the artists who are putting Dublin on the map. The city has always produced great music but, recently, too many eyes have been cast elsewhere. It is musicians like Blake’s Fortune that mean Dublin will always be relevant and exceptional. The range and diversity of sounds is amazing. Maybe you feel Ireland will have a very limited sense of musicianship but it is as modern and nimble as any other nation. The supportive and rich music scene is encouraging its artists to remain and support one another. That is rare to find and is a shining example to other parts of the world. I will end this now but want to congratulate Blake’s Fortune on a terrific album and wonderful sound. I wish I could write more – aware people might be losing concentration – but I hope I have represented his qualities and personality appropriately. It has been great bonding with a personal and approachable musician who writes music that, somehow, fuses universal with the individual. I will follow his career because, in years to come, more people…

WILL be enriched by Blake’s Fortune.

_______

Follow Blake’s Fortune

  Official:

http://www.blakesfortune.com/

Twitter:

https://twitter.com/blakesfortune

Instagram:

https://www.instagram.com/blakesfortune/

Facebook:

https://www.facebook.com/blakesfortune/

BandCamp:

https://blakesfortune.bandcamp.com/releases

YouTube:

https://www.youtube.com/c/BlakesFortune

Spotify:

https://open.spotify.com/album/6IO5Bxi6QBcfIJW6h7iQhe

SoundCloud:

https://soundcloud.com/blakesfortune

FEATURE: The Rise of the British Festival Scene: A Time for Celebration?

FEATURE: 

 The Rise of the British Festival Scene: A Time for Celebration?

________

OVER the weekend, I will be looking at a range of themes…

and sides of music. I will address Hip-Hop and the growing influence it has had – and how it has evolved the past three decades – and other cool things. That is for then but, for now, I am interested in the festival scene of Britain. In the news, the past few weeks, we have heard reports of bad weather afflicting various festivals. An article by The Independent investigated claims, by patrons of BoomTown festival, that people were fainting in hostile conditions – having to queue for hours and barely moving:

“The searches are very thorough this year which as previously warned is lengthening queuing time - speed this up by using amnesty bins.”

Later, just before 3pm, the festival tweeted: “GATES UPDATE: All gates are now open. Thank you for your continued patience.”

Cordelia Keston, a ticket-owner who was still queuing at the time of writing (5.20pm), spoke to us about her experiences live from the scene stating she had arrived two and a half hours previous and had only moved a maximum of “50 metres.”

Describing the queue's movement as “snail-pace,” Keston said: “We're trying to stay optimistic but there are no stewards around telling anyone anything. We feel a bit like sheep - there are no barriers, we're all in a huddle.”

Commenting on the reports of fainting, she told us that all she hadn't seen anybody pass out herself and had earlier seen someone handing out water which was then chaotically “thrown” into the crowd so everyone got some”.

We cannot do much about the British weather but it seems, in order to make festivals as secure as possible; we are compromising public safety to an extent. Of course, a couple of festivals are going to be afflicted with logistical and security issues. I think, in the case of BoomTown, there were some failings – which marred an, otherwise, great event. There are, as we know, so many other festivals occurring around the country that one can attend. It makes me wonder, when it comes to queuing and complaints, where the issue lies. Naturally, people want to come and see live music but are we being over-protective and under-resourced?

Describing the queue's movement as “snail-pace,” Keston said: “We're trying to stay optimistic but there are no stewards around telling anyone anything. We feel a bit like sheep - there are no barriers, we're all in a huddle.”

Commenting on the reports of fainting, she told us that all she hadn't seen anybody pass out herself and had earlier seen someone handing out water which was then chaotically “thrown” into the crowd so everyone got some”.

We cannot do much about the British weather but it seems, in order to make festivals as secure as possible; we are compromising public safety to an extent. Of course, a couple of festivals are going to be afflicted with logistical and security issues. I think, in the case of BoomTown, there were some failings – which marred an, otherwise, great event. There are, as we know, so many other festivals occurring around the country that one can attend. It makes me wonder, when it comes to queuing and complaints, where the issue lies. Naturally, people want to come and see live music but are we being over-protective and under-resourced?

IN THIS PHOTO: BoomTown festival (2016)

The threat of terrorism is real and ever-present but it seems like security has been stepped-up hugely in the past year. Maybe it is the increase in attendees that means festival staff are unable to cope with the huge numbers. We must protect everyone who attends a festival but I feel we are a bit too nervy and over-protective in the wake of recent attacks. One can never protect and safeguard every public gathering but there needs to be vigilance. I am not sure the exact details of BoomTown but let’s hope things have improved for the last day or two. Weather...we can do nothing about – it is one of those things that can affect a festival immeasurably. Rather the bemoan the grievances and problems; let’s acknowledge the great events happening around the country and the loyal music-lovers willing to risk rain and rancour.

IN THIS PHOTO: Eva Lazarus (who performed at last year's BoomTown)

Victorious Festival is one of the more-recent events that shows how passionate the young generation are (about them). That was set-up in 2012 by three friends – James Ralls, Ben Miles and Andy Marsh – and will go down from 25th to 27th of this month, in Southsea. There are some big names on the bill: it is recognised as one of the best family-friendly festivals in the country. V Festival is on 18th and is that hardy perennial (if that is the right gardening-related term?!) that brings in a, predominantly, younger crowd. Virgin V Festival 2017 and Creamfields are up soon and it means August is going to a hot one. After that, Reading and Leeds will bring in a very large and eager throng. Whatever your tastes and preferences: there is a festival that suits your tastes. With so many fears surrounding the dwindling of live venues around the nation; I wonder whether festivals are replacing smaller spaces – people able to afford a once-a-year jaunt rather than regular attendance. It is encouraging to see the number of festivals increase. People are getting out there and keen to soak up live music.

PHOTO CREDIT: Jenna Foxton

Those big festivals – Reading and Leeds; Glastonbury – pulls in more mainstream tastes; same can be said of Bestival and Victorious. Radio 1 has their Big Weekend and there are festivals representing the biggest radio stations in the country. Even though Secret Garden Party bade farewell this year: it is one of those boutique festivals that has had an enormous effect and inspired other organisers to change their ways and make a more varied and inspiring festival. I will not go into that side of things but am pleased there are so many smaller, unique festivals providing a worthy alternative to the mainstream. I wanted to update my feature regarding festivals – I wrote one a couple of months back – because, there and goods and bads to the rise of the festival scene. I can only imagine how hard it is for organisers making their lineups eclectic and original.

IN THIS PHOTO: V Festival

One looks at the festival posters and sees a lot of the same artists appearing. That is good for reasons – if you do not live near one festival, and want to see an artist, you can catch them elsewhere – and provided a steady yearly income. It also means, given the number of festivals, a lot of the best upcoming artists have a platform to perform on. The best thing about the festival explosion is the choice and health of our music economy. Genres and tastes are not being excluded: one can catch the best Dance, Metal and Alternative sounds without having to travel too far. The fact so many artists appear at many festivals does not necessarily put people off. Such is the richness and the sheer number of artists at each festival; the odd replication is inevitable. Many might look at lineups and say there is too much predictability and homogenisation. I will address that in the final part but, before then, the boom and fertility of new festivals. With every Secret Garden Party – and, because it is no more – there are two or three popping up.

IN THIS PHOTO: KT Tunstall (she plays Towersey Festival in Thame, on Friday, 25 August, 2017 (18:00)

The fact 'everyday Joes/Jos' can set up their own festivals means it is more achievable and ‘for the people’. There are those corporate festivals that continue to dominate but the emergence of promising new festivals means the balance might redress in the coming years. At any rate, it is positive for musicians having so many chances to perform – and the associated freedom, choice and availability for music-goers. Many might be dissuaded by the terrorist attacks and threats to our national security. That doesn’t seem to be the case this year: business is booming and people are unaffected (relatively) by those atrocities. One can go here to get a list of all the festivals happening in the coming months – the volume and variation is staggering! The fact more people are getting out there and desperate to get to festivals can only be a good thing. It means international artists – who might not have considering straying beyond big U.S. festivals in the past – are tempted here and it shows Britain’s music economy, this side of it, at least, is booming. The simple endorphin-rush and community aspect of festivals means the more we have (festivals); the greater the feel-good factor.

There are ‘bad’ factors that are more complex than one might imagine. One might ask how much money those big stars get. Does someone like Ed Sheeran or Foo Fighters make a bundle from their appearances at festivals like Glastonbury?! A recent article, explained:

“Radiohead, Katy Perry and Ed Sheeran are among those taking to the stage at this year’s event, but Eavis has said it won’t do much for their bank balances.

She told BBC 6 Music’s Matt Everitt that acts earn “less than 10%” of what they could make at other festivals.

"We're not in a situation where we're able to just give people enormous amounts of money," she explained.

"So we're really grateful for the bands that we get, because they're basically doing it for the love of it."

Founder Michael Eavis had, for context, previously revealed that £200,000 was once paid to Coldplay.

“Although it sounds a lot, they could have charged me far more,” he said at the time.

Oasis, for example, were believed to be paid upwards of £1m when they topped the bill at Reading and Leeds in 2000.

Oxfam, WaterAid and Greenpeace are among the charities who benefit from the money Glastonbury makes, rather than the musicians who take part”.

An earlier piece by The Telegraph shed more light on the complexities and rationale:

“Mintel’s senior leisure analyst, Michael Oliver, says this growth has been down to two key factors. Firstly, there has been an 8pc increase in the average ticket price for major festivals between 2013 and 2015. Secondly, and perhaps most crucially, is what he terms the “explosion” in the number of festivals since 2010.

As an example, the number of festivals listed on festival website eFestivals has jumped from 496 in 2007 to 1,070 last year. Steve Heap, chairman of the Event Industry Forum and general secretary of the Association of Festival Organisers, says the industry has been “swamped” with new festivals.

 “More and more of these events are cropping up, and more and more people are realising that, if they want to go to festivals, they can go to one relatively near to home,” he says. As well as the number, the nature of festivals has also changed dramatically, with greater focus on the “experience” of the event, rather than just headline acts. “More and more festivals don’t depend on the big act,” Heap says.

“They depend on putting on a great experience which has got a lot more to it than just the artist and the music.” So, if everything is going swimmingly, why are new festivals collapsing? Heap says, on the whole, there are always “a few” festivals that either close down, collapse or go bankrupt each year.

“Every time one closes down, two others start,” he says. Perhaps that is the problem. There is a concern that the market has become oversaturated and will plateau as a growing number of people try their hand at running a festival, seeing it as an easy ticket to riches.

That pot of gold very rarely materialises, though, and Heap says only a few of the smaller festivals are financially lucrative. “It is harder now than ever to make a profit,” he says. “Apart from the big boys, the festival scene is not making loads of profit. “The new ones coming up have a crack at it and think themselves very lucky if they just get by. Some of them, especially the ones who think they will make a quick buck, usually don’t and quite often just collapse.”

IN THIS PHOTO: Tiesto

One of the biggest hurdles to profit is the considerable cost of organisational factors such as the staging, lighting, speakers and lavatories, which can very easily – and very quickly – spiral out of control. The second major problem is artist fees. As is well documented, a decline in record sales has led musicians increasingly to view live performances as their primary source of income. Because of that, the artists are charging higher fees than ever before.

Without the musicians, it can be incredibly hard to sell tickets, but with the artists, the festival’s balance sheet can become strained. Neil Warnock, head of worldwide music at United Talent Agency, represents artists such as Glastonbury headliners Muse, Motörhead and Dolly Parton.

He says the fees paid to artists at festivals have become “far more attractive” in recent years. “We have almost gone back now, full circle, to artists earning their money on the road, like they did in the ’60s,” he said”.

IN THIS PHOTO: Foo Fighters (who, like the other headliners at Glastonbury, were not paid as much as one might imagine)

I guess there is an intent desire and passion in the festival stars. They are not in it for the loot and, within reasonable boundaries, are prepared to take a pay-cut. The warnings can’t be that bad but one imagines the payment for smaller acts is a lot more modest. I suppose, if one wants to put themselves on the map, they have to tour and get out there – often barely making a profit from a year of touring. Maybe that desire and push to get exposure is forcing many to, not only perform at as many festivals as possible, but be prepared to play for less money than usual. There are those security concerns but, I guess, in a time where terrorism is a very real threat; can we undermine and under-source security personnel? The recent fiascos at Boomtown and other festivals have been as much dictated by the weather as human error. It is inevitable there will be some mishaps but there are definite creases to be ironed-out. There have been fights and complaints, yes, but that was the results of a ‘perfect’ storm: the delays, heat and invariable stresses that built up. It is a rare exception but one we need to learn from. We can see, from the creation of new festivals and masses flocking to them, the British music scene – in this dimension and corner – is burgeoning and healthy. My hope is this proliferation and blossoming lets the government and decision-makers know – who affect the funding and survival of small venues – realise there is an enormous desire for…

 IN THIS PHOTO: Secret Garden Party (2015)

INCREDIBLE live music.

INTERVIEW: Mari

INTERVIEW: 

 Mari

________

THE stock of Italian-born, British-based artist Mari...

is rising considerably right now. She is, presently, working on her second album and has gathered fans from around the globe. I talk to her about her background and how, she feels, she has progressed as an artist. In a few weeks, she is in London performing as part of an ensemble group – a collection of musicians paying tribute to the great Jeff Buckley (and his only studio album, Grace). I ask about that night and what one might expect; collaborating with a long-time friend of Buckley, Gary Lucas, and how recording (for her new album) is going.

She discusses those artists instrumental forging her as an artist and how British music differs from that which she was raised on; advice to new artists coming through and how she came to discover music in the first place.

________

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

Hi, Sam.

I am very well, thanks! 

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

Hi, everyone.

I'm Mari Conti and I am a singer-songwriter – working, at the moment, on my second album (which I hope to share with you soon).

Are you working on new music at the moment? Are there ideas forming in the form of an E.P./single?

Yes, I do.

I am currently finishing my second album with producer and singer-songwriter, Mozez Wright - for Numen Records (record label). Mozez and I collaborated already in the past: we co- wrote my debut album, Gentle Beauty (Numen Records).

For this next album, we are thinking to go out first with an E.P., and then, to release the album - but we don't know as yet...

Blue Is My Favourite Colour was (the single) released last year and got a huge reaction. Were you surprised by the big reaction that got? What was it like working with Mozez on that track?

To be honest with you; I was a bit surprised mostly, because, I think that the meaning - and the lyrics - of the track are quite strong. Most of the times an emergent artist, like myself, should go out, maybe, with songs a little bit more 'Pop'. 

But, me and Mozez believe in the power of messages through the music – and, in this respect, we need to follow our desires. I’ll take this opportunity to thank the Italian songwriter Vincenzo Incenzo - with whom we co -wrote the track. He is amazing (check him out!).

Working with Mozez has been a great experience for my artistic growth. I was one of his huge fans (at the time, he was the frontman for the band, Zero 7) and still, I am! I consider myself very lucky for having met him - and for being produced by him for the second time.

Can you tell me how you got into music and the kind of songs you were playing in those early days?

I have always been immersed in music.

Since I was a teenager, I started to sing in several bands across Italy and  Europe. I have studied a bit of piano and vocals for a long time. 

I have always been curious in (knowing) different kinds of music. Initially, I used to sing other artists songs: putting together many different cover bands. It's been ten years-or-so that I have been writing my own tracks.

I came across to the Trip-Hop and Chillout music - discovering bands like Zero 7, Air; Goldfrapp, Massive Attack; Portishead... I literally fell in love with that sort of dreamy, spooky music and sound. 

Did you grow up in a musical family? Who were the artists your parents were playing around the house?

My parents are not musicians but they love music.

When I was a little girl, my dad and mum used to play '1960s and '70s records on their jukebox; listening to all kind of artists and music (Rock, Blues; Soul...Marvin Gaye, Nina Simone; Ben E. King, The Beatles - just to name a few).

I used to listen to some Italian music as well - especially Lucio Battisti (I love him!) and Mina. 

You were born in Italy but live in London. How does the music scene differ here and what compelled you to relocate?

When I decided to move in London, I originally had an invitation from Mozez to spend some time there; trying to write an album together. I (just) accepted straight away because I thought Mozez was the perfect person to understand my inner musical universe.

I also thought I would have had more chances in England rather than in Italy - for my music to be heard from a wider crowd. That's because I think the nature of my sound is still a bit far from what the Italian musical approach is.

But, my dream is, of course, to be appreciated a little bit, everywhere!

Tell me about your involvement with the Grace/Jeff Buckley tribute that will take place on 9th September? What is the night/event all about?

I’ve known Gary (since) more than ten years.

We had other occasions in the past to perform together, and every time, it is such a powerful experience for me!

The event is a tribute to Jeff Buckley and his incredible voice and talent. For this appointment, I have been invited by Gary Lucas to perform with him at Upstairs at the Ritzy in Brixton, London (on 9th September, 2017).

We will perform some of Lucas and Buckley’s songs that they wrote together during their collaboration (between 1991 and 1992). Some of the songs we will play are actually contained in Jeff Buckley album, Songs to No One (released in 2002). 

I am honoured to give my tribute to Jeff Buckley and I am glad sharing the stage with a friend and incredible artist such as Gary Lucas. There will be also other artists and band playing on that night. I am sure it will be a great night! 

IN THIS PHOTO: Jeff Buckley

You have collaborated with Gary Lucas – who wrote and performed with Buckley. What is he like and how involved has he been involved in the organisation of the tribute event? 

Gary is a sensitive and good-hearted person; an amazing musician and composer – and, also, very generous. He gave me the chance to write together (with him) a song dedicated to Jeff Buckley - which was meant to be given to him before he left this world. It is an unreleased song that I wrote the lyrics and the melody for - and Gary Lucas composed the music. 

I wish, one day, it could be heard out there. I am not aware of how involved Gary is in the creation of this particular event. However, Gary has been - and he is - a supporter of Jeff's music for years - being (also) a collaborator of his.

You share the bill, that night, with several other performers. Do you know what you’ll be playing and what the other acts are going to sing?

We are gonna play some songs that Gary and Jeff wrote together but I don't know what the other artists are going to sing and perform.

How did you come to hear/discover Buckley’s work? Have you always been a fan of his? What does his music mean to you?

Some time ago, a dear friend of mine, Francesca, suggested I listen to the album, Grace. At that time, the debut album of Jeff Buckley had just been released. 

I never heard his music until that moment but I trusted her (she always had a great musical taste! Thank you forever, Francesca).

I remember, one day, I decided to listen to Grace for the first time. In that moment, I think I had one of the most mystical experiences ever of my life. It was a sort of blast. I remember at a point tears came out from my eyes - and I just couldn't stop them. I think that's when I couldn't be able to stop listening to his music.

I started to search everywhere for his C.D.s, bootlegs; D.V.D.s, books…Jeff's voice is such a blessing to me.

Are there any tour dates later in the year? Where can we see you perform?

I am currently working on my next album and I am a bit busy with different projects at the moment. I think I will start again to perform, hopefully, over the next few months - in winter, maybe.

Who are new acts you recommend we check out?

There are two artists, Mico and Michael Arkk, who are coming out with some good and new music. They are currently working with Mozez (as well) for Numen Records record label.

I have heard already some of their unreleased music - and I think they are very interesting artists to check out.

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

Ok…

It’s a bit difficult to reduce to three albums (my favourite ones) but I'll try.

I would say Grace (Jeff Buckley); Wings (Mozez) and Felt Mountain (Goldfrapp).

What advice would you give to artists coming through right now? 

I would suggest one be courageous in discovering as much music as possible - of all kinds. I believe that is fundamental for an artist to be passionate about other artists' music. 

It is important and it helps to discover your own musical vision and sound.

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).

Ok...just the first one (it came across) to my mind right now…

All I Need by Air! 

__________

Follow Mari

 Official:

http://www.mariofficial.com/

Facebook:

https://www.facebook.com/MariMusic/

Twitter:

https://twitter.com/Mari_Official

YouTube:

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

INTERVIEW: Moxi

INTERVIEW:

 Moxi

________

OVER in Los Angeles; the Indie/Dream-Pop duo Moxi…

are creating love and buzz from their music. Anna and Andy Toy provide ethereal vocals and moody keys (respectively) and source from a range of sounds and genres – including cinematic grandeur, the 1980s’ New Wave movement and dark threads. It is that darkness and sense of reflection that is brought up in the interview. I ask the duo – Anna fields most of the responses – how they got together and what they can tell me about their new single, Paclew. I find out about their E.P., Figures Bathed in Light, and why they chose to write the songs in a cabin out in Big Bear.

They explain some of the inspiration and tales that go into the E.P.; where they will be performing in the coming weeks and whether there’s any advice they would give to newcomer songwriters.

________

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

We are great!

Our week has been really fun because we released our new single, Paclew, last week - and we've continued to get so much love on it.

It's really exciting. 

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

We are Anna and Andy Toy of Moxi. 

Moxi is a Dream-Pop duo from Los Angeles. We write dreamy music about all sorts of weird things. 

We love our cat-child Lewis the most and spend our free time drinking wine, cooking at home; watching horror movies and listening to True Crime podcasts.  

Paclew is the new single. How did the song come together and what is the idea behind it?  

Andy writes all the tracks for Moxi and he had written this track and titled it Paclew (after our cat) - sort of as a place-holder name but we never changed it. While the song was partially inspired by the love for our cat, Mr. Lewis; I (Anna) wrote the lyrics about the depressed dark and twisty state my mind loves to go to way too often. 

The song is about overcoming that and rising above it.

It is taken from the upcoming E.P., Figures Bathed in Light. What kind of themes and songs can we expect from the E.P.?  

This E.P. is, probably, our most cohesively-themed E.P. yet. 

We wrote all of the songs on a writing retreat we took in Big Bear, CA last year. We rented a cabin in the middle of nowhere for a few days: holed ourselves up in it with a ton of wine and wrote what is now the Figures Bathed in Light E.P. 

