INTERVIEW: Dog in the Snow

INTERVIEW:

 Dog in the Snow

________

BRIGHTON is a fertile Muse and a city…

producing some of Britain’s most original and passionate musicians. This is the case with Dog in the Snow. I speak with Helen – the woman behind the moniker – and what it is about Brighton that provokes such consistently alluring music. She talks about the new single, Child, and the story behind it. The song is taken from the album, Consume Me, so I was keen to know about the album’s creation and the ideas that go into it.

She will be touring alongside (former Cocteau Twin) Simon Raymonde’s side-project, Lost Horizons – the dates and venues we can catch Dog in the Snow play. I ask Helen to choose the albums that have impacted her most and the musicians that have influenced her most.

_________

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

All good here, thanks!

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

I make music and write songs under the moniker 'Dog in the Snow' - and am currently based in the seaside city of Brighton.

What is the story behind that moniker, ‘Dog in the Snow’? What does it represent to you?

It's inspired by The Trial by Franz Kafka – specifically, with what happens to the protagonist at the end of the novel and his final exclamation of “Like a dog!”

I liked the darkness and existentialism I felt behind that phrase  - and how that actually contrasts with how surface-level cute one may assume the project title is.

Child is your new single. Can you reveal the story behind it?

I was just thinking about the idea of protesting in the twenty-first-century and how you can still feel powerless.

I grew up in Singapore, where it is illegal to protest (unless you ask permission beforehand, which very much defeats the purpose) - and I still feel just as powerless as I did then.

So, I thought; in a very idealistic way, wouldn't it really say something if every woman in the world just refused to have children - until humanity actually sorts its short-sighted, patriarchal; selfish bullsh*t out.

That'd really put the ball in our park.

How easy was it to put together? Did you have to slowly piece it into a whole or was it quite a quick process?

It was very quick!

I wrote the words, phrases and ideas to the whole ten songs when I was out touring in the U.S. - in my friends' band, Fear of Men, last year. When I returned; the melody and structure for every song was very intuitive.

I can't really even remember the specific writing process to Child. I definitely remember that recurring bass-line coming first, though.

The song seems to gain control of your body – not be threatened to express, reproduce and do as you please. Was there a particular occasion or event that compelled the song?

Nothing personal - nor any particular event.

A lot of my ideas stem from more universal thoughts and happenings - which I, then, try and break down.

 PHOTO CREDIT: Clémentine Blue

It seems like it is a protest song and, in a humorous way, rallies against discrimination and judgement. What is your view on the way we live - and how issues like sexism are treated? Is it something that needs to be tackled more proactively and productively?

All forms of discrimination need to be tackled all the time until the end of humankind...

Society still thinks it can find its identity in the archaic ideas of borders and boundaries. I think that's where the problems stem from.

Child is taken from your album, Consume Me. What sort of themes do you address in the album? How influential are subjects like consumerism and human connection to you?

Finding the ‘real’ in the consumerist-age is a goldmine of ideas and thoughts; they most certainly have influenced the album. Environmental issues are a big influencer, too. How will humanity continue to sustain itself on this unsustainable path?!

The fact that climate change can still be denied as fact is ridiculous.

Give me an insight into your beginnings. Who were the artists you grew up to and fell for at a young age?

I was born in the U.K. but I spent all of my childhood and teenage life growing up in Singapore.

It was an interesting place to grow up in: always mixed feelings. I was a massive Neil Young fan from a very young age but was then side-lined for a few years by MTV during my teen years. I started to think, maybe, I could try and create music after my dad introduced me to Sufjan Stevens' Illinois album – which, thankfully, put me back on track...

Sufjan's music allowed me to really think about melody and arrangement in a way no other artist has.

Brighton is your pace and, to me, a place one can reconnect with humanity and feel at peace. What does the city do to you and why are you based there?

No doubt, being by the sea creates a sense of re-invigoration and calm: it's most certainly part of the reason I'm here - amongst more practical things.

The city does have its problems - as does everywhere else, though. There's a lot of homelessness, which I've noticed has gotten worse over the years.