We wanted to explore themes of light vs. dark; good and evil, spirituality; the supernatural. All of this probably sounds kind of out-there - but we've both always been fascinated by things we can't explain. 

A lot of the songs on the E.P. are also written about personal life events - navigating our way through the ups and downs of life. 

Am I right in thinking the title track stemmed from a near-fatal car crash? How did a life-threatening situation like that lead to a moment of musical brilliance?  

Yes, you are right!

We were involved in a terrible car crash a few years ago in which we both walked away with only a few scratches. It was a terrifying experience and we both felt like we survived for a reason.

Anna: I remember getting home that night and crying myself to sleep because I just felt like we had been so close to death - and I didn't really know how to process it. I always process my feelings by writing music - so we went pretty full force into creating as much art as we could after that. We wrote and recorded the demo. for Figures Bathed in Light a few weeks later.  

Andy: We both felt like we were so close to death and that nearness became a catalyst for creativity for me. I wanted to try to recreate that emotion through music.

It was produced by Emmy Award-winning songwriter Bobby Hartry; Bryan Cook mixed. What was it like working with those kinds of people? Did they add a lot to the recording process? 

We absolutely LOVE working with both of these talented guys. They both play such a big part in Moxi. 

Anna: We met Bryan at a backyard house show we played five-or-so years ago. I remember talking to him after the show and I knew instantly we were kindred spirits. He's a true artist in the way he approaches mixing and I love the way he thinks outside the box. It's so fun to give him a song and see the way he transforms it through the mix.  

Andy: Bobby is a creative genius and we love working with him. He remains our connection with reality when we get inside our heads too much. I remember sending him five versions of the same song one afternoon - because I couldn't decide what direction to take the song in. Haha!  

Is it true a lot of the E.P. came together in a desolate, remote cabin in Big Bear? What was the reason behind going up there? Was it easy to disconnect from real life, in a sense, and isolate yourselves?  

Yes, this is all true. 

Almost all the songs on the E.P. were written on this weekend getaway to Big Bear. We'd been feeling creative but wanted a change of scenery and pace to get us into the right headspace for writing. We had so much fun. We rented the cutest cabin, brought a ton of wine; cooked veggie lasagna and didn't leave the house for three days. We wrote all day and would stay up late drinking Chartreuse and working out lyrics. 

For us, writing is the fun part and it comes pretty naturally.  It's how we process things so holing up in a cabin for three days to write music was a little slice of Heaven to us.

What did you pick up from that environment that you wouldn’t if you were based in a city?  

Well, for one, we didn't have any of the normal distractions we would have had if we were home in the city. I also love cold weather, snow and forests. I (Anna) grew up in Colorado - which L.A. is nothing like - so getting away and being somewhere cold always refreshes and inspires me. 

We also took this trip knowing we wanted to write several songs - so just having focus and zero distractions really goes a long way.  

Anna and Andy. Can you tell me how you both got together and started playing music? Was it an instant and easy bond? 

Anna: I used to write and play Folk music as a solo artist. Andy was hired to play on one of my E.P.s so we met in the studio. I was going through the world’s worst breakup at the time and he always jokes that when he met me he was like: "Who is that depressed girl in the corner?” 

He started playing live with me and we became fast friends. We started recording covers at his house on the weekend for fun and everything always felt so easy and right together, creatively. I got a call to write a song for a housing development commercial and called Andy to see if he'd want to help me...

He sent over a track that afternoon and I scribbled lyrics on my drive to his house and, about three hours later, we had written the song, In my Dreams - which would later become the title-track to Moxi's first E.P. 

After we wrote our first song together, we knew we had something special. Moxi is very much an equal effort on both of our parts - and I don't think either of us would have made music like this if we hadn't found each other. 

So, I guess we were destined.

So far, you have had music played on T.V. and shared the stage with big names; earned an impressive amount of streaming figures on Spotify. Is there a memory that stands out for each of you? 

Honestly; all of it has been so fun and there’s so many things that stand out for me. Some favorites would be opening for Gungor at the El Rey. That venue is just magical and the sound is insane in there. I think most of my favorite memories, thus far, have happened this last year with this project. We just filmed our first full-fledged ‘big kid’ music video and I'm so excited about it. 

We got to create and film it with two of our best friends - who just happen to be two of the most-talented video guys out there. I've been given so much creative freedom with this project and it's been so fun this year to dream up crazy ideas in my head - and then see them come to life.  

Do you have any tour dates approaching? Where can we come and see you play? 

YES!

We have several local shows: August 19th - Echo Park Rising, Echo Park CA; September 8th - Holiday in Costa Mesa, CA; September 28th - The Wayfarer in Costa Mesa, CA. 

MORE SHOWS COMING! 

Any plans regards coming to the U.K.? 

Oh, we would absolutely LOVE to come to the U.K. Someone reading this should bring us or invite us! Haha.

IN THIS PHOTO: Maggie Rogers

 Who are new acts you recommend we check out?  

Maggie Rogers is my new girl-crush. 

I also love Sofi Tukker. They are (just) such positive lights.

IN THIS PHOTO: Sofi Tukker/PHOTO CREDIT : @luismoraphoto

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

Anna: Ryan Adams - Demolition

I've listened to that record more than any album, probably, and it's one of those records that can speak to you in so many different ways. I think Ryan Adams is an absolute genius.  

What advice would you give to artists coming through right now?

Always be willing to learn and to put the hard work in. 

We've learned so much since we first started and now, more than ever, I understand that keeping an open mind and being willing to learn and try new things is so key. 

Don't be afraid to take the long-road because there’s so much to be learned from that. I'd also let young female artists know that we are all on our own journey and don't compare yourself to other people - because it's not going to do anything to help push you forward. 

Creating art is a daring and brave thing to do - so we have to stick together and encourage one another on our own individual paths.  

________

Follow Moxi

Official:

http://moxilovesyou.com/

Facebook:

https://www.facebook.com/moxilovesyou/

Instagram:

https://www.instagram.com/moxilovesyou/

Twitter:

https://twitter.com/moxilovesyou

YouTube:

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

SoundCloud:

https://soundcloud.com/moxilovesyou

FEATURE: Glen Campbell: Heavy on Our Minds

FEATURE:

 

Glen Campbell: 

 Heavy on Our Minds

________

I could not pass by the sad news that many woke up to today.

Every time a musician dies it is a tragic event but there is something extra-sad and profound when it comes to the loss of Glen Campbell. I shall split this (short) feature into a biography-Wikipedia-heavy bit and some personal input – before offering a playlist of Campbell’s best-loved songs. Listening to the radio today; one gets a real sense of the impact and effect Glen Campbell has had on the world of music. Let’s interject the Wikipedia, distilled biography of Campbell, first:

“Glen Travis Campbell (April 22, 1936 – August 8, 2017) was an American singer, songwriter, musician, television host, and actor. He is best known for a series of hits in the 1960s and 1970s, and for hosting a music and comedy variety show called The Glen Campbell Goodtime Hour on CBS television, from January 1969 through June 1972.[2]

During his 50 years in show business, Campbell released more than 70 albums. He sold 45 million records and accumulated 12 RIAA gold albums, four platinum albums, and one double-platinum album. He placed a total of 80 different songs on either the Billboard Country Chart, Billboard Hot 100, or Adult Contemporary Chart, of which 29 made the top 10 and of which nine reached number one on at least one of those charts. Campbell's hits include his recordings of John Hartford's "Gentle on My Mind"; Jimmy Webb's "By the Time I Get to Phoenix", "Wichita Lineman", and "Galveston"; Larry Weiss's "Rhinestone Cowboy"; and Allen Toussaint's "Southern Nights".

Campbell made history in 1967 by winning four Grammys in the country and pop categories. For "Gentle on My Mind", he received two awards incountry and western, "By the Time I Get to Phoenix" did the same in pop. Three of his early hits later won Grammy Hall of Fame Awards (2000, 2004, 2008), while Campbell himself won the Grammy Lifetime Achievement Award in 2012. He owns trophies for Male Vocalist of the Year from both the Country Music Association (CMA) and the Academy of Country Music (ACM), and took the CMA's top award as 1968 Entertainer of the Year. Campbell appeared as a supporting role in the film True Grit (1969), which earned him a Golden Globe nomination for Most Promising Newcomer. Campbell also sang the title song, which was nominated for an Academy Award”.

For a true reflection of Glen Campbell’s legacy; one must go back to the start and where it all began. Campbell moved to Los Angeles in 1960 – the hope was to ply his trade as a session musician. That seems extraordinary considering the legacy and impact he would make on music but, like many musicians, that was the way their career began. I hear tales when it comes to the work-rate and determination of Campbell. The number of sessions he would be involved with of a year would blow the mind – a voracious, passionate and curious musician keen to lay down his immense guitar-playing skills to some of the day’s best artists. Whilst working for a publishing company, American Music (1961), he started what was to become the world-famous Wrecking Crew collective – Campbell would work with everyone from Dean Martin, Nat King Cole; Elvis Presley, Frank Sinatra and the Monkees.

Crest Records, seeing the talent and breadth of Campbell, signed him up: he would release Turn Around, Look at Me soon after – it was a minor success and didn’t make much of a chart impact. That said, many contemporaries realised how special and unique Campbell was. In a day where many Rock and mainstream artists were unable to play the guitar – let alone across so many genres – here was a singular talent who could put them all to shame. That skill and incredible talent meant, by 1962, Campbell was signed to Capitol Records. Television appearances followed and, before you know it, people were reacting and falling for the charming Campbell – who started to tour with Beach Boys when Brian Wilson was going through personal troubles. There was a lot of experimentation but, by 1965, things were really starting to come together.

It was the 1965 hit, Universal Soldier (a cover of Buffy Sainte-Marie’s track), that gained him that shot of positive reaction – singling him out to many critics and big-wigs. Even if Campbell was quite outspoken regarding his views of drafting soldiers and pacifism – those who advocated burning draft cards, he felt, should be punished – it was a time that, to many, should have signalled success and future achievement. It was a rough period where follow-up singles were not performing as well as one had hoped. 1967 was a year where Campbell gained success with Gentle on My Mind (written by John Hartford) and By the Time I Get to Phoenix. It was 1968 that brought us Wichita Lineman and, winning four Grammy Awards – for the performances of Gentle on My Mind and By the Time I Get to Phoenix – it was the recognition and acclaim Campbell had been striving for.

That late-1960s period was a fruitful time. Most of his better-known songs were written by Jimmy Webb – he wrote Wichita Lineman and Galveston (among others). The success and impressive productivity continued into the 1970s. Having accrued a host of session-work names; his T.V. show, The Glen Campbell Goodtime Hour, put major names together. Neil Diamond, Johnny Cash and Bread were among the huge artists who Campbell introduced in the studio. That show ran until 1972 but the T.V./film exposure did not end there. A made-for-television movie, Strange Homecoming (1974) - and a series of hosting gigs - kept the American legend in the public consciousness. The mid-1970s was the second really productive and successful period when songs such as Rhinestone Cowboy and Southern Nights were released. The former became Campbell’s biggest-selling song and a track that many associate with Campbell and his legacy.

That is a biography and a brief snapshot of a legend whose incredible musical talents and voice captivated the world. An Alzheimer’s diagnosis in 2011 could have deterred the ailing Campbell but he was still prolific and active right up until his death. His final album, Adiós, was released in June - and gained a warm and positive critical reception. It is sad to hear of Campbell’s passing but one should be thankful a unique and astonishing musician made his impact on the world. One need only hear a vocal performance like Wichita Lineman to realise the effect and inspiration he has had on modern artists. Whether consciously or not; so many young musicians – not only Country stars – have taken from Campbell’s music.

Whether an epic and attiring vocal or that wide-ranging and astonishing guitar-playing. Many associate Campbell with Country but the journeyman musician grew from meagre beginnings to become one of the world’s biggest names – performing alongside immense artists and playing in so many different styles. He was a performer who could adapt his voice and play any genre and song. His biggest hits are those Country anthems but one need only look through Campbell’s immense array of studio/live albums to know it is impossible to pin him down. The fact he reached eighty-one is a great innings but one would have liked Campbell to remain with us a lot longer. I have been listening to a lot of interviews he conducted and every time, he came across as compelling, rooted and entertaining. The anecdotes, explanations and insights gave you a real taste of the man. Such a warm and kind soul and, whether you agree with some of his politics and views, what shone through was the phenomenal, enduring music – that which continue to inspire musicians for decades to come. It is a sad day for reflection but, also, for celebration: a brilliant artist who made such an impact through his long and legendary career. As we remember Glen Campbell – and his classic hits – we can be safe in the knowledge there will never be anyone…

IN THIS PHOTO: Campbell with his wife, Kim Woollen

LIKE him again.

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INTERVIEW: Camden Cox

INTERVIEW: 

 Camden Cox

________

ONE looks at Camden Cox in the video for her new single, Gold, and is…

instantly mesmerised and invested. It is a video that certainly catches the imagination and gets into the mind. I talk to her about that and the origin of the song. She tells me more about future plans and the kind of artists/albums that have forged and inspired her own music. There are strong Dance and Electro. vibes with the song – and a sprinkling of Pop – so I was keen to know how the song came together and what it is was like working on the track with Jaded and Mark Ralph.

Looking ahead to the coming months; Camden Cox explains where her music might take her; she provides some wise advice to upcoming artists and reveals a few of the artists she recommends we check out.

________

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

Hey! Great, thank you.

It's been a crazy week: knackered after being in the studio writing every day and promoting the new single - but ready to celebrate the release!

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

So. I'm Camden (real name: after Camden Palace - which is now the legendary Koko) and I'm a singer/songwriter who loves Dance music and heavy bass!

I grew up on Club music and Drum ‘n’ Bass - so I've always wanted to create something that people can party to. 

Gold is your latest track. What can you reveal about its origins and inspirations?

Gold means anything that is taken from you - be it money, sex; freedom, favours; trust, etc.

I was inspired by experience! 

Jaded and Mark Ralph helped bring the song to life. What role did they play and how instrumental were they?

I wrote Gold with Jaded in the studio one day.

I was jamming some melodies while the boys were in between the piano and the computer cooking up a storm. I wanted to express a situation I was in at the time, into lyrics, keeping it as indirect as possible!

We were all so happy with the demo: it was gritty and so old-school; about six-minutes-long! Then, we passed it over to Mark who got me into his studio to re-record the vocals with his sparkly equipment - where he then cut it down to a sensible length and took it to the next level!

In terms of sound; Gold has a real modern Dance vibe but has a gorgeous and romantic undertone. How personal is the song and were you inspired by any particular songs/artists when writing it?

The song is extremely personal.

it sounds like a happy party-banger, but, when you listen to the lyrics carefully, you'll find that there's real and relatable meaning behind them.

“Now I'm standing here alone/now you've got the gold” expresses the stupidity you feel once you realise you've let something go - and you should have been more careful!

In terms of sound: I was inspired by Touch Me (Rui da Silva) and Robin S. - Show Me Love.

 

The video looked like it was fun to shoot. Who directed it and what was it like filming?

It was so much fun!

I came up with the initial concept. I then presented that to Daniel Spencer (Turn and Shoot Photography) who added (even more) ideas: simplified it and took my vision into reality. We directed and edited it together - but he was the genius behind the final product.

It was a messy shoot; as you can imagine. We spent hours cleaning up glitter and gold paint but it was all worth it!

Will there be any more songs coming? An E.P., perhaps?

I'll definitely be releasing another single soon - probably in a couple of months’ time...

Can you tell me how you got into music? How young were you when you first discovered it?

I was always running around the house singing from such a young age - and I still have pretend-interviews that my dad filmed for me to make me feel like a Popstar!

He was in a band and my mum was a club promoter - so I was inspired by both of them for their love of music. As I got older, I started to get my head down and write lyrics (which were initially poems)!

Then, I used to sing them over anything I could get my hands on!

I guess everyone remembers the first song they discovered. Which was the track that first got into your mind?

I will always remember this song because I was obsessed with it before I even knew what music was: Orinoco Flow (Sail Away) by Enya!

I have no idea why I liked it so much but I now have the lyrics tattooed on my arm! 

Your own music has a contemporary vibe but I wonder who are the artists you grew up listening to?

I grew up listening to a variety of genres: from the likes of The Prodigy, Sweet Female Attitude; Pendulum, Faithless…to the opposite end of the spectrum: Britney Spears and The Spice Girls  - which is where I get my poppy tone from! 

The modern Pop market is competitive and varied. Do you ever worry about the demands and pressures in the industry? How do you think you stand out from your peers?

We're all going for the same thing but that's where the comparison ends. Anybody who works hard enough will get where they need to be. 

I've been making Dance music right from the get-go and it's only in the last couple of years it's become popular - but I just keep doing my thing and believing in myself.

IN THIS PHOTO: @cameronlouiswarren and @laurenmilesyh (with Camden Cox)

Everybody has something unique: so I just need to remember that I do too. 

Do you have any tour dates approaching? Where can we come and see you play?

I do!

I'm doing a quick set at Fire on August 18th - for the L.G.B.T. crowd! It's a club-night so I'll definitely be performing Gold and a couple of others!

I, then, have a headline show coming up - which I'll be announcing VERY SOON!

IN THIS PHOTO: Disciples

Who are new acts you recommend we check out?

My favourite act on the market right now has got to be Disciples. Their music is classy and has a quality Dance vibe.

Also, my boys Jaded are killing it right now with their latest tune, In the Morning. 

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

It would have to be Massive Attack - Collected

Because it's (just) the best ever.

Alex Clare - The Lateness of the Hour

Because I was super-inspired by him - and I referenced him a lot when I was trying to pin-down producers to work with.

Robyn - Robyn

Because I rinsed this album like you'll never know! I love her.

What advice would you give to artists coming through right now?

Believe in YOU and your vision.

Get a good team together who are passionate - and don't wait around for people to do things for you.

Only you can make this happen. 

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

Opal Blue - Taking My Love Away (TUNE)

________

Follow Camden Cox

Facebook:

https://www.facebook.com/camdencoxmusic/

Instagram:

https://www.instagram.com/camdencoxmusic/

Twitter:

https://twitter.com/camdencoxmusic

YouTube:

https://www.youtube.com/channel/UCOJoMe6LGwQedfZJ1aQYN6Q

SoundCloud:

https://soundcloud.com/camdencoxmusic

FEATURE: #NoFilter: The Music Photographers Shooting High

FEATURE:

 

#NoFilter:

 PHOTO CREDIT: Annie Leibovitz/IN THIS PHOTO: Keith Richards

 The Music Photographers Shooting High

________

MY previous feature concerned music labels and those that are…

PHOTO CREDIT: Sacha Lecca

supporting and promoting the best talent around the world. I collated the finest labels and why, in my opinion, they were worth a serious look. I will, at some stage, concentrate on producers and an area of music that is relatively undersubscribed. We get into the mindset that all the glamour and excitement comes with a career as a musician. Many overlook the importance of those behind microphones and mixing desks – and those who photograph and film concerts/musicians. I know many music photographers and all have their own reasons for taking it up. It is the excitement of capturing that single moment. Defining a gig or encapsulating a particular look can stay in the memory for years. I included a famous photo (up-top) by Annie Leibovitz as she, in many people’s views, she is the finest music photographer who has ever lived. She has snapped iconic images of everyone from Iggy Pop, Paul McCartney and The White Stripes – photographing Hollywood stars like Angelina Jolie and Jennifer Lawrence.

PHOTO CREDIT: Christie Goodwin/IN THIS PHOTO: Katy Perry

There is a great article that provides a realistic and encouraging narrative of how to become a photographer – and the costs and realities involved. It does not take a lot of money to get started but, once that passion and ambition grows; the equipment needed to get those top-quality shots will climb. I can understand the desire photographers have and why they hanker to shoot that ‘perfect’ image. In a lot of ways; images of gigs/musicians can be more iconic and enduring than the music itself. A fantastic self-portrait or composition catches the eye and gets in the mind: a wonderful mid-gig photo is that visual documentation of a unique moment. The genuinely inventive and quality photographer are harder to get hold of than you’d imagine. I review so many great artists but they are let down by a surfeit of good-quality images. Hiring a photographer can be expensive but, if you get a selection of great shots on your social media, that makes a more attractive and appealing proposition.

IN THIS PHOTO: Ashley Osborn

Ashley Osborn, who features in this rundown, explained why she took up photography and the highlights she has discovered:

“I was shooting at least three shows a week in Chicago, editing each monthly issue, and working full-time at Starbucks. It was so much work but it was worth it. Things started to take off. I met a musician named Craig Owens in 2012 and I started shooting his band, Chiodos. Early in 2013, my friend and musician GOLDHOUSE asked me to join him for a weekend tour to take photos and document it. Then Chiodos asked if I could come out on Warped Tour that summer for a few days. My manager at Starbucks rearranged the books so I could take time off, still keep my job, and get paid. I don't know if that was [kosher], but I really appreciated it. In the fall of 2013, I went on my first tour with PVRIS. I was friends with Lynn Gunn, the band's vocalist/guitarist, and I'm pretty sure I cried when she asked me to come on tour. It was just them and me, and we were kind of winging it. I took photos of the tour, burned merch CDs on my laptop, and sold them at the shows. It was probably the hardest and most exciting month of my entire life, but it really solidified that I wanted to do this”.

To celebrate the pioneering and hard-working photographers; a list of the finest music snapper from around the world – with one of their typical shots, Instagram (and official/social media) page – and where one might find them snapping away…

_________

Rukes 

IN THIS PHOTO: Ellie Goulding

Location: Worldwide

Official: http://www.rukes.com/

Instagram: https://www.instagram.com/rukes/?hl=en

Jonathan Mannion

IN THIS PHOTO: Drake

Location: New York, U.S.A.

Official: https://www.jonathanmannion.com/

Instagram: https://www.instagram.com/jonathanmannion/?hl=en

Ashley Osborn

IN THIS PHOTO: Of Mice & Men

Location: Chicago, U.S.A.

Official: http://www.ashleyosbornphotography.com/

Instagram: https://www.instagram.com/ashleyosborn/?hl=en

Brook Bobbins

 IN THIS PHOTO: Frank Ocean

Location: New York, U.S.A.

Official: https://www.flickr.com/photos/crookrobbins/

Instagram: https://www.instagram.com/crookrobbins/?hl=en

Sacha Lecca

 IN THIS PHOTO: Mac DeMarco

Location: New York, U.S.A.

Tumblr: http://sachalecca.tumblr.com/

Instagram: https://www.instagram.com/sachalecca/?hl=en

Nabil

 IN THIS PHOTO: Kendrick Lamar

Location: Los Angeles, U.S.A.

Official: http://nabil.com/

Instagram: https://www.instagram.com/nabildo/?hl=en

Shay Rowan

Location: Manchester, U.K.

Flickr: https://www.flickr.com/photos/25880052@N08/

Twitter: https://twitter.com/shayster57

Christine Goodwin

 IN THIS PHOTO: Taylor Swift

Location: London, U.K.

Official: https://www.christiegoodwin.com/

Instagram: https://www.instagram.com/christiegoodwin/

Elie/'Visionelie'

IN THIS PHOTO: The Weeknd

Location: Toronto, Canada

Twitter: https://twitter.com/visionelie?lang=en

Instagram: https://www.instagram.com/elie/

Hannah Sider

 IN THIS PHOTO: Kitty Cash

Location: New York, U.S.A.

Official: http://hannahsider.com/

Instagram: https://www.instagram.com/hannahsider/?hl=en

Perri Cassie

IN THIS PHOTO: Kate Nash

Location: Melbourne, Australia

Official: http://ibravedtreacherousstreets.tumblr.com/

Flickr: https://www.flickr.com/photos/evil-twin/

Lindsey Best

 IN THIS PHOTO: Paramore

Location: Los Angles, U.S.A.

Official: http://www.lindseybest.com/

Instagram: https://www.instagram.com/lindzbest/

Thomas Falcone

 IN THIS PHOTO: All Time Low

Location: U.S.A.

Official: http://www.thomasfalcone.com/

Instagram: https://www.instagram.com/thomasfalcone/?hl=en

The Manc Photographer

 Location: Manchester, U.K.

Official: http://www.themancphotographer.co.uk/

Instagram: https://www.instagram.com/matteachus/

Thomas Brooker

 IN THIS PHOTO: Brutus (captured at Green Door Store)

Location: Brighton, U.K.

Official: http://tlbrooker.com/

Instagram: https://www.instagram.com/thomaslislebrooker/?hl=en

Lizzy Davis

 IN THIS PHOTO: Carla Coates of Butcher Babes

Location: Florida, U.S.A.

Official: https://lizzydavisphotography.com/

Instagram: https://www.instagram.com/llzzies/

Pat McGuire

IN THIS PHOTO: Jamie Reilly from The Blue Lenas

Location: Glasgow, U.K.

Facebook: https://www.facebook.com/pmg.photog/

Ami Barwell 

Location: U.K.

Official: http://www.musicphotographer.co.uk/

Instagram: https://www.instagram.com/amibarwell/

Ryan Johnston

IN THIS PHOTO: You Me at Six

Location: Glasgow, U.K.

Official: https://www.ryanjohnston.co/

Instagram: https://www.instagram.com/ryanjohnstonco/

Dean Chalkley

 IN THIS PHOTO: Rag 'n' Bone Man

Location: London, U.K.

Official: http://www.deanchalkley.com/                 

Instagram: https://www.instagram.com/deanchalkley_/

Trust a Fox

 Location: Manchester, U.K.

Official: https://www.trustafoxphotography.com/

Twitter: https://twitter.com/TrustFox

Casey McPerry

 IN THIS PHOTO: Machine Gun Kelly

Location: Worldwide

Official: http://caseymcperry.com/

Instagram: https://www.instagram.com/caseymcperry/?hl=en

Alexandra Gavillet

 IN THIS PHOTO: The Range

Location: Chicago, U.S.A.

Official: http://www.alexandragavillet.com/

Instagram: https://www.instagram.com/alexandra_gavillet/

 Brett Schewitz

 IN THIS PHOTO: Nic Cester from Jet

Location: Melbourne, Australia

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

Instagram: https://instagram.com/http://www.instagram.com/schweppsrocka

INTERVIEW: Emma Conybeare

INTERVIEW: 

 Emma Conybeare

________

THE last time (I think) I interviewed a D.J…

was when speaking with Carly Wilford last year. It is exciting to learn more about Emma Conybeare because she is a bit of a triple-threat talent. She is a prolific, respected and innovative D.J. who has worked for Hoxton Radio.

She is with Capital XTRA and is one of the most exciting talents in London at the moment. Conybeare is a sport’s brand model so I ask her about her work – including her campaigns with Puma. In addition, she is a keen collaborator and eager to promote and back fellow D.J.s and artists.

I ask the London-based D.J. about her radio and presenting work; what she has planned for the future; the new artists she recommends we take a look at – and how she transitioned from life in sleepy Tring (Hertfordshire): emerging like an ambitious butterfly into the buzz and light of London…

________

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

Hectic…super-hectic!

Juggling D.J. sets with live radio presenting and hosting a BT cycle event…. I wish there were more hours in the day (just so I could sleep)

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

Hello.

I’m a British T.V. presenter and Radio presenter (for Capital XTRA) – doing early-morning breakfast - D.J., model...

Recently, you worked at a MADE Festival and got to interview a range of artists. What was your highlight from the Festival?

I come from a small town in Hertfordshire (Tring) and, growing up, I was into my Drum and Bass music. At this festival, I got to interview all the D.Js. I was growing up with.

So, I had some of those star-struck moments when I got to speak to Chase & Status, Subfocus; Camo & Krooked.

Can you tell me when music first came into your life? What kind of artists did you grow up listening to?

Growing up in Tring: we didn’t really go out clubbing.i

It was a rare occasion because we were pretty far away from clubs; so, we ended up having house parties every weekend. This meant everybody was a D.J. (I mean…everybody).

The sort of music people played was Jungle and Drum and Bass. I was heavy into this until I went to university. It felt weird.

Quite literally, overnight, I was converted into a House and Deep-House Queen.

After you completed your Mathematics and Statics degree at Portsmouth University; you came to London to follow your passions. How important was the move to London and what compelled you to go from academia to something quite distinct from what you were studying?

I knew that I wasn’t going to get anywhere in Tring: It was too far away from things and, let’s face it…it was the place you go to retire. I’m a confident girl and I knew I had to knock on a few doors. I felt Tring was restricting.

London is a small city in a big place: you ended up bumping into people all the time and it is all about meeting the right people.

Many might recognise you from Capital XTRA. How did you become involved with the station and what drew you to being a D.J. in the first place?

I was working on Hoxton Radio for two years and I got head-hunted by Capital XTRA. Music is in my blood: I love creating new sounds; pleasing people with my music selection – plus, the adrenaline-buzz that you get from each set that you produce can make you happy for days.

My favourite albums of this year are from Lana Del Rey, Dizzee Rascal and Sampha. Which discs have been setting your world on fire in 2017?

Ok. So, I know this is a little weird - because I love my House music, Techno etc. - but the albums I am in love with at the moment would have to be Post Malone (Stoney), Jay-Z’s 4:44 - and I’m a massive fan of Joe Goddard (Electric Line).

I Interviewed him at Wildlife Festival…such a nice guy.

I am a big fan of your (recent) House Teck D.J. mix. Is it hard getting that mixes together and where did you get inspiration for them? How often are you out there seeing other D.J.s perform? How important are streaming sites when it comes to your discoveries?

Ok. So, when I got into D.J.-ing, I almost feel as though the music comes to you: when you’re mixing, the two songs should come together to create a magical ‘third song’ - with the two different beats.

The fact I have always been brought up with D’n’B, Dubstep; House and Techno, means you have to almost feel the beats of the music - rather than sing along to the lyrics of the song….

I have my go to D.J.s who always produce great tunes after tunes - then, tend to send me their new songs.

But, I always recommend compilation albums: it is good to be introduced to new D.J.s and their style of music. 

You spent, what I presume, two happy years at Hoxton Radio – where you produced and presented shows there. What did you learn from your time there and how important was that experience to you?

When I was at Hoxton Radio; it was a great training ground.

Each show was two-hours-long but the preparation time must have been four hours. I had to find all my music; I did all roles - from presenting, producing and editing my shows. It was fun but was also hard work.

It wasn’t paid so I was working full-time as a waitress - as wells other jobs – so, on top of everything, I had to sacrifice a lot of time to my radio shows.

Sport and fitness, alongside music, is obviously very important. I believe you work with/model for Puma. How did that association come about and is it easy to disconnect from D.J. work and getting into a different headspace?

I’ve always been a model for sports. I’ve done many campaigns of Adidas. Puma kind of fell into my lap (who you know). They invite me to events and try out their product: it’s super-fun.

Sport has been my life from the age of six - where I swam competitively and I represented Hertfordshire for cross-country. Exercise gets rid of my tension because, let’s face it: London can be quite suffocating sometimes.

I know I can go out for an hour’s run and, by the time I get back, whatever upset me before the run will have been forgotten.

You are very busy on social media and get a lot of love from your followers. How important are the vibes you get from your fans? What message would you give them?

Social media is key to success.

I know it's fickle to say that but you need to interact with people that like your work. if someone off the street stops you and says “I like your shoes you”;  don’t carry on walking: you say “thank you”.

How is it any different on Twitter or Instagram?!

We are all same. I don’t think I’m above anybody and I’m very friendly - so I will always say hello.

Summer is (apparently) coming up. Are you remaining in London or are you doing any performances/sets abroad?

What?! Summer is coming up?! I thought it had finished, already?!

My August is really busy at the moment. I have a couple of T.V. gigs on top of radio  - which will take up a lot of my time. Plus, a couple more festivals have been lined up - to cover with DJ Mag TV.

But, if I’m being honest, I can’t wait to be going away on holiday. I haven’t had a break since Easter. I’m heading off to Cornwall with the family…walking, surfing; fish and chips… bliss!

Who are new acts/D.J.s you recommend we check out?

Ok, So, I’ve been a massive fan of Solardo since interviewing them last December with DJ Mag TV - and this year, they have blown up (going to sooo many festivals). They also did a mash-up of DJ Will Clarke (Techno)... 

Will Clarke - also a D.J. to look out for. He has some cool different vibes to his music!

PHOTO CREDIT: Adrian Lee

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

Ok. So…

Camo & Krooked - Cross the Line (2011).

Turning point of my life: finishing university and making the decision to leave friends and family in Tring and move to London on my own.

Sting - Mercury Falling

This reminds me when I was a little girl. Our family used to drive to Spain and this album was played on repeat!

Rihanna - Anti

I can’t help it: I have such a girl-crush on ‘RiRi’ - and this album is incredible.

What advice would you give to artists/D.J.s coming through right now?

Practice makes perfect, and…find music that you enjoy and that inspires you. Also...watch and listen to other D.Js/people that play in clubs.

We all make mistakes sometimes - so no-one's perfect.

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).

Highly addicted to this song…

It’s the Solardo and Will Clarke (and BOT) remix of Techno (Not Techno)…. the beat is insane.

________

Follow Emma Conybeare

PHOTO CREDIT: Adrian Lee

Official:

https://emmaconybeare.com/

Facebook:

https://www.facebook.com/MissEmmaConybeare/

Instagram:

https://www.instagram.com/emmaconybeare/

Twitter:

https://twitter.com/EmmaCB_

YouTube:

https://www.youtube.com/channel/UCDO1RjzIQu2CBxvzsaW7jRA

SoundCloud:

https://soundcloud.com/emmacb-1

FEATURE: Labelled with Love: A Selection of Some of the Most Influential Record Labels in Music

FEATURE:

 

Labelled with Love: 

IN THIS PHOTO: FKA Twigs of Young Turks 

A Selection of Some of the Most Influential Labels in Music

________

THIS is a rare excursion into the territory of record labels…

and a chance to recognise some of the most inspiration, important and upcoming names we should look out for. Some are well-known whereas others are smaller and working in the underground. The record label often gets overlooked in favour of the artist: one cannot underestimate the importance and significance of the label behind the talent. They, not only provide that guidance and energy - but offer knowledge and an immense amount of time.

Because of this; a rundown of the well-known and lesser-heard labels that warrant more time, acclaim and listening…

__________

Mad Decent

IN THIS PHOTO: Poppy

Made Decent, formed in 2006, are, according to Pigeons and Planes...  

"...If you aren't yet familiar with the record label Mad Decent, chances are that you've at least heard of its founder Thomas Wesley Pentz aka Diplo. Established in 2006, the imprint originally worked to promote Brazillian Baile Funk and Angolan Kudro. The label's mantra revolves around bringing new genres and cultures to the forefront of an ever diversifying music community".

Website: http://www.maddecent.com/

XL Recordings

IN THIS PHOTO: Smerz

Again, when looking at the 1989-formed XL Recordings; Pigeons and Planes encapsulate the merit and essence of the mega label:

“Despite releasing an average of merely six albums per year, XL Recordings has become a widely recognized and respected force in the indiedendent label space. XL has even superceded the concept of indie in some ways as they work with some of today's largest acts. Founded by Richard Russel, Tim Palmer, and Nick Halkes, the Beggars Banquet offshoot was originally launched to release rave and dance music. In the early '90s the label focused mostly on dance-oriented releases ranging from Belgian Techno and Breakbeat to Hardcore and Drum & Bass. Their willingness to work with more eccentric, experimental artists is evidenced by their longstanding relationship with The Prodigy”.

Website: http://www.xlrecordings.com/

Fat Possum Records

IN THIS PHOTO: Kadhja Bonet

It is the same site that has led me to this incredible label – that formed back in 1992:

“Founded back in the early '90s by Matthew Johnson and Peter Redvers-Lee simply as a way to preserve some of the blues players in their corner of North Mississippi, Fat Possum has consistently released music with meaningful cultural implications. Early on the label stayed fairly true to their blues roots and relied heavily on New York Times critic Robert Palmer when it came to picking acts to sign. But with the changing industry and expanding tastes, Fat Possum have branched out from their early roots and now have a large roster that includes bands like Wavves, Tennis, Youth Lagoon, and Spiritualized”.

Website: http://www.fatpossum.com/

>

Paper Garden Records

IN THIS PHOTO: Color Collage

The relatively new label (formed in 2005) are looking after some tremendous acts right now. It is the penultimate name from the Pigeons and Planes guidance and, looking at their website, a label that has a huge ear for quality:

“Bryan Vaughan founded Paper Garden Records in 2005 as part of an entrepreneurial program at Belmont University in Nashville, but it wasn't until he moved to New York City and became business partners with Heidi Greenwood that the label really flowered into full fruition. Still functioning on a very DIY scale, the pair work out of their apartment, and yet manage to represent some of the best independent and underground music being created. Whether it be releasing records through their small, independent label, or helping represent bands through the Lovely Hearts Club PR blast branch of the LLC”.

Website: http://www.papergardenrecords.com/

Neon Gold

This label is responsible for some of the biggest Pop artists/songs in recent years and, as you can see from their site, are constantly supporting ripe and promising talent:

“In terms of indie pop pedigree, Neon Gold is unbeatable. Their roster is a place to go if you want to see where indie's biggest superstars got their start, and a great bet if you're planning on catching an act early on in what will become a huge career. The boutique label was first founded by Derek Davies and Lizzy Paplinger to release Passion Pit's "Sleepyhead" single. Five years later, the band is headlining Madison Square Garden. A savant-level ability to predict what music is destined to break big on the mainstream is no fluke for these guys; Ellie Goulding, Gotye, Marina & The Diamonds and Penguin Prison are all NG alums, too”.

Website: http://neon.gold/

Whities

 IN THIS PHOTO: The cover for Whities 011 by Lanark Artefax

The next four names I have sourced from FACT, who, all the time, have their finger on the pulse and know their stuff! The first label is one I am really curious about:

“London’s barely hatched Whities label colored even further outside the lines in its third year in action, bringing us, on one hand, one of the year’s biggest dancefloor 12″s in Avalon Emerson’s evocative, thundering ‘The Frontier’, and, on the other, one of the strangest pop mutations we’ve ever encountered in Reckonwrong’s Devo-meets-Morrissey bedroom-disco curio ‘The Passions of Pez’. Add to that another mind-melting spookfest from bass engineer Minor Science and Lanark Artefax’s breakbeat daydream on ‘Touch Absence’ and you’ve got the makings of a classic year for Nic Tasker’s operation”.

Website: https://www.residentadvisor.net/record-label.aspx?id=10855

Timedance

  “It’s easier than ever to start a label thanks to the power of the internet, but taking the old-fashioned approach and building something local is all too rare these days. It’s one of the reasons why Batu’s Timedance label stood out in 2016; instead of trawling SoundCloud for unsigned club producers and seeing what sticks, he’s built a community around the music of his Bristol contemporaries and formed something that feels very much like a family of like-minded artists”.

Website:  https://timedance.bandcamp.com/

Orange Milk

“Orange Milk’s experimental music carnival was in full swing this year, dropping releases that were as garishly entertaining as they were artistically challenging. The label hit us with indescribable weirdness like DJWWWW’s Arigato, Foodman’s Ez Minzoku and Death’s Dynamic Shroud’s Classroom Sexxxtape, all utter headscratchers that might turn you off if they weren’t so damn fun to listen to.

OM delivered on all fronts: Diamond Soul’s chaotic footwork, Euglossine’s psychedelic easy-listening and gorgeous plunderphonics from M Sage. Even their reissues were excellent, including Machine Girl’s endorphin overload Gemini and Goop, a reminder that Orange Milk co-founder Seth Graham is the label’s secret weapon”.

Website: http://www.orangemilkrecords.com/store/c1/Featured_Products.html

Swing Ting

IN THIS PHOTO: Murder He Wrote

“Manchester has not-so-quietly made a play for the UK’s greatest party city in the last couple of years, and Swing Ting have been right at the heart of the action. Samrai and Platt’s party-turned-label shifted into fifth gear in 2016, releasing a string of solid gold 12″s and EPs pushing their melting pot of faves – R&B, grime, jungle – into a mutant bashment direction, with spectacular results.

Fox’s Musik EP saw the Manchester-via-Kingston MC body a killer set of productions from Famous Eno, Florentino, Murlo, Brackles and the label bosses, while Florentino’s own ‘Bloodline’/’Sientelo’ perfected his recipe for quirky reggaeton confections. Samrai and Platt crowned the slinky ‘Tease Me’ with a sexed-up vocal from Kingston MC Kemikal, while Jamaican duo Equiknoxx graced the label with pa-rappa-pa-rapping ‘Bubble’, one of the greatest dancehall moments in a year stuffed full of them. Add to that Alexx A-Game’s G-funk-dembow hybrid and Famous Eno’s mile-high posse cut ‘Gangsters’, and there’s simply no competition. The Swing Ting sound was all we wanted to hear this year”.

Website: http://swingting.com/

Wichita

IN THIS PHOTO: Globelamp

The label formed in 2000 and has, since its inception, brought us the likes of Bloc Party and The Cribs. Mothers and Girlpool are currently on their books and it is clear Wichita is one of the most important and ever-evolving labels in the world.

Website: https://www.wichita-recordings.com/

4AD

IN THIS PHOTO: Purity Ring

Camera Obscura and Pixies have previously been on the 4AD label. Now, they support Bon Iver, Daughter and Lo-Fang – so many more incredible artists that take the breath away. It is one of the most varied labels and, because of that, one many look to when seeking out the best new talent...

Website: http://www.4ad.com/

Dirty Hit

IN THIS PHOTO: Wolf Alice (2015)/PHOTO CREDIT: Jo Hale/Redferns via Getty Images

They are one of the newer labels – formed in 2009 – and have seen Wolf Alice, The 1975 and Marika Hackman come through their doors. Despite the fact they are young and growing: they have a flair for those original and bold artists that differ from that is out there in the mainstream. Expect their stable to keep growing in years to come...

Website: http://dirtyhit.co.uk/

PMR

PMR signed the likes of Jessie Ware when they launched in 2011. Ware and Disclosure were on their books and soon rose to become two of the biggest stars in the U.K. Two Inch Punch and Javeon soon came to PMR and added to their healthy stock - which includes everyone from GIRLI and Dornik.

Website: http://www.pmrrecords.com/

Young Turks

IN THIS PHOTO: Chairlift

As part of an imprint for XL Recordings in 2006; Young Turks can boast names like FKA Twigs, Sampha and Waaves to their increasing and genre-busting crew. They are, like all great labels, diversifying and building their clientele. At the moment, they can proudly showcase some of the most impressive and forward-thinking acts in the world.

Website: https://theyoungturks.co.uk/

Turnstile

IN THIS PHOTO: Cate Le Bon

Cate Le Bon, Gruff Rhys and Perfume Genius show what an eclectic, fascinating and quality-striving ethos the label has. It is a fantastic outfit that continues to seek-out the very finest from music – so far, they have done a pretty good job of bringing us the very best and brightest!

Website: http://www.turnstilemusic.net/

Glassnote

IN THIS PHOTO: Flo Morrissey/PHOTO CREDIT: Roo Lewis

The U.S. label has helped launch the careers of Chvrches, Daughter and Mumford and Sons. Childish Gambino, Flo Morrissey and James Hersey make it one of the most eclectic and solid labels in music – one that continues to back and nurture incredible musicians.

Website: http://glassnotemusic.com/

Bella Union

IN THIS PHOTO: BNQT

Started by former Cocteau Twins member Simon Raymonde; they brought us Fleet Foxes but, alongside them, The Trouble with Temptation and Manchester’s MONEY are on their line-up. A stellar and huge label that continues to exert influence and incredible artistry – so many years after their inception and starting-blocks!

Website: http://bellaunion.com/

Domino

IN THIS PHOTO: Anna Calvi

You don’t need me to tell you they have Arctic Monkeys and Franz Ferdinand as examples of the type of music they promise. More recently; they have Alex G (Sandy) and Georgia and Matthew E. White reoresenting them - ensuring the future for Domino Records is very bright and rosy.

Website: http://www.dominorecordco.com/

INTERVIEW: Bang Bang Romeo

INTERVIEW: 

PHOTO CREDIT: Ben Bentley

 Bang Bang Romeo

________

ONE of the first things I wanted to discuss with Bang Bang Romeo…

PHOTO CREDIT: Ben Bentley

is how they came to work with Ralph Ineson in the video for Chemical – their awesome and much-lauded new track. It seems the trio have a great eye for visuals and filmic aspects. I probe them (Anastasia fields most of the questions) about the new track and the inspiration that goes into it. With festivals still ahead; I was curious to know where the guys were heading; how they all came together in the first place; what the origin of that unique name (‘Bang Bang Romeo’) is.

Bang Bang Romeo choose the albums that mean most to them; the new artists that have made an impact on their minds – and how, when they get the chance, they unwind away from music…

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Hi, guys how are you? How have your weeks been?

We're great, thanks!

Had a mental summer so far; so we've got a couple days’ breather!

I'm saying that, but we're back in the studio this week putting the finishing touches to our debut album.

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

We're a three-piece from Doncaster called Bang Bang Romeo: made up of Anastasia Walker, Ross Cameron and Richard Gartland.

Heyup!

PHOTO CREDIT: Ben Bentley

Can you just explain the origins of the band name – I have omitted research because I had my own idea. Is there a Shakespeare link or is that a rather simplistic deduction?!

We were in a tapas bar in Sheffield at the time, a little bit intoxicated...

We wanted the band name to encapsulate the lyrics and the vibe of our music. The 'Bang Bang' signifies the music: hard-hitting and a little dramatic!

And, yes, you got the Shakespeare link with 'Romeo' just right. Our lyrics tend to be about love, death; life and hate - so that's the connection there.

Chemical is the new song. What is the track about and how easily did it come together for you?

Ross wrote Chemical when he was seventeen-years-old!

The song is about love being the most powerful thing of all - more than just a chemical reaction. It's actually the first song we ever worked on together - so it holds a special place in all our hearts!

You filmed the video in Rossington Hall. Considering it is an epic and, at times, messy video; how much freedom did they give you to do what you needed?

Thank you!

We wrote the script, chose the actors; chose the venue and the theme, so, in terms of 'control', we really had our stamp on all of it. David Dutton (the Director) brought our dreams to life.

We'd been conjuring up ideas for the shoot for a long time - and for us to finally see on screen, what had been taking over our dreams/nightmares for so long, was a very special moment for us. David is an artist and we can't wait to work with him again. Watch this space.

Rossington Hall is local to us and was the 'go-to' place in our minds when writing the script. The staff and the team there were brilliant and we can't thank them enough for letting us use their beautiful, and very haunting, building!

Haha.

PHOTO CREDIT: Ben Bentley

Of course; one cannot help notice the presence of Ralph Ineson. How did you connect with him and what was he like in person?

Ralph has been a supporter of ours for a number of years now.

He's been attending our shows since day one and has never stopped the support. Again, when dreaming up the video, his was the only face we saw as the Evil Lord of the Manor character. We're still pinching ourselves now that he actually said 'YES!'.

Watching him work was so special. We all had goosebumps the whole time. Thank you, sir.

It seems Bang Bang Romeo has an eye for visuals and theatrics. Is video-making a side of the industry you all enjoy?

Films and visuals are so important for us.

Even in our writing process, we don't tend to think of a song, as just a song - more of a soundtrack for a film - with a proper script or storyline. We'll be in the studio and one of us will end up saying: "This song feels like Bond" - or a Tarantino picture, Spielberg: anything like that.

We like our songs to paint a picture and a landscape. I think after putting out a couple of albums we'll (maybe) get together and write a film.

Haha. We'll see.

You’ve just put an isolated vocal (of Anastasia’s) online. It is a clip, I presume, from your upcoming debut album. What can you tell us about the themes and songs that will appear? Can you reveal any titles yet?

Yes, it is a clip from a track that will feature on the debut called Unstoppable.

I think the key is to expect the unexpected. We've thrown our hearts into making this! Don't be surprised if you open the packaging and there's blood, sweat and tears on the record. Haha.

We don't hold back and this album is our best and biggest creation yet. The front cover is designed, by us; the name has been chosen - it's all there; but we're not revealing it yet, haha.

Ideas for album-two are already underway, too - purely inspired by what we've already been doing in the studio.

When the vibe is as good as it is, it's best to just keep working. If a thirty-track album was logical, we'd go with it.

Haha.

PHOTO CREDIT: Ellen Offredy

I am interested in how you all got together? Did you all arrive from different backgrounds or did you have mutual friends? What was it about one another that formed that attraction?

Myself (Stars) and Ross were both playing at a festival in Doncaster, separately, at the time when a mutual friend introduced us. We hit it off straight away!

Ross played me his catalogue of songwriting he'd built up and that was it. I was sucked in and, 'till this day, it's still an honour to sing his songs - they're like presents! He's helped me work on my songwriting too - which has been priceless for me.

We were recommended Rich. He's from Leeds and, twenty mins into our first jam, we just knew we had what we needed - "This is it".

We've been inseparable ever since.

I saw your live video from Pirate Studios. What was that experience like? Are you going to be putting more live videos online in the future?

The Pirate Studios sessions have always been wonderful for us.

We've got two under our belts now: the Sheffield session and the London one. Their live recordings really are second to none. We love playing them and we'll always be up for doing more - the team are great there and really support what we're doing.

We also use Pirate Studios as our rehearsal space, too – so, if you're in a band, go check 'em out!

Great spaces.

Doncaster Pride is an upcoming gig of yours. How pumped are you about that one? I guess Reading and Leeds is a huge one, too?

We can't wait for Doncaster Pride!

They've always been so kind to us and we'll never stop supporting them. Growing up in Doncaster, a lesbian myself, it's been wonderful to have a strong community around you that is so accessible and willing to listen. We love 'em.

Reading, of course, is another exciting one for us. We played Leeds Festival last year: so it's only right we go for Reading this year!

Looks like you are busy right through until the end of autumn. Which gigs are you most looking forward to? Is touring and live performances something you all love to do?

The October This Feeling Alive tour - with The Shimmer Band, Black Waters and The Blinders - is going to be pretty fuc*ing crazy. This Feeling are leading the way when it comes to bringing new, up-and-coming guitar music to the people – so, when Mikey Jonns gave us the nod for this tour, we were beside ourselves.

Travelling the country with a bunch of talented, handsome; up-and-coming men? Yes please. (This is 100% Stars, by the way).

PHOTO CREDIT: Ben Bentley

Do you guys get to hang outside of music? How much downtime do you get, realistically? Do you have any hobbies or perfect ways to relax?

At the moment, we're living in each other’s pockets!

We have an awesome place we stay near Birmingham when we're recording. It's kind of like a log cabin in the middle of nowhere - with a swimming pool and a pool table surrounded by bats and pheasants. Haha

So, when we're not in the van or on stage or in the studio, we're there. Down-time we spend with our family and friends - as it comes far-and-few-between. In saying that, me and Rich went to a pub quiz last night and got totally robbed. Bastards.

We all enjoy art; whether it be drawing, painting or graphics. Ross also owns a designer menswear store in Doncaster calls Revolver - so he proper fashionable and that.

Who are new acts you recommend we check out?

If you're looking for fresh, inspiring, new guitar music; you don't really have to look any further than the This Feeling catalogue.

We love Paves, The Wholls; Hello Operator, The Sundowners, The Elephant Trees - to name a tiny, tiny few.

The list goes on!

PHOTO CREDIT: Tarquin Clark 

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

For me, it's Radiohead's OK Computer. It gives me happiness and nightmares, all in one. My dad brought me up on it. It was the first album to really make me want to create music myself.

Thom Yorke is a genius.

Ross: Ok Computer is my fave too, but, because you chose that, I'll go with The White Album. It's so varied. There's classic Beatles songwriting like While My Guitar Gently Weeps and Happiness Is a Warm Gun - but then there's plenty of humour, fun and weirdness on there, too. 

Cry Baby Cry is on there too - and it's an absolute masterpiece!

Rich: Yeah, I was going to go OK Computer too, but maybe something a bit more obscure…

Big Whiskey & the GrooGrux King by Dave Matthews Band: amazing songwriting - and I was going through a tough time when it was released. It was the first time I sat and learned an album from back to front. Carter Beauford is a massive inspiration on my playing. He's ambidextrous too - I'm sure you were wondering. Haha.

Suffice to say: many hours were spent pouring over the album in a rehearsal room on my own.

What advice would you give to artists coming through right now?

Don't succumb to the pressures of modern-day music: don't try and make yourself into something you're not. The whole ‘we need to be edgy’, ‘weird’ or ‘cool’ questions may pop up from time to time - and take away the focus from what's important…but fu*k all that. Stay totally true to yourselves and work hard.

Respect each other and don't forget why you picked up your instrument. You're all on the same team!

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).

I'll go for The Shimmer Bands’ What Is Mine (please, Mr. D.J., sir)

Ross: Baby - Paves

Rich: Brave New World - The Blinders (top new tune from our Doncaster brothers)

________

Follow Bang Bang Romeo

Official:

https://www.bangbangromeo.com/

Facebook:

https://www.facebook.com/bbromeo/

Instagram:

https://www.instagram.com/bangbangromeo/

Twitter:

https://twitter.com/BangBangRomeo

YouTube:

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

SoundCloud:

https://soundcloud.com/bangbangromeo

FEATURE: “If You Had to Save One Disc from the Waves…”

FEATURE:

“If You Had to Save One Disc from the Waves…”

________

IT feels like I am attending a Radio Addicts Anonymous meeting…

IN THIS PHOTO: Current Desert Island Discs host, Kirsty Young

when I pull up a stool and nervously averted people’s gazes. It is with tame acquiescence I confess this: I, group, am a Desert Island Discs obsessive. Maybe that is not such an embarrassing confession but, such is the gravity and influence the series has had on my life, I find myself repeating episodes in my head. If the moment Tom Hanks freezes after a question – when he was on the show on 8th May, 2016 – and chokes back the tears does not get to you - then you might be technically dead. Maybe it is the strangely likeable turn from Ed Sheeran or the unexpected appearance from Bruce Springsteen. I love Caitlin Moran and Sue Perkins’ incredible turns; Jimmy Carr’s unexpectedly fine musical choices – the man chose Beyoncé and Kanye West among his eight discs! – or whatever it happens to be…one cannot deny the addictiveness and compelling voices one gets from Desert Island Discs! I am, rather annoyingly, only now initiating myself to the endless pleasures of the show. The fact Desert Island Discs has reached seventy-five – and still looks fantastic in a bikini.. – means I have over seven decades of castaways to investigate! No worries because it is a task I am willing to undertake. I think, among other things, it is Kirsty Young’s incumbency that has really hooked me in.

Maybe it is her East Kilbride pronunciations – those ‘hard Hs’ are enough to make the soul sing (je suis amoureux!) – or the fact she can relax a guest to the point of seduction is entrancing – one is convinced she could get a mass murderer to confess their sins, rehabilitate and find God within the space of a conversation. It is a Sunday fixture I ensure I am committed to. The reason for penning this piece – aside from indulging my own radio habits – is to raise a genuinely interesting question! By the way: if you have not listened to Desert Island Discs, I urge you to get your earlobes around it. Anyway; let's return to my point, shall we? Every week, Young guides her guests through a series of question-and-music intervals where she would ask them about an aspect of their life – before they/she introduces a song of their choosing. Each castaway – so-called for obvious reasons – gets to select eight discs (one imagines classic 33/45 R.P.M. formats) that they are allowed to take to the island – where it is, nobody knows; each guest goes to a different one. They are, in addition, allowed a book (they get a copy of the Bible and The Complete Works of Shakespeare) but get to select a luxury, too. I recently posted a similar piece casting myself, in ludicrous long-shot probability, in the mantle of a castaway on the show. My luxury was/would have been a photo of my family but, thinking I could well picture them – rendering a single shot rather meaningless – I changed my answer to a water purification kit and penicillin.

It seems rather un-luxurious but, if one is stranded on an unknown island, the chances are there is going to be an extinction of clean water – thus, they would painfully perish within days were they not equipped to purify the abundance of salt water around them. It would sustain my long enough in order to acclimatise to the unique and hospitable ecosystem. I would forage for food – being a pescatarian means it would be fish-rich – and, one assumes, be susceptible to infections, illness and various-assorted maladies. If I were allowed a ‘bundle’ option of the two: that would seem like the best luxury ever – the chance to extend my life is, in all honesty, far more material and pragmatic than a trampoline or a tin of deodorant (neither, to the best of my knowledge, have been selected as luxuries). I digress but, working up to my eventual point, I would select a music-related book – possibly a thorough biography of The Beatles (with photos and interviews) – that would keep me company and suffice my voracious appetite for all things sonic. Every time I immerse myself in an episode of Desert Island Discs; I follow, with great interest, the musical choices of each castaway. There is a fascinating psychology hearing one’s musical predilections and the reasons attached to each.

IN THIS PHOTO: Tom Hanks and Kirsty Young

As Tom Hanks explained when he was on the show: each track should represent a special moment or connect you to a meaningful time in your life. That is what the finest music does to me so, tasked with the option of salvaging only one record from the cruelty of the waves, chills my balls to the core. Why one would have eight discs and no turntable – an old-school Walkman, perchance? – is beyond me but one dare not quibble with the ecumenical and divine purity of Desert Island Discs. I would evoke such glee and fulfilment from curating an octet of songs: the reality of reducing that impressive eight-piece to a single survivor is heartbreaking. One might as well ask me to decide which of my vital organs I want to donate to a local cannibal. That is, you’ll forgive, post hoc ergo propter hoc, but it contextualises a similar egregiousness (I would get rid of my heart because I feel I could deliver a James Bond-worthy quip before I saw it stop beating). The fact I am a journalist means, constricting a library-full of musical desires into a briefcase-sized carry-on of eight, is a tricky predicament.

I think Caitlin Moran – a proper journalist (unlike myself) – felt, with mock-horror, the same kind of stress when faced with that conundrum. I would have to choose, for sure, one track from The Beatles, Kate Bush and Jeff Buckley: my Holy Trinity of musical idols. I would, gun to head, select Kate Bush’s Strange Phenomena; Jeff Buckley’s rendition of The Way Young Lovers Do (from his Live at Sin-é album); I would then....oooh…say, Got to Get You Into My Life from The Beatles. That penultimate cut from Revolver would not only be a perfect way to kick-start a day on an island – it is a fantastic song that is able to elicit joy and redemption in harshest of circumstances. Four and five would have to be The White Stripes’ Truth Doesn’t Make a Noise (from their sophomore album, De Stijl) and, um, Tears for Fears’ Everybody Wants to Rule the World. The latter, because it is, literally my first memory of life – and, therefore, my first experience of music. The former is from one of my favourite acts and a song that would evoke fond memories - and a better time. I would need another female voice so I would have to Björk. In regards her music, I would pick Big Time Sensuality (from Debut). My last two choices would be a little unexpected...

Well...T. Rex were a huge influence during my childhood so I would have to go with Metal Guru (as it is one of their earliest songs I remember) and, believe it or not, Benny Goodman’s Sing, Sing, Sing (With a Swing). That song is full of life and energy so, it would be a good contrast to the more downbeat and contemplative records. It would be incongruence to spend too little time limiting your musical existence to eight discs - but I reserve the right to interchange and alter my selections at any point. I am pretty certain about The Beatles, Kate Bush and Jeff Buckley – Tears for Fears would need to be in the rundown. At the very end of each edition (of Desert Island Discs), Kirsty Young always poses that question: “If you had to save one disc from the waves…which would it be?” She delivers it with such chocolate-rich warmth, but it is like a stab to the heart. Forget what would happen if I ever had to answer that question on the show: if I were actually on a desert island and faced with that reality…I don’t think I would be in a position to make a quick decision. This feature is less about promoting Desert Island Discs – it does not need me to do that – but get people to think about why a song is so special and why a particular track would defeat all others.

Are music and unequivocal certainty likely bedfellows? Can one limit their passion to a single record and how easy is it to narrow your entire music knowledge to that solo choice?! Does one, if battling the water, select that disc based on its emotional connection or a particular relevance. For me, when going for that one record; I would have to go for the one that manages to connect my downs and highs in life: my whole education of music and all the emotions that interweave and socialise with those disparate things. That seems like an impossible expectation but, when you are provoked, the mind and soul can make that decision. Each person will have their own reasons for selecting a single record but, for me, it would have to have that importance and relevance. I could not make the decision idly but, pressed with very little time, I would instinctively lunge for that record that would, essentially, be my only company on the island.

Forbidden from bringing anything sentient with me: that one record would be the only other voice I would ever hear. Many castaways, when prompted, chose a female voice for their choice – a warmth and maternal spirit seems more nourishing and welcoming than a male voice – whilst others attached romantic significance to their choice. For me, being a blank canvas when it comes to grand relationships. My criteria is based on my childhood, growth and realisations. None of my eight selections is, I think, younger than fifteen-years-old. Actually, since typing this, I have had to substitute one record (not sure which) with a Talking Heads song, I Zimbra (from Fear of Music) - or maybe I should just leave it be. I don’t think I could survive without the band so, you see what I mean?! Rationalising eight records above everything else in music is difficult: how does one choose a sole survivor?! One of the great things about Desert Island Discs is how each guest explains their attachment to a particular track. Understanding the importance and story behind each is fascinating to witness. Every definition is unique and shows how broad, meaningful and universal music is. I take music for granted in this day and age. Given the access one has to nearly every track every recorded – how willing would we be to sacrifice luxury and the expansive of musical exploration? One can, at the click of a mouse, access a playlist of of-the-moment songs or Jazz classics. We can hear anything we want and, of a day, be privy to an incredible array of genres, sound and suggestions.

I shall wrap this up – as the darkness is coming in and I feel like I need to hunker-down on the island – so, before the waves come in (and I, for some reason, would not patrol my records like a rabid German police dog), I will have to clear my thoughts and allow rationale and logic dictate my near-impossible choice. I wanted people to think about their musical education and passions; why they bond to certain songs and what, for them, defines a perfect song. Whether the anthem for a celebratory moment or the song you heard whilst falling for your lover – there are so many scenarios and configurations that mean a certain song takes prominence above all else. It is really intriguing to find out each person’s story – and why they are attached so fondly to that song. Given the negative peripeteia that is about to befall me: I must run to the bank and, before the water envelopes and digests all my cherished records, I shall desperately grope for that cherished and chosen chattel. It would be interesting to hear everyone’s thoughts and feelings when faced with a similar predicament – and whether they have different reasons why they bond to certain records – and what they would do at that frightening moment. For me, I would flash each song through my mind, and, considering factors of importance, childhood imprints and personal attachment; I would have to save…

IN THIS PHOTO: Sue Perkins

THE song below…

FEATURE: Sexual Expression and Exploitation in the Music Industry

FEATURE: 

IN THIS PHOTO: Nicki Minaj

Sexual Expression and Exploitation in the Music Industry

________

WE are living in a time where there are more cracks and…

IN THIS PHOTO: Tinashe

issues in the music industry than any other time in recent memory. Few can argue against the fact there is sexism and inequality in music: this is a known thing and something that needs to be addressed. I am not sure why, in 2017, it is challenging getting festival organisers to change practices to allow more women to headline. In fact, the word ‘allow’ seems very condescending – like they are children/animals that live in permissive and submissive boundaries. That is, actually, what is happening. There are female performers filling festivals’ lineups but there are so few headliners. I don’t buy the fact it is a case the best female artists were busy when this year’s lineups were announced – one of the rationalisations from Glastonbury’s organisers – or there are few ready for the challenges and responsibilities. I do not buy into that shared lie: why are the boys more ready and able to shoulder the pressure of a festival headline?! I think there is an indoctrinated and deep-set sexism that does not exclusively extend to men. Maybe music, for years now, has operated as a boys’ club.

The only way we can make changes – something everyone wants now – is to start NOW and inspire others. The seeming unwillingness to compromise and open a dialogue is infuriating. It seems, alongside the sexism we find in music; there is a degree of sexual exploitation that has been evident for years now. Maybe it is not a new phenomenon but, with the visibility of musicians and the fact social media/music-streaming makes it easier to get one’s face/body on the screen – are we heading down a very bad road? Before I bring my own thoughts into the debate; I want to source a couple of articles written a few years back. In the first piece, by The Huffington Post in 2014; Laura Duca’s article added a unique perspective on the debate:

“The discussion surrounding the hyper-sexualization of the music industry is much more complex than pointing out that everyone is wearing thongs now. Things have certainly gotten sexier. But there’s a fine line between defending the artists and slut-shaming them. The precarious divide between sex-positivity and pandering to the male gaze is a challenge all female performers face. With her upcoming film, “Beyond The Lights,” Gina Prince-Bythewood has found possibly the closest thing they have to a solution: authenticity.

“I have two kids, so the normalization of the hyper-sexualization is troubling to me,” she told HuffPost Entertainment. “I thought that it was important to talk about that, the underbelly of the industry. All we see are the fun parts of job and all of the great shots on Instagram. There is another world that we’re not tweeting about. It’s tough for female artists, there’s a blueprint they are forced to follow.”

IMAGE CREDIT: @NikitaKaun

In writing “Beyond The Lights,” Prince-Bythewood was very interested in the way personas are formed, especially for young female artists. That “blueprint” refers to the way they are turned into brands, forced to throw away any sense of self in pursuit of an image.

“If you are not fully formed yet and you come out with a specific persona, you lose your sense of self,” she said. “You don’t feel that who you are is good and enough and worthy of love. You’re fearful that if you ever drop the persona all that love is going to go. I mean, it is like a drug.”

IN THIS PHOTO: Katy Perry

Another article, written by Australia’s Daily Telegraph in 2014, talked about the contemporaries videos/artists seemingly showing an unhealthy amount of flesh:

“WOMEN’S bodies sell. We all know that, but perhaps no industry understands this, and uses this knowledge to its advantage, more than the music industry.

In the last few months there seems to have been a feminine flesh-fest, full of twerking tooshes titillating their prepubescent viewers.

The sexualisation and exploitation of women’s bodies is all-encompassing.

Nicki Minaj’s hit Anaconda features dozens of women gyrating their exposed flesh to the lyric, “My Anaconda don’t want none unless you got buns hun.” Classy, isn’t it?

Miley Cyrus created waves as she swung, completely nude, on a wrecking ball. Robin Thicke pushed beyond normal boundaries of decency with his pornographic and pro-rape Blurred Lines. This week controversy is swirling around Jennifer Lopez’s collaboration with Australian superstar Iggy Azalea after their Booty clip was released. The star of the video? Women’s derrières.

The clip features steamy, sexualised images of the two women in a puerile, porn-inspired dance — rubbing their backsides together.

Come next week will there be another artist trying to make money by selling women’s bodies?

They might be masquerading as empowered femininity, but what are they selling?

These female artists are selling the message that women are nothing more than accessories. Women are only of value as sexual objects. My daughters and your daughters are taught to conform to this narrow sexualised, unhealthy norm.

The message is incessant. Our boys grow up believing girls are really only here to be a boy’s “new thang”.

In fact, one more piece - http://humanhuman.com/articles/women-in-the-music-business -, written by Hannah Thacker a few years back adds another dimension:

“That is not to dismiss the existence of artists who have taken control of their sexual identity (cue respectful nods to Laura Marling’s phoenix-like return and FKA twigs’ challenging ideology), but as KATE BOY’s front woman, Kate Akhurst, highlights, there’s “a confusing message of power” surrounding the female body, and we should all strive to clarify this issue. Evidence of this disorientation in the responses seem to focus on one symbol, Beyoncé; for some she’s an inspiration, a teacher, a source for quotes, but for others her less-is-more dress sense leaves them feeling perplexed as to what equality actually means.

That being said, Beyoncé is more than aware of this misdirection as illustrated in her internet-breaking feminist essay, “Gender Equality Is A Myth!” I just hope that statements like “Humanity requires both men and women, and we are equally important and need one another” (Beyoncé) become a reality, so that gender inequality will be the myth. Many of our contributors feel very strongly on this matter:

“I hope that the over-sexualising of female artists will die down or just become irrelevant to music buyers. It’s been encouraging to see artist like Haim and Lorde grow just based on their talents and not by how much skin they show.”

— Niki Roberton, IAMSOUND Records

IN THIS PHOTO: Jennifer Lopez and Iggy Azalea in the music video for Booty

That is enough of other people’s interpretations but one sees a correlation and consensus. Reading more of the piece above; the discussion about sexism looked at festivals and the reasons few women, even a few years ago, were being robbed. Thacker argued (there is an assumption) few girls have the talent to deserve a coveted headline slot: there was a surfeit of talent among female artists that meant they were going with the tried-and-tested make option. I will come back to sexism and festivals but, alongside sexual exploitation, it is a side to music that need to be eradicated. There are, I warrant, women in the music industry who showcase sexuality and the feminine form. Let us draw a distinction between the expression and womanly: against the salacious, seedy and semi-pornographic. Artists like, say, Laura Marling, Björk and Bat for Lashes will, in videos and album covers, present versions of themselves that show their wiles, femininity and sexuality. It is this kind of ‘sexualisation’ that is completely natural and understandable.

They are not selling their bodies and offering something unseemly and provocative. It is the artists that weaponise sexuality that is causing offence. The articles I have sourced are largely from the 2013-2014 era: a time when certain music videos – from the likes of Miley Cyrus and Run the Jewels – were presenting the female form as objects. Being a man, I am one of a small band of journalists actually addressing the topic. That is not to say, by omissions and silence, the male race is culpable by association. There are plenty that shares the same revilement and concerns as me: it is, however, the case it is men, and male executives, dictating this disturbing practice. It is quite distressing, for me, being one of those men who, when presented with a very sexual and alluring video, will watch with interest. Does that mean, when one is interested (aroused, in fact) by these videos, they are as much a part of the problem? It is a complex debate that extends to industries like film and T.V. It is not quite as rampant there – and there is stricter censorship – but, if one saw a film with an age rating; they are forewarned there will be a certain degree of sex, violence and bad language.

IN THIS PHOTO: Rihanna

It is a great omission – in the pejorative sense, you understand – that there are not the same restrictions and prohibitions as one finds with films. The argument concerning sexualisation in music rears its head when certain videos make their way onto the news. There has not been a slew of outraged voices and articles for some years which suggest the issue is not as prevalent. I argue it is no better than it was but, worryingly, people are becoming immune and there is a greater sense of detachment. As part of my job; I have to watch a range of music videos every week. I look at the new Pop, Rap and Indie videos and, largely, the videos are not that offensive or memorable. You get quite a few, mind, that still treats women as objects as appendages. One might see a Rap video where the hero is cavorting with three/four scantily-clad women atop a BMW. One can say that has been part of the culture for decades but, given that view, should we be imposing controls and limitations?!

IN THIS PHOTO: Run the Jewels

Maybe certain genres are more synonymous with sex and exploitation but even saying that seems ridiculous. It is the case there is a large chunk of ‘Urban’ artists who use derogatory and sexist language in their music and, as a continuation of their lexicon, conceive music videos that continue this narrative – curvaceous and shapely women writhing around the hero. It is not reserved to genres like Rap and Hip-Hop. I know full well there are certain bands that employ women in their videos, in effect, to get their rocks off. I see so many videos that are, basically, the male lead getting off with a woman for an unnatural amount of time – seemingly, a vicarious way of indulging that Rock star fantasy. If kissing/sex is integral to a video plotline, that is fair enough – many treatments are doctored to include needless sex and sexualisation.

IN THIS PHOTO: Zara Larsson

There is an argument that suggests there are double standards at play. If a man were, say, very good-looking – and they were cavorting with a woman – that has appeal because the parties are attractive. If a less-than-appealing man were doing the same thing, then is that much worse?! Perhaps there is the flip-side that feels it is okay for sexually desirable people to indulge in hyper-sexuality because there is aesthetic value and a currency that does not offend the senses. I know there are men who expose their figures for videos; there are women who are happy to use their bodies to sell music but, even if someone is comfortable doing that, does it make it right?

It is everyone’s right to have their say and do what they want (to an extent). If a female group/performer wants to strip or expose parts of her body – why is it down to other people to be self-appointed moral guardians?! Again, one must draw the line and be consistent with judgement. One case-study of a woman whose sexy and memorable video has been a source of inspiration and empowerment is Kylie Minogue’s Spinning Around. One need only read that song title and one’s mind goes to the video: Minogue shot close-up in those now-famous gold hot pants; gyrating and alluringly dancing in time to the song. There is no doubt that video provoked dancing, copycat videos – and, yes, attraction and arousal – but is that an exception that proves the rule? Why is that video empowering and fine whilst a Rihanna video offensive and morally suspect?

IN THIS PHOTO: Nicki Minaj in the video for Regret in Your Tears

Can we divide and compartmentalise without contradicting and obfuscating? It is important not to accuse and blame certain answers: we are not exonerating or assuming any form of sexual expression is bad. I am an advocate of free expression and sexuality. There are women, as I say, who feel empowered and rebellious when they show their sublime figures – whether there are slim or plus-size). Artists like Beyoncé do not have marketing men telling her how to dress and what to do in her videos. She takes control and, as such, has used her body and femininity to convey the strong messages in her songs. How is that kind of sexuality fine and others wrong? It is about rationality and looking at the wider picture. It is perfectly fine for the occasional/appropriate use of sex/the sexual in videos – the same way it is in T.V. and film.

The young generation is impressionable and exposed to more of the world than in any other time in history. My concern relates to the mainstream where there are certain genres/artists who use each video as a chance to see how far they can push themselves – how much controversy they can create. Even if acts like Katy Perry and Tinashe pose in bikinis without portraying a sexual message – songs about L.A. and the beach requires the artist to be dressed for such occasions – is it sending out positive messages? It is important to teach a young woman to be proud of their bodies and not to be repressed and cowed. I have mentioned Beyoncé who, since her Destiny’s Child days, has used music as a pulpit of empowerment, equality and girls’ rights – showing they are a lot stronger than they are given credit for. These positive messages are being undercut by a wave of artists who are using their bodies to get streams/views. It is hard policing and patrolling the borders of YouTube without impinging on someone’s creative and human rights.

IN THIS PHOTO: Jason Derulo

YouTube and other sites are getting better at ensuring videos are not too exploitative, explicit and offensive. It is hard drawing lines and providing rationale. Madonna’s video for Like a Prayer caused a huge stir in the 1980s: there are older videos where the artist has caused a stir by flaunting too much flesh or engaging in behaviour not deemed appropriate for younger tastes. A few years back, the music video Robin Thicke’s Blurred Lines caused a stir for the images and scenes it depicted. Is there a validity and demand for sexually expletive videos? Are we in a time when the more salacious and controversial the video; the greater number of people will view it – and, as such, more money and press is generated? I will bring this to a close soon but I worry it is seen as acceptable and profitable for female artists to get their bodies out in order to shift records.

IN THIS PHOTO: Beyoncé 

I have mentioned double standards and we must be clear of the times when there is fun and empowering videos where the amount of sexual content is acceptable and, often, inspiring. It is the needless and crass degradation one sees in many contemporary videos that need to be curtailed. It is not only female artists but extras and actors used in videos that are part of the issue. Women are judged as being perverse and shameful if they express their sexuality and prowess: men are congratulated and seen as sexually assertive. There is a double standard and I am hugely supportive of women showing pride in their bodies. Whether they are plus-sized or not: being proud of their form and physique is a wonderful thing – in an age where there is stigma and judgement levied at women who do so. One cannot escape the litany of adverts who ask whether a woman is beach-ready and sexy.

It is now so integrated into everyday life that there is desensitisation in music. We can compartmentalise so that the acceptable/empowering videos; those where there is fun and harmlessness are put into one corner: those that perpetuate this idea as the woman as a chattel/object is put in another. When one divides the two, it is shocking to see how many examples of the latter are evident. How does one restrict the sexual exploitation in an industry where there is so much pressure on artists boasting viewing figures and making their videos visually engaging?! It is a vicious circle but it is clear there needs to be impositions and infractions. It seems sexual exploitation is becoming normalised and rationalised to a large extent. I shall finish by bringing in an argument/article by The Guardian – again, around the time of Miley Cyrus’ Wrecking Ball video – that raises questions and adds new input. Kitty Empire was the first journalist (in this piece) to have her say:

“Most adult pop consumers ought to be able to roll their eyes at Miley Cyrus's antics. But it is incredibly distressing that young girls' idols are constantly teaching them that their willingness to "party" is a girl's strongest suit: not their brains, or their sense of humour, or their own unique way with a key change. And as a feminist who is also a music critic, it depresses me deeply that female pop performers find it difficult to market their songs without licking mallets in the buff (as Cyrus does in the video for Wrecking Ball).

Pop performers – male and female – are often exploited by managers and record companies, but I don't believe that Cyrus is being forced to twerk by her handlers. She knows what she is doing – although any grudging respect I had for Cyrus as a businesswoman evaporated when she turned on Sinéad O'Connor in such a repellent way”.

Rhiannon Lucy Cosslett gave a balanced view when drawing lines – if the sexual content is empowering (and ordained and suggested by the female artist) then how is that worse than the same level of sexual explicitness in a different context?

“There's no doubt that women have become more and more sexualised in music videos in the last decade or so. I remember my mum being horrified at Christina Aguilera's Dirrrty video – the one where she's wearing those crotchless leather chaps and gyrating in the boxing ring (pretty tame by today's standards), but at the time I couldn't see what was wrong with it. I remember the argument, during which I protested that if Aguilera said that her half-naked dance was empowering, then who was anyone else to take exception?

Of course, I didn't really realise then that the music industry is mostly run by men, and that no matter how empowered an individual woman may feel about nudity, the apparent need for female artists to take their clothes off to sell records isn't exactly a good thing for our gender. Watching the recent Miley Cyrus documentary, I was of no doubt that this was a woman in control of her own personal destiny, but that doesn't mean that I don't feel sad that the male to female clothing ratio is so obviously off-kilter. That said, I really don't like the "put it away, love" comments Rihanna's new video has been attracting either. I don't have an issue with the naked body – it's the fact that women always seem to be the only naked one”.

Around this time; provoked by Miley Cyrus’ video; Alex Macpherson addressed Sinead O’Connor’s slut—shaming open-letter that followed the furore:

“For Sinéad O'Connor, the best way to dismantle male dominance was not to go after any actual men in the industry but to rev up that noted vehicle of genuine concern, the open letter, and use it to deliver a torrent of slut-shaming that was so feminist that it repeatedly used the term "prostitute" as a derogatory insult.

Cyrus hardly emerges a heroine herself. Certain racial aspects of her latest incarnation, such as using black female dancers as anonymous on-stage props, go beyond pop's usual magpie approach to appropriation into uncomfortable territory.

Despite being a capitalist patriarchy, though, the music business can also be a terrific vehicle for the voices of women and minorities – and what's unfortunate about this kerfuffle is that the most interesting aspect of it, Cyrus's latest album, Bangerz – a glorious record of freestyle-influenced club tracks, overblown theatrical ballads and hoedown country raps – has been overlooked.

IN THIS PHOTO: Miley Cyrus

There were voices in the piece that argued a song like Wrecking Ball did not warrant that level of revelation and nudity. Is it a case of imposing limits and discussing sensible boundaries for artists? Does this take away that idea of empowerment and free choice? VV Brown offered her thoughts:

Her talent is obvious and there is something about her new direction that propels an idea of rebellion and control. But is she empowering herself as she becomes the artist she wants to be? I question empowerment expressed in this way but I also ask why we, as women, can't be proud of our sexuality? It's a strange pendulum of morals and liberation.

As an artist, I appreciate the naked body. I have even done a naked fashion shoot. However, all artistic statements are judged contextually. Perhaps the controversy is in the delivery of her statements and the context of her past?

Despite all of this, feminism should be about solidarity first. And what's wrong with being naked anyway?”

Bim Adewunmi, in the same piece, highlighted how there is no such Cyrus-like outcry if the female in question is black. That equivalent sexuality is seen as racial empowerment and advancing racial equality. Is it a sin that is reserved to white artists?! That is another aspect to the debate but, in concluding, it seems past discussions like Miley Cyrus’ Wrecking Ball fall-out are relevant today. The so-called age limits imposed on certain videos can be easily subverted and hacked; the Internet is not secure enough to prevent all impressionable/young artists from seeing explicit content. There are moral arguments we can throw around all day but I feel there is a greater prevalence of sexual exploitation in videos tha ever before. Do we place the blame of record labels who look for big figures and infamy or those responsible for safeguarding us – and imposing guidelines on sites like YouTube? It seems like there needs to be greater vigilance and, in a wider sense, less reliance on the idea we need to use sex to sell music. It is 2017 and, with many tackling the plight of sexism in the industry, are these revealing and provocative videos…

MAKING the possibility of sexual equality impossible?!

FEATURE: Morrissey: A Rare Genius

FEATURE:

 

Morrissey:  

 A Rare Genius

________

THIS will not be a hugely authoritative and biography-heavy…

things but, instead, a loving nod to one of the most extraordinary songwriters who has ever lived. This piece is fuelled by two different occurrences. The first is the fact the biopic, England Is Mine, has been released and met with muted applause. There are a lot of three-star reviews that commended the film’s lead, Jack Lowden, but criticise other aspects of it. The fact we are supposed to be fascinated by that pre-Smiths period; the man of the hour did not approve of the film or provide blessing – one imagines he would rarely crack a smile so it is no surprise – have all gone into the brew. I have not seen the film but, gleaming reviews; it seems to be one reserved for three die-hard fans. It looks like a fascinating glimpse into a clumsy, ambitious and isolated young man and his time growing up in the North – just before he met Johnny Marr and went to form The Smiths. I am not given to over-romanticising Morrissey because he has his flaws and is very outspoken. His stance on animal welfare is passionate but often misguided – to the point hyperbole and righteousness detaches from the ethics and moral reasoning and becomes personal attacks on people who eat flesh. I am not a meat-eater but would never speak about animal cruelty/murder the way Morrissey does. Those kinds of outbursts are not reserved to carnivores: the man has taken shots at the monarchy and large swathes of society. He is, however, refreshingly honest and unfiltered in a time when people are incredibly self-conscious and wary of what they say online. One suspects he does not take to Twitter too often but, in an age where social media is as much a force for bad as it is good – the likes of Morrissey are remnants of a time when there was simplicity and directness. Mancunians (and northerners) are renowned for their wit and humour but also their plain-speaking tongues. There is nothing unusual about Morrissey but, when reading a New Statesman article that suggested the biopic was misguided – and Morrissey does not deserve to be seen as extraordinary – that is where I take umbrage.

PHOTO CREDIT: Ebet Roberts

One cannot claim The Smiths frontman has not made an immense impact on music. My first encounter with Morrissey was, actually, through his solo album, Your Arsenal. That album arrived after 1991’s Kill Uncle and a rather rough creative period. That album was given poor press and negative reviews. Many felt the album was tired and rehashing previous work. Your Arsenal arrived a year later and was an incredible turnaround. It was sharp, muscular and inspired: Morrissey back to his very best. You’re Gonna Need Someone on Your Side has a swagger and introduction similar to Footloose’s theme – in a strange way – but is a rollicking and riotous cut from the former Smiths man. In-command and at his acerbic best: a track that beautifully kicks off proceedings. The album borrows shades from other artists – Rock ‘n’ Roll Suicide’s riff/sound can be heard on I Know It’s Gonna Happen Someday – but, largely, it is the hungry and talented artist back on top. The National Front Disco addresses right-wing politics and fascism – Morrissey copping heat because of its references to extremism and racism – whereas You’re the One for Me, Fatty is the man at his humorous best. It is a dexterous and all-killer, no-filler album that benefits from the musical impetus of Alain Whyte – and Morrissey feeling the need to regain momentum and relevance. I investigated subsequent solo albums and love Vauxhall and I – the 1994 album that is commonly seen as his pinnacle as a soloist – and 2014’s World Peace Is None of Your Business. Both albums are very different in terms of themes and compositions but Vauxhall and I, I guess, complete that incredibly ripe period – following from Your Arsenal; there was a lot of determination and inspiration in Morrissey’s bones. Spring-Heeled Jim, The More You Ignore Me, the Closer I Get and Lifeguard Sleeping, Girl Drowning are some of my favourite songs from the master. I could vacillate about the solo work and all it holds but I am, like many people, adoring of Morrissey because of The Smiths.

I wanted to avoid using a song title in the title of this piece as it seems rather wasted and tragic. Whilst the actual title is a little vague; one cannot define Morrissey by a single song. The Smiths’ 1984 eponymous debut remains one of the most influential records from all of music. In a period where nothing like The Smiths had ever come about: it was a blast of light witnessing the Manchester band come to music. Formed in 1982 – I shall not get into the background and famous meeting – but feel, at that time in music, The Smiths’ arrival was hugely unexpected. Among the finest albums of 1984 were Sade’s Diamond Life; Bruce Springsteen’s Born in the U.S.A. and Prince’s Purple Rain. Some world-class albums, for sure, but nothing remotely like The Smiths. There were few standout British albums that year so, when the quartet released their debut, few people were prepared for them. There has never been a composer as individual and malleable as Johnny Marr. The way he could create searing guitar stabs and semi-orchestral rushes – almost within the space of a verse – is unprecedented and laid down the mantle from a unique and extraordinary band. Not forgetting the contribution Mike Joyce and Andy Rourke made to the band – their bass and percussion were pivotal elements in the overall sound. As much as I love their impact and talents; the incredible compositions of Marr – it is the wordplay and performances from Morrissey that makes the music stand out. I love the band’s debut but feel they went on to better things. This Charming Man is the standout from that debut and has gone on to be one of the most-respected and best-known songs from the band. Its unforgettable chorus and vivid verses stick in the mind. The hero not going out – not a stitch to wear, as it seems – and the isolated bicycle: that sense of loneliness and incredible magic one gets from the song. It is a rare form of poetry and storytelling from a man who would have been taking from his own life.

One of the reasons I connect with Morrissey is his loneliness and place in society – not feeling like he fits in and being able to connect with other people. Of course, the songs did not all speak of these troubles. The young songwriter ate and devoured literature and culture. Right from their earliest moments; characters and controversy came into the music. Morrissey would address murder, incest and sexual abuse alongside romance, dreams of being killed in a car crash and a girlfriend in a coma. There is that malice and unsettled vibe that sits with immense humour, sardonic wit and personality. In everything is passion and incredible intelligence. The first two albums can, debatable, be argued as less memorable and enduring as their final two. The debut remains essential because it was the first: that arrival and unexpected brilliance. The songwriting is incredible throughout but, apart from the odd number here and there, I do not revisit it a lot. I tend to bond more with The Queen Is Dead and Strangeways, Here We Come. Meat Is Murder contained the phenomenal How Soon Is Now? and remains one of the band’s finest songs – not on the original album but added for the U.S. version. That sense of awkwardness and going to the club: being rejected and standing alone in the corner – whilst being sountracked by that stabbing, epic guitar-playing from Marr. The Headmaster Ritual and Barbarism Begins at Home, between them, contains yelping, corporal punishment and satirising out-of-touch teachers. They are staples and highlights from the band but are not matched by other songs on the album. It got a warm critical response but, in my mind, it was Morrissey’s words and subjects that brought the album to life. Growing in confidence as a songwriter and singer; one could sense changes coming in and a natural evolution. Less reserved (vocally) than the debut: Meat Is Murder is a much more inflamed, boisterous and variegated album – both composer and lyricist pushing themselves like never before. This all reached fever-pitch heights on the follow-up: the band’s hallmark, The Queen Is Dead. Again, 1986 contains no other albums like The Smiths’ third L.P. It is a complete and fantastic work that, like Morrissey’s finest solo works, contains absolutely no filler.

Not only is The Queen Is Dead one of the best albums of the 1980s but the apex of Morrissey’s songwriting. His lyrics were at their sharpest and most emotive. One cannot listen to Cemetry Gates – where the hero reads inscriptions and finds mordant romance in departed poets – and not be encapsulated and entranced by its peculiar narrative. The title track opens proceedings with so much fascinating humour and spit. It is Morrissey’s commentary, insight and wordplay that perfectly matches Morrissey’s rampant and driving composition – one of his finest from the cannon of The Smiths. I Know It’s Over is one of the most striking and stirring from a band who were in no short-supply of emotional offerings. Morrissey’s sense of foreboding and claustrophobia makes the song one of the most unforgeable and haunting from the band. One suspects, like Cemetery Gates, some of the poetic greats were running through Morrissey’s mind when writing this. Bigmouth Strikes Again, turning the focus on himself, is about the outspoken and too-quick-to-speak. It addresses the frustration of being hounded and being forced into a corner – that pressure leads to some misguided comments (where the narrator has to confess he was only joking). Comparing himself to Joan of Arc – where her “the flames rose to her Roman nose” and the Walkman melted – it is a unique and brilliant take on a subject that, at the time, was not as common as it is now. The same can be said of the longing and romantic frustration one hears on There Is a Light That Never Goes Out. Many would rank this song as The Smiths’ finest. It is considered one of the greatest ever songs, and with good reason. One cannot ignore the contribution by Marr: that luscious and symphonic score that perfectly articulates everything Morrissey puts into the lyrics. The doomed-but-humorous combination was Morrissey’s stock-and-trade, but here, it is at its most defined and luminous.

Strangeways, Here We Come completed the band’s career – they would split in 1987 – and is s fitting and fine swansong. Containing Morrissey and Marr’s favourite song, Last Night I Dreamt That Somebody Loved Me, it is a fantastic album that builds on The Queen Is Dead’s eclecticism – even if it does not reach the astonishing heights of that record. There are fantastic moments from Morrissey throughout that album but it is tracks four-through-six that that showcase how fervent and consistent his imagination was. Girlfriend in a Coma is a short-but-not-so-sweet song that finds an ill-fated girlfriend near to death/in a near-death situation – never explained how she got there – and the hero semi-genuine in his terror and upset. It is a perfect distillation of Morrissey’s patented combination of wit and tragedy. Pathos and triumph; sarcasm and doomed romance all within two-and-a-bit-minutes. Stop Me If You Think You’ve Heard This One Before – an album with many long-titled songs – again looks at physical upset and trauma. It is the last track of the trio that, for me, defines Morrissey’s songwriting. That sense of false alarms and being safe from harm: all false, unsettled and unreal. The song title’s literal meanings cannot be misinterpreted but it is the way Morrissey presents that feeling of being alone and sharing his bed with nobody – a song that would have resonated with so many listeners at the time. It is a stark, sad and hugely revealing song that perfectly says goodbye to the band. It proved we would be hearing more from Morrissey’s incredible pen – sadly the band would call it quits before the album hit the shelves. It is not only the writing through The Smiths’ career that fascinated me. Morrissey’s singing remains unique and emotion-rich. The way he phrases lines and twists them to his own means has meant the songs have transcended from the fantastic to the peerless. Few singers have that crooner-like sound that manages to stretch and bend in all sorts of directions.

In looking at the continuing genius and influence of Morrissey; one cannot ignore every facet of his creative personality. From his work with The Smiths through his solo career – there are few that have the same attributes, talents and tells as Morrissey. He is an endlessly fascinating character and, let’s hope, there are more albums arriving from him. Perhaps England Is Mine is not the film he would have wanted to see about himself (one imagines he would have preferred to be left alone altogether) but there is an enormous affection for the Northern poet who, over thirty years since that first album, remains incredibly influential. Even if songwriters are not name-checking Morrissey; it is clear their work, subconsciously or not, derives from that early work. I can hear comparative put-downs, quips and revelations from new songwriters. None match the height and scope of the man but that is not to say they are vastly inferior songwriters. Morrissey is one of those once-in-a-generation artists that cannot be replicated or cloned. One only need listen to an album like Your Arsenal or The Queens Is Dead to witness endless emotions over the course of a few songs. There are few that can take you from laughs to horror; right through to tears and mock-outrage as the man himself. He is a legend of music who feels, like the dearly-departed poets in Cemetry Gates, deserves special real estate in the graveyard of the legendary scribes – not to get ahead of myself or morbid; I think he would approve. There is something unfashionable about loving Morrissey in 2017: he does not fit in with the cool and trendy mainstream and seems like his best days have passed. That said; the music community owes his songwriting brilliance a debt of gratitude. Those too-rebellious-for-school artists and slick-haired bands might be on your side but, you see, the wonderful and endlessly irrepressive Morrissey…

IS on mine.

__________

TRACK REVIEW: January - Whelmed

TRACK REVIEW:

 

January

 Whelmed

 

9.3/10

 Whelmed is available at:

https://www.youtube.com/watch?v=_P2NKukB6vY

GENRES:

Ambient; Downtempo

ORIGIN:

Los Angeles, U.S.A.; Brighton, U.K.

RELEASE DATE:

27th April, 2017

_______

I might be doing this backwards…

but this is my second time approaching January. I interviewed her last week promoting her album, Whelmed, and what its inspirations are. Now, I am charged with reviewing its title track that is a few months old now – the way of things with reviews is you can get to things a little late. I have had this on the diary for a while because other stuff has come before it. Whilst I am a bit late to the party, it gives me a chance to address a topic that few reviewers get a chance to: retrospective appeal and looking at music later in time. I will talk about January and her stunning track but, before I do, I want to look at retrospective appeal and its importance; some of the best female artists and why their influence and talent is so important; moving from L.A. and the appeal of Brighton; strings and bringing compositional elements together; competitiveness in the industry and artists trying to make a name for themselves – looking at how to build social media numbers and the importance of exploiting the venues of this country. I shall start by having a look at that first point and looking at music further down the tracks. I feel one of the biggest issues journalists have is the fact they have to encapsulate and define a song/album/E.P. when it is released. Often, they have to distil their thoughts to a few paragraphs and react to the music in the here and now. This gives us an unclouded view but, I wonder, does it truly represent music and its true nuance? Some tracks do not have that depth – that compels revisiting further along – but I am finding myself questioning assumptions and views. A lot of the tracks I review I like at first but, some, tend to lose a bit of their appeal a few weeks/months away.

The reverse can be true: a little underwhelmed by some music; only to find it grows and gains new relevance very soon. You do not really get a chance to revise reviews and attack it again. I have been reading reviews of current albums and wonder, in a couple of months, will those journalists still hold the same views about that work? It is interesting looking at January in this context and a song like Whelmed. If I were coming to in a few months ago, when it was released, I would have had my views and a particular standpoint. I feel, coming back to it weeks/months later, everything would have changed. What does one do when their initial assumptions prove to be false?! It is an interesting point but I guess that is the limitation of journalism. We must capture and define work when it arrives and do our best to predict its long-term effects. It is intriguing waxing on the point but I think there should be a mechanism in place to allow writers to go back and reassess certain albums. Artists like January will get a slew of sites tackling her music when it arrives but, once that is done, they will not remain with it and continue to dig into the song. It will be left there so how hard is it to keep promoting the music when journalists have moved onto the next thing? It would be good to have journalists that can come to songs a little while after they have arrived – reviews do not need to be conducted as soon as a track is out. For me, I get the opportunity to approach a song that I have been listening to a while. I am coming in with fresh ears and get to combine all my experiences of the song – from that initial assumption to the emotions and possibilities captured in the months following that. It is fascinating to me because I feel there are albums in the mainstream that get one type of response and then, you think, journalists are going to change their response the more they listen to that work. Do we expend adequate time and attention when it comes to reviewing work? There is that need to get a review out and have something produced quite quickly – that means you are not giving the music proper attention and regard.

IMAGE CREDIT: Finlay Cowan Subway Slim

When it comes to January’s latest video; I wanted to wait a little bit and allow its textures and essence to do its work. I shall come back to that but, until then, wanted to look at American artists and living a city like Los Angeles. For January; she is recording in her Brighton studio and living down here now. It is always baffling (to some) that anyone would leave L.A. and somewhere that seems quite ideal. It is like London a lot: many assume it will be perfect but there are problems and reasons why some favour other areas. It is easy to see the impressions and fingerprints from L.A. in January’s music. She has absorbed from the local scene and artists around her; taken from the landscape and employed strands from her new home. I am really interested in the Los Angeles music scene and why it is so compelling. That seems like tautology but it is very hard to capture everything going on there. It seems like a perfect place for an artist to create music of the highest order. In sheer terms of the geography and ecosystems there; there are no other places quite like it. You have the beauty and rolling hills; the beaches and tanned bodies – the bustle of the city and a sense of cosmopolitanism. Away from that, there are charming bars and cafes; a blend of nationalities and cultures in L.A. – go further into the state and one will find hidden wonders and some incredible places. All of this cannot help arrest and infuse curious creative minds. For January, one suspects it is a combination of her home and influences that go into her music. I shall not go into the artists currently rocking L.A., as she does not live there anymore, but one can do their own research. I feel America gets more attention because of its politics and situation – as opposed its music and fantastic sounds. January has learnt a lot from her early years but, even though she is here, it makes me wonder how much of the sun, situation and heritage she brings to her music. I listen to her songs and I get transported to L.A. I have never been there but one can definitely hear embers of the sea and sand; something about the hidden retreats and the complexity of the humans who inhabit the city. One gets a real clash of elements and sounds that can either represent the blend of languages/peoples in L.A. – maybe it is something else at work. In any case; I love the music she provides and know she still carries L.A. in her heart.

IMAGE CREDIT: Adeline Sumney

I will talk, actually, about YouTube and videos in a bit but, before coming to that, a little bit about Brighton. There is so much to address with January but, given the fact I know she is recording in Brighton right now, a chance to talk about the city. Having visited there a couple of times recently, I can attest as to how vibrant and varied it is. January might refute my claim but – even though I have not been to L.A. – there is, perhaps, comparisons to her home? Maybe the people of Los Angeles are not as laid-back as in Brighton but you get a clash of the modern/quirky and beautiful. On the one hand, you can explore The Lanes and the unique shops and spaces one can explore. I get lost in those shops and all the colours, scents (many of which can be quite ‘vivid’) and possibilities. There is the High Street and the more mainstream shops sitting alongside the charming businesses one finds down The Lanes. These alone must provide writers with enough to put into their music. Even if they do not directly address them: the sheer influence and impact goes into the imagination and sits into the consciousness. Away from the streets and shops; one can go down to the beach – it is very close by. If one goes there; you can get a traditional sense of the British seaside and what it is all about. There are shops that sell rock – all claiming to be Brighton’s best – and there is the pier. Walk on the pier and you encounter an arcade and stalls; little shops and people watching the sea as it crashes against the shore. The beach itself is pebbled but, when hot, is crammed with life and adventure. It is the more relaxed and scenic part of Brighton. Transition into the night and the city explodes with colour and sexuality. There is a huge L.G.B.T.Q. scene there and, when it gets dark, one sees a different side to the city. The nightlife is incredible there and it is a thriving and eye-opening experience. January has all of this around her so, one wonders, how much of the new music is going to be compelled by her current home. Maybe L.A. goes into her album and earliest work but, knowing there is new material taking shape, will that resonate to the beat of Brighton? It is interesting to speculate – and I look forward to receiving that music and getting to grips with it.

Before I come to my pre-approved themes; I have been watching January’s video for Whelmed and the kind of reaction it is getting. I am baffled why certain artists/songs get the attention they do. Whelmed is a gorgeous video that took a lot of effort and planning but, so far, has only accrued meagre views on YouTube. There are few views and comments – a few people have given it a thumbs-down. It seems people are not really listening and watching: simply trying to discourage an artist and ignoring the true depth of a work. I look at a video like Whelmed and wonder why it does not have more views and love than it does. Perhaps there are so many artists out there that mean it is impossible to wade through and decipher the best. I do not really buy that because, if one has a P.R. company behind them (like January does), there should be more done to ensure their videos get necessary attention. YouTube is a platform that allows music videos to get to millions around the world. The biggest Pop stars often rack up eye-watering views and, sometimes, it can be tens-of-millions. I do wonder whether these views are coming from teen audiences and whether these numbers reflect quality – it seems a lot of it is down to popularity, credibility and celebrity. That is all fine but it rather muddies the waters. Take a new artist like January and she relies, to an extent, on sites like this get her music promoted. Seeing Whelmed collect a small numbers of views – and no feedback – makes me question the validity and role of YouTube. Do we take the time to thank an artist and give them some kind words?! There is such disposability to music and we get into a habit of watching videos and leaving it there. In the same way reviewers might be wise to re-explore music – in order to understand its true hidden truths and full effect – maybe we should take more care when encountering a music video. It is disheartening seeing an artist put so much work into a video – only to see it not get the numbers it fully warrants.

PHOTO CREDIT: Hugh Fox

It is merely a consideration but, why would an artist like Lorde get so many views and someone like January a comparative paucity? The quality between the artists does not reflect the gulf of numbers. I mean, Lorde has celebrity and that established career but it proves a lot of the video views comes from hype, celebrity and popularity. January deserves the same sort of epic viewing figures as Lorde (and her peers) and I feel something needs to be done. Of course, January is someone who gets her videos and music promoted by various sites and has a solid fanbase. Having a P.R./management company behind her; there are other hands ensuring the music gets out there and covered. One can argue how important and monetising things like YouTube is when it comes to an artist’s career and prosperity. I think the music itself is the most important thing and, so long as it is good as it can be, that is the thing. Artists do rely on streaming services and sites like YouTube to get their music to more people. It is not an easy solution but it irks me seeing fantastic artists giving such modest attention. January is a compelling and entrancing act that has her own sound and deserves a lot of love. Maybe it is the case the waters are quite busy and it might take longer for her true talent to be recognised. Saying that; she has fans here and in the U.S. so there is a lot of love out there for her. The female singer-songwriter sector is hotting up and busier than it has ever been. Even if an artist is original; their sound can often be similar to someone else’s. In January’s case, there are a lot of artists who have the same blend of atmosphere, grace and tranquillity in the music. How easy is it bonding with all of them and discovering the nuances of each? Maybe the industry is becoming too crowded and undisciplined: it means people like January – who has an incredible talent and sound – is getting lost in the sea of like-minded artists. It may sound like a negative and foreboding forecast but I am defending her with venom. She is someone that deserves enormous acclaim and should get enormous love on social media and music-streaming sites. I will talk about her upcoming material later but, for now, I shall move on to look at artists who inspire January and the sounds she brings into the music.

Björk has, with her typical wit and unique insight, explained her forthcoming work is her “Tinder record”. One can imagine the puns journalists will employ during the reviewing stages – swiping left and right; corny, half-baked dating jokes – and the kind of aspects one can discover when the album comes out. Like Björk; January is, in her current work, exploring love and its effects. One suspects; the way Björk is talking about her album: it is an L.P. that documents her dating experience and having to move on after splitting from a long-term partner. Whether sex and sexual exploration forms a large part; there is the mystery and unpredictability of love – I am looking forward to seeing what is on the horizon. January, on Whelmed (album and song), looks at love and how it is complex. When interviewing her, January revealed how romantic love is never easy and all of her music, to some degree, is about relationships and being immersed in someone. That is why her album’s title track is so meaningful. It is about being wrapped inside a person and fully engrossed in a relationship. One can draw comparisons to Björk and her contemporary mindset. Maybe the Icelandic legend is going to take a more casual and freewheelin’ approach to sex but one suspects there are going to be paens about deep love and affection. I wanted to talk about Björk because, for artists like January, they must be indispensable and mind-blowing. She is a huge influence for me but, for a musician, that effect cannot be underestimated. Look back at her career and the way she fuses strings and orchestrations with nervy and anxious sounds. Right from her Debut album; one gained a real emotive and physical impression. Songs would gallop, swoon and endeavour: the heroine let her voice fly and would explore new realms and worlds. As her music developed; new sounds and ideas were laced in. Björk, actually, started to invent her own instruments and, on some of her more recent efforts, she created apps. and ways of distributing her music. That is the story of a true innovator. It is not only the case she inspires musicians because of her incredible and always-shifting music: as a person; she speaks out against sexism and addresses issues that many would overlook.

PHOTO CREDIT: @mrhughfox and @helkiloves

A passionate and determined soul who uses her voice in a variety of ways. I can sense a connection between Björk and January. Whelmed is a song that contains the same sort of aspects one might discover in a Björk album like Post and Debut. Even if, in terms of vocals, there are differences; I hear compositional inspiration for sure. January knows how important Björk is to her but, when discovering the beauty and haunted nature of her latest song; I get impressions of artists like Enya. Here is another artist January name-checked in our interview and, when listening closely, you can definitely hear her impact. The Irish singer has, throughout her career, produced some of the most beautiful and sweeping sounds one could imagine. I am a fan of her classic moments and can lose myself in her music. That is true when one hears January. She mixes in the boldness and string articulation/mixes of Björk but has the vocals and passion of Enya. There is, in so much as she is inspired by the likes of Chopin, a great knowledge of Classical music. January grew up listening to Classical and Electronic music so it is no surprise finding both these genres come into her work. I am a champion of artists using strings and unexpected tones in their music. For one, it fuses the synthetic and natural into one. For another, there is that balance of symphonic and edgy. If you can create darker sounds from the electronic elements and bring in the warmer and more enriching strings – that is a heady blend that is hard to turn down. This is what one experiences with January’s music and one has to thank her idols for that gold dust. I will come back to this point later but, given the fact Björk has teased new music, I am confident we will see a lot of new artists come into music that name her as an influence. Over two-decades since her debut; she is someone who no equals and provides incredible, strange music. It is beautiful and worldly; it has all manner of emotions and stories running through it – nobody can deny what an impact she has had on modern music.

PHOTO CREDIT: @mrhughfox and @helkiloves

I am keen to move on to January’s Whelmed but, before then, a slight return to social media and venues in the country. I have argued why someone like January has not gained more social media fans than she has. There is a great fanbase behind her – and many publications have featured her work – but, I feel, following and fandom should directly correlate with quality. That may be terrible naïve but, I think, artists that accrue the biggest streaming figures/YouTube views are the ones that are not, necessarily, as strong as the new artists coming through. Whether there is an easy way of ratifying these concerns and constructively remedying the imbalance has yet to be seen. There are piecemeal changes but I worry how detrimental and disenchanting it can be, for any artist, having to work tirelessly for a modicum of attention. Maybe that is the harsh nature of music but, for January, I have every hope that she will be a big proposition in years to come. The music she is producing at the moment is exceptional and makes me wonder how far she can take it. I feel there are venues and fans out there that would welcome January in and provide her a lot of love. Not only does she have the splendour and diversity of Brighton where she records: there is a cavalcade of various-sized venues that would be perfect for housing her music. Green Door Store is a wonderful venue that, normally, puts on heavier acts – Rock, Indie; Hardcore etc. – but puts up a whole range of different sounds. I would think someone like January could get a gig or two there and find some new support. I have often walked past The Greys – down Southover Street – and from its ironic turquoise outer walls; it is a pub that showcases wonderful live music for the people of Brighton. That is another cool and warm part of the city I would like to see January perform in. Latest Music Bar, down in the recesses of Manchester Street, is a fantastic space.

PHOTO CREDIT: Hugh Fox

Throw into the mix Prince Albert, The Haunt and Komedia and, I feel, January could curate a mini-tour of Brighton. There is a world in London she could succeed in: take that further through the U.K. and so many venues I would love to see January take charge of. Maybe this will be a reality when she puts new music out but, given the strengths on Whelmed, I know that record will find passionate and ardent support in various parts of the country – Brighton is the perfect place to start that campaign. I shall move onto Whelmed next but, a few moments before getting there, offer some encouragement to January. She does not need my patronage but there is so much about her that I fall for. Not only is she incredible striking, intriguing and down-to-earth but her music and attitude to her craft are seriously impressive. Her songwriting is among the strongest I have heard in a long time and, having worked with British D.J.s and gained huge experience in this country; she has indulged her love of Electronic music and worked with fantastic Classical talent. I will allude to that in the context of Whelmed but here is a young artist who has a width and determination that will see her succeed and endure. I know the future is hard to predict but, knowing where January has come from, I know where she is going. I have completely involved myself in songs like Whelmed and am struck by how personal and meaningful it is. Not only a song that means a lot to its writer: its words and meanings can be extrapolated by every listener out there. It has such heart and courage but a universal beauty that gets into the heart.

PHOTO CREDIT: @helkiloves

There are whispers, suggestions and the feint air in the opening seconds of Whelmed. It brings in mere tinkles and shimmering strings; there is rustle of the breeze and the openness of nature. In many ways, it has that blend of Classical composition and a certain Icelandic superstar. One immerses themselves in the view and walks alongside January. It is passionate and curious; compelling and soft – you cannot really articulate (clearly) how meaningful and unexpected it is. Rather than rush in with heavy strings or vocals: January gives the song a chance to wake up and percolate. The arms stretch into the morning and the sun rises from over the hills. When she comes to the microphone; one gets the impression here is a young woman who might be wrestling with troubles. She does not want to go somewhere – nothing good awaits – but, knowing the song deals with new possibility/love, it seems like a transition piece. Maybe she is shedding off her worn skin and keen to embrace a new way of life. There are all shades of blue in her mind. Her heart is not beating the way it should and it seems as though things are getting rather intense. The desire to forget about a bad experience and find some escape comes through. January’s voice is tender and breezy. It has emotion and determination but is kept restrained and delicate. There is a certain tease and allure to the performance that means you are sucked into the speaker and, as such, go deeper into the song. I was hooked by the sound and affect the voice had on me. There are a lot of singer-songwriters like January who have that aesthetic and sound – in a busy market; that is always going to be way. I know a lot of female artists who are compelled by the likes of Tori Amos and Björk – and have a wistfulness and attachment to the environment that feeds into their music. Looking at Whelmed’s video and one sees the heroine by a waterfall and enraptured by her mood and surroundings. This strikes familiar visions in me – and have seen a few videos like this – but there is something unique about January. She does not follow others and, when it comes to her lyrics, this is very much taken from her own life.

The voice hovers, rises and strikes as the heroine reveals how she will be on her own. She is on her way and leaving behind that blue and heartache. Maybe there is a man in mind and finding hope – after a period of instability and loss. The Copenhagen Cello Quartet provides strings for the song and brings something majestic and soothing to the song. It is easy to fall for January’s voice as it has a blend of maternal instinct and otherworldly charm. It is light and sweet but one discovers a definite physicality and sexiness to it. That combination of infantile and womanly is hard to conquer but it comes naturally to January. As the song continues, it is easy to assume we find endless heartbreak and hopelessness at work. The heroine is overcoming bad days but, it seems, there is definite hope and new adventures afoot. There is no point in feeling/being left behind, as it is said, and the heroine’s friends have been caught in the riptide before. She is not drowning in the water: it seems she is drowning in the man. It is interesting hearing her sing about regrets and that notion of movement. Maybe older love has weighed her down; that anchor has shackled her feet but now, perhaps, there is a reason to be optimistic and not be fatalistic. That sense of being near the edge – and close to drowning, perhaps – is rescued by a man. Perhaps that is an overstretch...but it seems like a new horizon is here. One gets impressions of a woman who is going through a new process and experiencing a freedom. That liberation and new lease are evident as January’s voice weaves and waves in the breeze. The song never gallops out the gates: it is serene and light throughout. Inside this calm is a definite sense of expression and passion. Few will listen to the song and not feel like they can relate. Many of us have been through similar experiences and, whether romantic bonds or personal fights, we have all encountered change and hope.

PHOTO CREDIT: @helkiloves

I know how personal this song is to January and it is one she holds very dear. Maybe, before, there was a period of isolation and hurt. Relationships are hard and it might have been the case she was with the wrong person. Now, there looks like there is sunshine and a relief ahead. Whether it is a new man or a realisation that has compelled this song – moving on from the bad days and getting away from the shipwreck. As the song progresses, my mind changes and I wonder whether there is that overriding hope and happiness. We see the heroine walk into the water in the video and it seems there is more at work than meets the mind. I would like to think new love has given her a reason to be uplifted but it seems the demons of the past continue to do their work. I come away from the song and need to go back because it has complexities and obliqueness. Electronic elements come into the song and bond nicely with the strings. It is a combination that gives the song new life and meaning; it has dark and light working alongside one another and provokes all sort of memories, possibilities and images. Whelmed is an addictive song who chorus and vocals will stick in the mind. The lyrics will compel possibilities and various interpretations. I know January is inspired by love and takes from relationships when writing. There are those bad times expressed in the song but, in my opinion, something pure and new – a fresh relationship that casts away the shadows of the past.

I have been involving myself with January and everything about her. She is an artist for whom I hold reservoirs of affection. Her music needs to get to as many people as possible and I feel, genuinely, she has enormous potential. There are no confirmed dates for her at the moment but that will all change. She has mentioned how she is returning to writing after a year-long hiatus. I guess, without snooping in her business, she was dealing with personal demands and the way life gets in the way. Her own lexicon and situation is complex; but I guess there are good reasons why there has been this gap. In any sense, she needed to step away for a bit and take some downtime after recording an album. Love and relationships form a big part of her music: maybe the downsides of a bad love affected her work-rate and mindset. Perhaps, in all honesty, she has been working with other musicians and looking for fresh inspiration before going back into the studio. That is where she is now so, in the coming year, it will be interesting seeing what the result of all this is. January explained, in my interview, how she has been working with new artists and talent. This has kept her mind sharp and inspired; compelled her to make new material happen and dream big. One suspects the arrival of new Björk material will inspire January and compel her in some way. Not that she is the only inspiration at all. There are Classical masters and modern-day artists that drive her. As she said, when I interviewed her, it is important to take from the giants and learn – one must provide their own narrative and not take too heavily from the narrative of others. This comes through crystal-clear in January’s own music. I know Whelmed is a few months old but, returning to my earlier points, that is something that does it a favour. What I mean is it is a song that has complexities and richness. It unfurls all its colours and secrets the more you listen to it.

I opened by talking about retrospective reviews and whether we should invest time in an album/artist after they have released. We review material as soon as it comes out and only have a small window to define that work. One does not give it times and allows the songs to fully unwind. That is the drawback of journalism but I wonder whether artists are being given a fair crack. Artists like January have that rush and energy to get the music out there and get reviewed. When albums/songs come out; it gets to magazines and sites. They will take it and share a few words about it. There is such a snow-storm of attention and focus in a relatively brief space of time. Once all that attention has fallen away; that is it and the artist must take it upon themselves to keep the momentum going. It is worrying music relies wholly on that instantaneousness and initial burst. I know journalists cannot re-review work and hold onto its for months on end. Are we, as consumers, expending appropriate energy and regard when it comes to new music? I often listen to new artists but will come back to them weeks after first hearing them. Many are buying/streaming songs and they will move on to the next thing sooner or later. There is that zeal to discover what is brand-new and of-the-moment. It means there is a big reserve of music that has that early affection – only to be overlooked and put into the cupboard very soon. Like a child getting excited by a present at Christmas: playing with it for a few days and then shoving it under the bed. January is focused on new material but I feel her current music should remain in the memory and get more attention. I keep repeating that point but it is one I will not let go. One has to PROPERLY listen to the music and keep it safe. It is no good hearing a new artist, listening to their music, and then discarding it. I have been guilty of doing this but I am feeling guilty about. My point is we should all be more vigilant, careful and considerate when approaching a new artist.

PHOTO CREDIT: Hugh Fox

I shall end this piece now – as I have a lot to crack on with today – but I wanted to bring all my early points together very quickly. January is recording in Brighton now but has come from L.A. I can hear strands of Los Angeles music in her own work – it is inevitable she would take a lot from where she came from. In hearing January’s music; one can detect landscape and people; her idols and upbringing. There is the diverse landscape of L.A. and all its beauty. The scenic nature and views; the polemics and clashes of the city and serene. Now recording in Brighton; she has the wonderful people and that appealing blend of shops and the beach. It is a relaxing part of the country but does have a very vivacious night-time scene. It is a city that has the same contrasts as L.A. but not as crowded and large. I guess that is important when she records and conspires – not feeling so cramped and hustled. I mentioned how January has been inspired by Classical music and Electronic artists. There is a real genre-mix in her music: one gets all sorts of tastes and scents when hearing a song like Whelmed. Few possess the same sort of passion, personality and panache as January. She is a singular being who involves herself with music and all its possibilities. I shall end this now but urge people, as I often do, to listen to January’s music and a rare artist. So evocative and entrancing is the music: it is hard to shake it off and forget about it. I am pumped to discover what the future holds for January but, right now, she is creating music that gets into the heart and…

 BRINGS you into a wonderful and unforgettable place.

_______

Follow January

  Official:

http://www.januarymusic.com/

Twitter:

https://twitter.com/JanuarysMusic

Instagram:

https://www.instagram.com/januarythompson/

Facebook:

https://www.facebook.com/januarymusic/

YouTube:

https://www.youtube.com/channel/UC-GBEOGVB91ejaF-U4pSh0w

SoundCloud:

https://soundcloud.com/januarylt

FEATURE: Upcoming and Rumoured: The Big Albums Approaching...

FEATURE:

 

Upcoming and Rumoured:  

IN THIS PHOTO: Queens of the Stone Age

The Big Albums Approaching…

__________________

DEPENDING on your musical philosophical bent…

IN THIS PHOTO: Kylie Minogue

you might see this year’s releases as a success or abject failure – perhaps something in the middle. Laura Marling and Sampha have provided exceptional treats in Semper Femina and Process; Lorde has brought is the staggering Melodrama; English Tapas is the latest course from the always-reliable Sleaford Mods. There have been some unexpected disappointments (Royal Blood, Arcade Fire and Gorillaz) but, given there are over four months of the year left to run – a look at the albums that are yet to come…

_________

Rat Boy – SCUM 

RELEASE DATE: 11th August

Everything Everything – A Fever Dream

RELEASE DATE: 18th August

Ghostpoet - Dark Days & Canapés

RELEASE DATE: 18th August

Grizzly Bear – Painted Ruins

RELEASE DATE: 18th August

The War on Drugs – A Deeper Understanding

RELEASE DATE: 25th August

Queens of the Stone Age – Villains

RELEASE DATE: 25th August

Nadine Shah – Holiday Destination

RELEASE DATE: 25th August

Susanne Sundfør – Music for People in Trouble

RELEASE DATE: 25th August

INHEAVEN – INHEAVEN

RELEASE DATE: 1st September

PHOTO CREDIT: Ruvan Wijesooriya

LCD Soundsystem – American Dream

RELEASE DATE: 1st September

Nothing But Thieves – Broken Machine

RELEASE DATE: 8th September

The National – Sleep Well Beast

RELEASE DATE: 8th September

Sløtface - Try Not To Freak Out

RELEASE DATE: 15th September

Foo Fighters – Concrete and Gold

RELEASE DATE: 15th September

Phoebe Bridgers – Stranger in the Alps

RELEASE DATE: 22nd September

The Horrors – V

RELEASE DATE: 22nd September

Wolf Alice – Visions of a Life

RELEASE DATE: 29th September

Benjamin Clementine – I Tell a Fly

RELEASE DATE: 2nd October

Alex Lahey - I Love You Like a Brother

RELEASE DATE: 6th October

Liam Gallagher – As You Were

RELEASE DATE: 6th October

En Vogue – Electric Café

RELEASE DATE: T.B.C.

Tinashe – Joyride

RELEASE DATE: T.B.C.

RUMOURED

Charli XCX 

RELEASE DATE: T.B.A.

Kylie Minogue

RELEASE DATE: T.B.A.

St. Vincent

RELEASE DATE: T.B.A.

PHOTO CREDIT: Matsu

Tired Lion

RELEASE DATE: T.B.A.

FEATURE: The ‘F-Word’: Why Folk Music Deserves Greater Acclaim

FEATURE:

 

The ‘F-Word’

IN THIS PHOTO: Bon Iver 

 Why Folk Music Deserves Greater Acclaim

________

I will, actually, do another feature like this...

IN THIS PHOTO: Joni Mitchell

where I, without much provocation, launch to the defence of an entire genre. It may seem insane but there comes a point where you can only watch so much undue criticism before one needs get involved. Like a decent yet unspectacular wallflower being sneered at my the jocular, ‘cool’ kids: the headmaster has to get involved and bring about some order. In fact, scrap all of that for I am far too wet to explain myself. I have read article and some reviews who claim, without sufficient evidence, Folk is a genre that seems incapable of modernising and diversifying.

IN THIS PHOTO: Billie Marten

They claim – not naming any offenders; lest they be seen as humans – that Folk is a form of music that has not ascended from the simple and hippy-dippy strummers of the 1960s. Before I take my belt off and birch their bottoms purple; I will leap, rather insincerely, to their defence. In order to play Devil’s Advocate – what an awesome title for a show that would be! – there are a lot of Folk artists who, for some reason or other, are incapable of bringing about reappropriation. Whether you deem mainstream stars like Ed Sheeran as Folk or Pop: there is something about that kind of music that is leading journalists and listeners down the wrong course. Naturally, the majority of today’s Folk stars are not going to be at the same level as legends like Joni Mitchell, Nick Drake and Neil Young – nor will they, necessarily, play the same brand of Folk. The new wave of Folk artists drink in different bars and smoke a different brand of cigarette (no that I am condoning smoking: it does look very cool in the context of a Folk article!). Sure, the artists of today take from the greats of yesteryear: it would be incongruence were they to ignore and refute the legacy and inherence of their betters. Too many assume 2017’s flavour of Folk is either the acoustic-strumming kind one might have experienced during the 1960s –away from the incredible core of Folk legends – or is old-fashioned and outdated.

IN THIS PHOTO: Julia Jacklin (Photo for Happy Mag by Liam Cameron Photography)

The truth is; twenty-first-century Folk is among the most nimble and interchangeable types of music around – I think, only second to Pop. If one listens to artists like Nick Drake and Joni Mitchell, for example, they get to hear some of the best songwriting you could ever imagine. There is variation in their type of Folk but, largely, it tends to be traditional and ‘softer’, let’s say. The lyrics are incredibly rich and poetic but the compositions, perhaps, tend to stick within boundaries. Maybe there is the assumption Folk of now has not evolved from those days – they might love artists like Joni Mitchell but do not want to see that continue forty-or-so-years down the line. I feel there is a divisionism in perception that assumes Folk is rooted too heavily in the 1960s (or before). One of the reasons I wanted to write this piece is to show how far the genre has progressed. In 2017, there are a lot of artists who like to play the more contemplative and calmer variety of the genre. I will come to some examples but there is, on the other side, a whole group of musicians who bring in other genres – from Pop and Electro-Pop right to Alternative avenues.

IMAGE: The album cover for Bon Iver's 22, A Million

Take an album like 22, A Million: the sensational 2016-released wonder-work from Bon Iver. Justin Vernon is, at his heart, a Folk artist; yet he brings, in this album, so many different sounds and ideas. There are a lot of Electronic inspirations and odd vocal samples. He processes sounds and feeds some through machines: reverses them and creates trippy, far-out whispers. It is an invigorating and heady brew that is best left to the initiated – quite a daunting proposition for those unfamiliar. He is not alone in challenging those who feel Folk is too rigid and ‘square’. Even if you take two of my favourite albums from last year: Billie Marten’s Writing of Blues and Yellows and Julia Jacklin’s Don’t Let the Kids Win; you have a couple of modern, yet bygone-nodding works.

IN THIS PHOTO: Laura Marling

The former is actually my standout from last year because it shows huge maturity and worldliness – despite the fact its author is comfortable in her teens right now. Even though a lot of the music relies on the seductive beauty of Marten’s voice: the way she unfurls her imaginative and stunning songs gives one pause for thought. It is not the aimless and mindless amblings one assumes Folk music is about. Those who get confused between mindless Acoustic-Pop and those artists the Antifolk movement rebelled against decades ago – they pick up a guitar and numbingly mumble about broken hearts, unicorn farts and the government nuking them to sh*t. Yeah, we are in 2017 so there is, one hopes, a fervent brand of a protestor who articulates the cracks and frustrations that run through the spine of the country. Maybe there will be the odd artist who does not convey that anger with the same articulacy and passion as a young Bob Dylan – others who will do so with incredible depth and conviction. Marten, on paper, might strike you as a young songwriter who had not really advanced from the same sort of platforms (literally in some cases) one assumes a busker to play on. That is, frequently, covering other people’s songs with the same sort of energy one would associate with a dog that has just overdosed on morphine – with performances that evoke the same sort of shock and boredom. I grant you, it is complicated differentiating between the genuine pioneers and those who seem beholden to bastardize the good name of Folk. Going back to Billie Marten and she, like 2017-examples Fleet Foxes, Laura Marling and Jesca Hoop; produce music that has romance, fire and enormous nuance. The reason I wanted to single Billie Marten and Julia Jacklin for special commendation because they are young and new artists but between them created some of the finest music of 2016. Marten talked about mental illness, travel and escapism; literature, love and hopelessness in a record that brimmed with compositional innovation, sensationally tender vocals and incredible confidence. Jacklin took a more spirited approach when talking about maturity, her position in life and watching others around her ‘grow’ and manifest a more familiar-orientated life. The Australian newcomer is primed for greatness and shows just what variegated and strength there is in Folk.

This year; Mount Eerie’s A Crow Looked at Me collected songs that told the listener about the circumstances of love and loss between Elverum and his late wife, Geneviève Castrée Elverum (and their baby daughter). That is PopMatters’ distillation but it is part of a wider review that heaps praise on a deeply personal and entrancing Folk record. There have been many others this year that demand closer investigation and appreciation. Julie Byrne’s Not Even Happiness and Fleet Foxes’ Crack-Up; Feist’s Pleasure and Aimee Mann’s Mental Illness are very different and unique. Look at each album and, whilst tackling Folk and playing in the genre; they deal with different issues and, actually, sound very different.  I argue there is, not only misconception regarding Folk’s sonics but the lyrics one documents. If you take a few of those albums and it is hard to connect them. Aimee Mann’s record deals with some hard subjects and tackling psychological demands – there is a lot more besides on the L.P. – whereas Fleet Foxes’ Crack-Up is a more luscious and ‘accesible’ work.

The vocals on each differ greatly and, aside from sharing Folk D.N.A., there is nothing that suggests they were born from the same mother. Maybe there is a tangible link between, say, Billie Marten, Laura Marling and newcomers like Phoebe Bridgers: the first two have been compared down to their career trajectory and lyrical gifts; Marten and Bridgers share vocal sounds (even if their lyrics are completely distinct). Even artists who approach Folk with greater tenderness and less energy are doing fantastic things – so far removed from those noxious and lamentable Acoustic-Folk acts that garnered such reaction and approbation. Bridgers is a sensational talent I can see going very far. In fact, after Laura Marling released the incredible Semper Femina (baffled it was not shortlisted for a Mercury Prize); I am looking to Marten, Jacklin and Bridgers to see if they bring out albums this/next year. It is exciting seeing young female Folk artists create such world-class music.

IN THIS PHOTO: Julie Byrne

In fact, when I look at the progressive and established Folk brilliance – most of the names that flood to mind are women. Bon Iver, Fleet Foxes and Richard Dawson (his album, Peasant, is worth your time and money) are exceptions in a list that is largely female – when we think of the best Folk albums of the year so far. That is the same as last year, largely. I shall wrap things up but have been annoyed reading articles that have mooted Folk is past its glory days – if it had any at all! There is so much attention on Pop and mainstream artists that many Folk albums get buried and reserved for smaller audiences. Even if the Mercury shortlist does not include that much Folk; one cannot ignore the sensational and consistent joys one can discover in modern Folk. I did not want to go back in time and see why Folk has always been great – I have addressed that in previous articles. I wanted to demonstrate the fact modern Folk deserves appreciation and investigation on its own merits.

IN THIS PHOTO: Jesca Hoop/PHOTO CREDIT: Piper Ferguson

There is so much range and wonder to be found in a single album. It is a genre that is not chained to a particular sound and sensibility. Maybe it is not as racially diverse as other genres – comparatively few black or Asian Folk artists – but is a lot more balanced when it comes to gender and age. Anyone who thinks contemporary Folk does not merit transition to the mainstream – and proper acknowledgement and respect – needs to get their ears on the best albums of this and last year. I have collected a few songs below – taken from some of the best Folk albums of the past two years – that provides a window into a fabulous genre. Take time to have a listen and realise the ‘’F-Word’…

IN THIS PHOTO: Phoebe Bridgers

IS one we should be teaching everyone!

TRACK REVIEW: Duke of Wolves - Teddy Boy

TRACK REVIEW:

 

Duke of Wolves

PHOTO CREDIT: Richard Barber 

Teddy Boy

9.4/10

 Teddy Boy is available at:

https://soundcloud.com/dukeofwolves/duke-of-wolves-teddy-boy

GENRE:

Alternative-Rock

ORIGIN:

London, U.K.

RELEASE DATE:

18th August, 2017

Recorded and Mixed by Ben Phillips at Lightship95 London

Assistant Engineer: Dan Guerrieri

_______

THE reason I am violating one of my golden rules for reviewing….

PHOTO CREDIT: Violet Verigo

is to investigate one of the best bands playing in London right now. I am reviewing fewer people I have already done so – because I want to discover new talent and not repeat myself to an extent. I have featured Duke of Wolves before but, as I am spending the coming weeks assessing unfamiliar artists; it is nice to return to an act I know can bring the goods. Before I come to look at the guys, there are a few different things I wanted to address. One, oddly, relates to professional outlay and some suggestions for the guys – music videos and making them part of the aesthetic. I wanted to look at the consistency of bands and that classic need for success and fandom. I will look at Rock and why now it is essential to foster the most varied and impressive acts; songs that go deeper and intrigue; gigs and bands who are growing into the live arena – and a bit about London and consistency. I shall start by addressing a band that, since their formation, have a very professional approach to their music. They do not get a huge amount of help when it comes to their promoting and recording – there is a D.I.Y. approach that many artists are taking these days. It is becoming popular because of music’s expense. If you are recording a lot of singles; the costs can mount and it is not often feasible at the best of times. Duke of Wolves employs a D.I.Y. sound because it is one that best articulates their gritty and raw brand of Rock. I will come to that later but it is the way they share and promote their brand that interests me. The guys do, not yet, have an official website yet but I can see that being the next step.

They have recorded a series of singles and it seems like they are starting to rise through the ranks. A one-stop portal for all your Duke of Wolves needs would be a great move from the band. As it is; their social media presentation is full and impressive. I know it is a point I keep harking back to but those acts who expend effort updating and volumising their pages are always going to go a lot further. I can see the band is keen for their fans to be kept abreast of everything going on with them. Their fan numbers are climbing but one imagines it is only going to be a matter of time before they are huge news. What keeps bringing people in is because they have a real professional attitude to every aspect of their career. Their sounds might be rough and tussling in places: that does not extend to the way they market themselves. This is a perfect balance to have in the music industry. It might not sound like the be-all-and-end-all in music but is can make an enormous difference. Duke of Wolves have a big following that is going to grow with every song they release. One of the reasons behind that is because they are proactive and give the fans pictures, updates and videos. Another aspect I love about Duke of Wolves is their music videos and how much attention they pay to them. I have heard from a lot of artists who do not like recording videos and think it is a bit of a hindrance. I cannot understand this because, in this age, there is no excuse to ignore it. If you really apply yourself and think beyond the ordinary; music videos can be great fun and lead to something wonderful. I understand how the cost can really put off a lot of artists. Even a simple video – skeleton crew and basic concept – can still run you to three figures. Many are choosing to shoot videos on iPhones and have that D.I.Y. approach. Duke of Wolves do not expend bucket-loads of money but still ensure their shoots are captivating, humorous and interesting.

Videos like Terry (The Serial Killer) and Hollow Eyes have different concepts but are really amusing and memorable. If a video sticks in the mind; you are more likely to come back to an artist and follow them. That is one of the reasons I am keen to see where the London band go. They produce a top-notch single and then, from there, create a video that adequately visualising their incredible lyrics and performances. The visual aspect of music is really crucial so it is vital artists realise how integral music videos are. Given the fact I am reviewing Teddy Boy: I wonder what the video will contain and how it will shape up. I can see 1950s' elements and greasers in leather jackets; bike gangs and something that spoof Grease, perhaps. I shall come onto the song inspiration but it seems, with this song, the band has the greatest chance to create something huge and career-defining. That might sound insane for a music video but, even with a relatively modest budget, given the subject matter at hand; they have the chance to go big. I shall not put ideas in their mind – and they might already have the video all locked-down – but the guys are one of those acts who take care of every aspect of their career. Such is the detail and passion that goes into each aspect; I know they will go far and continue to grow. I cannot express how important putting effort into social media/images is and what effect they have on a career. I see so many artists ignore photos and not really put effort into music videos. If their music is great – often, it is not – then they have only really addressed half of their career. Those who find the effort and time to put their everything into each corner of music – the rewards, given time, will be huge.

PHOTO CREDIT: Richard Barber 

Duke of Wolves, since I heard the first draft of Hollow Eyes, have really impressed. I knew, from that outing, they would continue to crack out fantastic tunes. It is always hard knowing whether an artist is going to ensure and evolve after the first single or two. In a heavy and busy market; getting people’s attentions is the biggest worry. There are so many options out there so, making an impact right from the off, is really something everyone wants to happen. How one does that is down to them but ensuring the music is original and big is, I guess, one way of doing that. In the case of Duke of Wolves; they go for the gut but are not one of the less-sophisticated and basic acts. What they do is combine classic riffs of Rock with something that marries Indie and Alternative. There are shades of black but they do bring colour into the palette. One of the biggest worries, in the early days for the London outfit, would have been crafting music that varied from their early stuff – that which pushed them on but kept the quality barometer high. The band managed to forge an identity early and, in doing so, knew exactly how their songs should come across. By that, I mean they were not endlessly toiling for that ‘perfect sound’. If you misfire with the debut single – or sound generic and predictable – there is a period where you are searching and formulating. This haphazard experimentation can put off a listener who wants something to bond with. If you hear an act that (un-deliberately) is scattershot and crosses too many genres – maybe that is a sign they are not quite ‘there’ yet. It is really hard concocting a sound that is instant and assured right from the off. The band did not form and then, a couple of days later, put out their debut. They spent time jamming and testing theories. From the days of Hollow Eyes and It’s Real; they have looked outwards and to characters, comedy and deeper subjects. Hollow Eyes was a fantastic song but, in terms of lyrics, the desire to have a relatable and classic-sounding template was evident.

PHOTO CREDIT: Bill Thomas

I bonded with the lyrics but find, in subsequent songs, they have broadened their pen and are looking at lesser-heard people, themes and ideas. Terry (The Serial Killer), as the name implies, had a very specific idea but, with the video too, brought some humour into the agenda – whilst keeping the music pretty real and stomping. Their latest track, Teddy Boy, in the way it alludes to looks, fashions and vanity – it seems to nod to past decades. Materialism and shallowness is something more evident and widespread in an age, now, where technology makes people’s lives open and exposed. The title puts the mind back to the 1950s, perhaps, and that is reflected in the song’s cover art – perhaps an angle they explore in the video? I can see how the band has matured in terms of their compositions and lyrics. They hit upon a fantastic sensation early but, rather than repeat themselves, have added new dynamics into the blend. There is a hunger to the band that reflects their name. They are carnivore and lusting; there is a lupine desire that means they push themselves with every new release. Making sure you are consistent and evolving is a balance that is really challenging. It takes time but, before you put a song out, making sure it is like nothing on the market is a key consideration. Duke of Wolves takes from Classic-Rock but never replicate it. They have their own sound and ideas – sprinkling this with beefy riffs and big choruses that have defined some of music’s finest moments. I am not sure whether the band is working up to an E.P. or are thinking of an album later in the year. I can see an improvement and strengthening with each new single. I cannot wait to see how their career blossoms and where they go from here. The London band have conquered one of the potential pitfalls: struggling to change and strengthen between tracks. If you are world-class from the start – which most is not – then that is fine but every act begins with a few rough edges. Smoothing those out is important and ensuring you can add something new to your music.

I will come to look at their latest single soon but, right now, wanted to address a big elephant in a small room. In today’s music, there are few Rock bands that really get under my skin. I have been looking around for future idols and can see very few options. I am not sure whether tastes and tides mean different genres are finding success. There is a big rise of Electro sounds and some fantastic Pop acts. I am pleased to see music changing and embracing new sounds. Actually, given the Mercury Prize nominations and it appears British Hip-Hop and Soul are really taking hold. That is encouraging to see but, take a wider look and one sees a lack of Rock options. I was, yesterday, chatting about The White Stripes and why their absence is so noticeable. I know Jack White is recording a new album but, his former duo, have long-since bitten the dust. I have a playlist of their best songs and, from their debut album to final bow, can see the changes and variegation. One can hear the undercooked and scintillating rawness of their debut and realise how inspiring and forward-thinking it was in 1999 – even if Jack White took a lot from older Blues and music of the 1970s. Go forward a few albums and the duo brought in new instruments and ideas. They continued to push themselves and ensure the music never became stale. It is the addictiveness and classic sounds they managed to craft that stand the test of time. Even on their final album, 2007’s Icky Thump, there were Scottish elements and Heavy Metal; all sorts of genres and sounds. They remained a Rock/Garage band but did not limit themselves to a particular form. I feel there are so many Rock artists who are becoming stale because they are not changing their sound. The simplistic and one-dimensional Rock sound is not going to impress people years down the line. So many acts are going to for the jugular-worrying hardness and epic sound. It gets a bit tiresome over time and suggests a lack of ideas. Bands like The Amazons, who were tipped for big things, showed a lack of differentiation and identity on their eponymous debut album. IDLES, a band overlooked for this year’s Mercury nominations, seem to have a lot more about them.

PHOTO CREDIT: Edyta K

They are an immense live proposition and one of the last bastions of edgy and sweat-inducing Rock. They have enough in their arsenal to suggest they’re going to remain for many years. Whilst I cannot see them employing the same sort of width and musical cross-pollination as The White Stripes; they are a solid and stunning act that has many fans. I see Duke of Wolves and hear a band that have the promise to, between albums, craft a White Stripes-like trajectory. Their debut, when it arrives, seems like it will be all about D.I.Y. Blues/Rock and something effective and uncomplicated. One imagines they will bring new elements into their music into subsequent albums. Maybe there will be White Blood Cells (The White Stripes’ third album) nimblenssness – an album that was more lush and varied but had that core sound – and then, further down the road, new instruments and elements (one need listen to Get Behind Me Satan and Icky Thump to hear how the duo progressed). Perhaps Duke of Wolves will not be as far-reaching but, in a scene where the monosyllabic Rock acts are dying and less-popular than before, there is the real need to push the envelope and bring in new sounds. It is quite sad seeing the dying-out of Rock and a lack of diversity. Maybe it is harder adding new dimensions to the genre but, with bands like Duke of Wolves, I can see some real promise. As they are now; their music has the same sort of gripping and physical aspect The White Stripes brought to classic records such as Elephant. One sees, in order for Rock bands to stick in the mind and revive the form; they need to learn from the likes of The White Stripes and one of the reasons they lasted for so long – because they switched sounds and do things differently on every album. I will come back to this point later but, hearing Duke of Wolves, I hope they think that far ahead and how future albums will sound. I love their music but fear, if they retain the sound they have in years to come – it might not ensure survival the same way as it would were they to bring new components into their music.

Not long now but, before getting to Teddy Boy, it is apt focusing on themes and ways to bring lyrical fascination into music. The song, as I will explore, tackles the way people focus on looks and what a person projects on the outside. How often does one look inside and bond to a person’s personality? Maybe there are those who will always be shallow and vain. In an age where social media is taking over; it is harder and harder to see people as actual human beings. We get advertising shoved down our throat and one wonders, given the digital nature of life, how easy it is connecting with people – let alone getting to know them on a deeper level, as it were. It is a subject that is being talked about in music and I am delighted Duke of Wolves are focusing on this. They could have gone for the easy and trite – another embittered love song – but has decided to talk about something important to them. Their songbooks have always employed unexpected avenues and it is another reason they are a fantastic act to watch. Whether they are looking at individuals and quirkier sides to life; the inequities and downfalls of a subject or wider themes – Duke of Wolves are a fantastic act that are broad and ever-changing. I can see this in their music which adds new colours and ideas between songs. I am excited seeing what their next track consists and where they go from here. On their fifth outing; it would have been tempting to revert to their debut and maybe looking at something quite anxious and suffocating. Instead, the band has cast their gaze to society and picking apart the shallowness and emptiness of life. That might be a bit of severe and heavy representation of Teddy Boy but it is an attack on the way we look at people on the outside – everything is about looks and images. Backing these lyrics is one of the most confident compositions from the band.

It seems Rock could really come back with a swing this year. I was left a bit disappointed by Royal Blood’s latest album, How Did We Get So Dark? It did not vary from their debut and, unlike that record, has not remained in my mind. It is clear, if they want to endure for years to come, they need to have a think about album number three. Putting new elements into their music; broadening it and shifting tone is the only way to get critics properly on broad. Maybe Rock is a genre that, if you go heavy and hard, it is impossible to be truly unique and original with every album. There are a lot of acts doing the same sort of thing and there is not as much room for manoeuvre as you get in other genres. There is always going to be a place for huge riffs and epic choruses so, with Duke of Wolves, there are ample opportunities. If Rock is becoming irreligious and weakening; the boys (and girl) of one of London’s biggest upcoming bands have plenty more to come. I know their music will take in new sounds and genres and that, in turn, will see their demand-stock increase. I hear there are whispers the band will be spending some time at one of London’s biggest music venues. There are great gigs for Duke of Wolves approaching and I know how determined the band is. I feel, in time, Duke of Wolves will be one of those festival mainstays and the London quartet is properly suited for all range of venues. They have a sound big enough to fill venues and get the summer crowds rocking. There is something sweaty and primal about the music that means it easily transitions into smaller spaces. Few acts are as adaptable as Duke of Wolves – so, it will be interesting seeing the type of spaces they play in the coming months.

I know the guys are ambitious but I wonder how long it will be until they start playing abroad. Maybe other U.K. cities are in their mind but, with a slew of singles under their belts, they will be looking further afield. I wonder if they have played cities like Manchester and Glasgow: areas that would herald their music and ensure they go down really well. I am not sure their U.K. ambitions but, being based in London, they have a wonderful city at their feet. The band has played some great venues around the city and they will want to capitalise on that. As they prepare new material and look ahead; they’ll want to keep busy and ensure their music gets to as many people as possible. I hope, when they can get the funds together, they consider Europe and North America. I see similar bands perform over there and getting a really good reaction. Europe, especially, seems like it would be very hospitable and welcoming. There are obvious nations that would bond to their solid Rock but, more than that, the people know a great band when they hear them. It is important, before then, to get that local training and reputation built. The guys have a great fanbase but there are areas and venues unconquered. Teddy Boy is a great chance for the band to tackle new spaces in London and built their reputation. It is the way they come across live that means people are hooked to their latest sounds. The band has been known to jump off things and really get the crowds moving. There is that physicality and epic swagger that means the people go away buzzing and satisfied. Few live bands leave such an impression so I urge the quartet to keep striving and take advantage of London’s wide and diverse live scene.

There is something modern-and-classic in the opening to Teddy Boy. The opening riff has binary gravel that means it switches to and fro – like a rapid see-saw that is gritty, grumbling and arpeggiated. It is a fast-moving and promising introduction that gets the listener engrossed. The song’s subject – the poser and mirror-hogging figure – is a teddy bear and softy under it all. Maybe, under the surface, there is a kind and honest heart but it seems like the boy is a bit vain and fake. Faison and false pretences are guiding the song and irking the frontman. The Queens of the Stone Age strands come through large in the initial moments. Frontman Jim Lawton has that Josh Homme-esque smoothness and falsetto croon that means the song has a familiarity right from the off. The percussion rumbles whilst the bass and guitar whip up a mixture of sounds and decades. There is the sway and cool of 1950s’ Rock but it has direct and urgent modern tones. The boy is flexing and quaffing his hair by the mirror. He likes a teddy girl and she, in turn, likes someone a bit rude and fake. One gets images of a man who sees himself as a James Dean-like figure who is the coolest human around. In a time where many are accused of shallowness and being image-focused; here is an exploration of someone who is creating a persona that is egregious, unseemly and a bit tragic. This sense of judgement and critique is perfectly represented by the band who keep the song fresh and bouncing. The percussion is hollow and punchy whilst the strings have a tautness and funky edge. Lawton ensures the vocal is engaging and emotive throughout. He does not keep his voice and dynamic singular and unyielding. When the story builds and changes: new tones come into the sound and he brings true personality to proceedings. One instantly bonds with the song because it has such a sense of fun and energy. The composition is not as snarling as earlier cuts from the band and shows their newfound sense of melody and contrition. There are sweeter female backing (from band member Sara, one would assume) and, I think, Orlando chips in with some vocal backing. It is his lead guitar – with Jim’s and Sara’s bass – that add the grit and cool that the sound represents. Tom’s percussion keeps things punchy and tight: together, it is an electric song that gets straight into the head and gets you singing along.

The body cannot help move as the hero continues in a questionable vein. He is “way past lying” and, when the chorus reaches, I notice some, dare I say, Pop elements. It is a lighter chorus than I am used to with the band and has a real sense of harmony and unexpectedness. They could have made it a huge and snarling chorus – full of accusation and bile – but they subvert expectation and provide something catchy and passionate. It seems things are past the point of denial and common sense. The boy is so engrossed in fantasy and delusion he is immune to any outside voices. I like the idea of a teddy boy and that older style. Maybe that title and idea seem to embody a general feeling of the fake and shallow. Not to suggest teddy boys past were deluded and bonding with something hollow. It appears, in this case, the soul of the hero is as empty as a pair of boots. I am not sure why he is like this but, maybe, it is a reaction to the image pressures of the modern day. Perhaps he is someone who needs to make a change and feels this new persona is a lot more confident and popular than his regular sense. I feel, conversely, he is a bit of a plank and someone who has been listening to the wrong people. The band are onto him and not keen to indulge any support and understanding.  It is hard to concentrate on the lyrics given the composition is so body-moving and intoxicating. You drink in the swivel and allure of the composition. The band has a fondness for Queens of the Stone Age but, rather than rehash their brand, they bring in British elements. I hear a bit of Muse’s Knights of Cydonia in the riff (the ending seems to have that sensibility) but there is that mantra – the boy is lying; no denying – and some incredible combined vocals. It is a rich combination of sounds but manages to retain simplicity. The band does not throw too many sounds into the song but keep things varied and nimble. The song has that twiddling and hectic riff; the lighter and open chorus and those accusatory lyrics.

PHOTO CREDIT: Hugo Lloyd-Winder

Put all this together and it leads to the fullest and most compelling song from the band so far. I can see they are pushing further away from acts like Queens of the Stone Age – in so much as their music walks too close to theirs – but retain enough to intrigue. Teddy Boy is a song that remains in the head and has a real kick in the tail. The lyrics get into the mind and you can appreciate where the band are coming from. Many of us know people like that (the song’s hero) and struggle to reconcile why they do this. The band is never too harsh but, at the same time, are aghast at the gall of the man. I am not sure whether it is a particular person who inspired the song – or whether a general commentary on certain types – but has interested me. I know the song will be really well-received and gain new fans. Teddy Boy has that distinct Duke of Wolves sound but pushes things forward. It is another confident and authoritative cut from a band who are growing stronger and more assured by the release. I cannot wait to see all their tracks combined into an album some day. Teddy Boy would be a great mid-L.P. inclusion and shows they are never willing to sit still and be content. A fantastic song from one of the strongest and most interesting bands coming out of London right now.

The band have a series of gigs before the end of the year but will, surely, look to get as much work as they come. Given the fact they have Teddy Boy out; this is an ample opportunity for the London band to get the song to the masses. I feel their gig at London’s The Borderline (on 2nd December) will be a pivotal date. By then, the song will be well known and, who knows, they might have another one out. It is a great venue and, I am sure, given the fact the weather will be cold and ‘British’’; people will want to come in and get a warm and uplifting blast. Before then, Duke of Wolves will be promoting their latest single and getting a video together. Before I take this down; I want to revisit a few of the ideas I explored in the opening. I will look at music videos and professionalism; the importance of evolving Rock and deeper song – but I will start by talking about where the band go from here. I can see an album arriving from the London four-piece before too long. Already, there are five singles under the belt and great plans afoot; it is a great time for the guys. They will be headlining The Social in celebration of releasing Teddy Boy (officially out 18th August). If you can get to that gig/launch on 31st; it will be a chance to see one of the best live acts in the country perform. They have been compared to Queens of the Stone Age and, considering the U.S. band release their new album, Villains, very soon; it is a great month for swaggering, PROPER Rock. I have been a little underwhelmed by the proliferation of soulless Rock acts that seem to rely on easy riffs and volume. Duke of Wolves are different and add melody and variety to their music.

It is hard deciphering which Rock bands have potential to endure and those who seem resigned to short-term success. I have mentioned The White Stripes with good reason. Too many Rock bands stick to drums-guitar-bass-vocals and make their music simple, meaty and stadium-sized. They continue this throughout every album and keep their lyrics basic and unsophisticated. That leads to a scene that lacks any nuance, sophistication and future-promise. Going back to the U.S. legends and it seems few artists are learning from them. They are a unique duo but that does not mean modern artists cannot learn from them. If you chart their albums and progression: each new record brought new stories and sounds to the plate. That basic and stripped debut was foreign when compared to their fuller and more mature finale. Between then; Jack and Meg created some of the finest music of the past two decades. Maybe it was the fact there was two of them – and it was quite compact and uncomplicated – but know they are so successful and important because of their music and how original it was. Every album has its vibe and covered so much ground. If they had simply repeated their debut album then they would not have lasted as long as they did. Take another act like Queens of the Stone Age and, again, a band that manages to make every album different. I can see a lot of promise in Duke of Wolves and know they will not fall into the same traps as many of their peers – simply rehashing Rock’s rulebook and not adding their own personality to it. There are a lot of promising bands who are making original and bold music – they might not get the same focus as others; many going unnoticed in the underground. Rock is a genre that is flagging and not as healthy as it was years ago. I am not sure why this is but it is a combination of sameness and the popularity of other genres. The only way Rock is going to regain its crown and prosper is for acts to think more clearly and add more to the music. Duke of Wolves are doing this and, in addition to having melodic sensibilities, have a set of lyrics that stray far beyond the cliché and predictable.

This all bodes well for the band and their future aspirations. Teddy Boy looks at shallowness but has a sense of delusion and ego. It digs deep and addresses a common concern but seems to allude to individuals and the way they kid themselves. The band, so far this year, have already played Isle of Wight and Camden Rocks. Their music is resonating and connection with the people. Long may that continue and I think it will. The band is eager to keep fans updated and provides a window into their creative process. They produce sensational videos that vary from self-portrait pieces – the guys playing and caught on film – to more narrative-driven pieces. They do funny and comedic elements shoots but can do serious and intense. This is a side of music that is underrated and under-appreciated: filming good videos that show what a song is all about. So much of an artist’s popularity stems from YouTube they cannot ignore the importance of the form. I will wrap this up but am excited by a band who are rising through the ranks with impressive aplomb. London is a great city for them to carve up an empire and seduce the people. They have already achieved a lot in their careers so far but want to do a lot more. I know there are exciting gigs coming up but, with the arrival of Teddy Boy; the band will have more opportunities before them. Get to the single launch on 31st of this month and witness an exhilarating and exciting new force. With many questioning the stability and validity of Rock in modern music; bands like Duke of Wolves prove that…

 IT has the potential to rise and regain its dominance.

_______

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PHOTO CREDIT: Bill Thomas  

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