How inspiring are the people and musicians of Brighton to you?

Brighton is a bit of a conveyer-belt when it comes to musicians: a lot of the people I used to know here have all moved away. There's a lot of people in Brighton, who I find inspiring, for sure, but I don't see it categorised nor different - because of them just being in this city.

PHOTO CREDIT: Rob Orchard

In the past, you have supported artists like D.D. Dumbo. Does it feel weird seeing how far you have come and how positively people are responding to your music?

The music world is far too saturated for me to ever feel weird about my music being out there. It's, of course, nice when people find a connection and appreciative understanding of it.

Can you reveal the tour dates coming up and where we can see you play?

I have two headline L.P. launch-shows and, then, I'm going on tour with Simon Raymonde (Bella Union boss and Cocteau Twins)'s new project, Lost Horizons. I'm, also, part of the live band - so it's a double-duty for me!

25.10 - Human Performance Presents: Dog In The Snow, London†

28.10 - Spectrum: Dog In The Snow LP Launch, Brighton†

18.11 - Lost Horizons at the Rialto, Brighton*

19.11 - Lost Horizons at The 100 Club, London*

20.11 - Lost Horizons at Brudenell Social Club, Leeds*

21.11 - Lost Horizons + Dog In The Snow, Manchester*

23.11 - Lost Horizons + Dog in the Snow (Ex Cocteau Twins), Ramsgate*

†Album-launch show

*Supporting Lost Horizons

IN THIS PHOTO: Mother Me/PHOTO CREDIT: Pandora Jane

Who are new acts you recommend we check out?

There's a lovely Brighton Indie-Pop duo called Mother Me who makes delicate, but powerful, tunes.

/please/, from Bristol, is the project of Ellen Davies…dreamy gems.

Tony Njoku, from London, is super. If you ever get a chance to see him live, I really recommend it.

IN THIS PHOTO: Tony Njoku/PHOTO CREDIT: Theo Williams

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

Mirrorball by Neil Young (and Pearl Jam)

The album I used to be obsessed with as a child. I used to invite friends to my house; play the album and jump maniacally on the sofa. They never returned.

Come on Feel the Illinoise! by Sufjan Stevens

It turned me on to creating music. Chicago was, maybe, one of the first songs which made me cry.

Actor by St. Vincent

I loved the story that Annie Clark wrote this all on GarageBand with headphones on - because her neighbours wouldn't let her make any noise. That's when I started properly paying attention to recording software; writing, recording; arranging on the computer.

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

Work really hard; don't expect anyone owes you anything. Do it because you love it.

If you want to make money you're in the wrong profession. Oh...and appreciate people and be nice, please!

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).

4 DEGREES by ANOHNI

________

Follow Dog in the Snow

Official:

http://doginthesnow.tumblr.com/

Facebook:

https://www.facebook.com/doginthesnow/

Instagram:

https://www.instagram.com/doginthesnow/?ref=badge

Twitter:

https://twitter.com/doginthesnowuk

SoundCloud:

https://soundcloud.com/dog-in-the-snow

YouTube:

https://www.youtube.com/user/doginthesnowuk?feature=mhee

FEATURE: Lady Gaga: Taller than Most

FEATURE:

 

Lady Gaga:

  Taller than Most

________

OVER the past few days…

PHOTO CREDIT: Kevin Mazur/Getty Images for Live Nation

Lady Gaga has been teasing clips from her forthcoming documentary Gaga: Five Feet Two. The Pop megastar reveals, in clips and in the documentary, is seen as larger-than-life but, in reality, is very human. I wanted to look at why the documentary is so important and how Lady Gaga, in her revelations and bravery, is going to inspire so many other people out there. Before that, thanks to Billboard for summarising; a look at what one can expect:

“Lady Gaga is hitting a screen near you come September with an original Netflix documentary calledGaga: Five Foot Two, the pop star announced in a series of teasers on social media today (Aug. 24).

“I’m known for being larger than life, but really I’m just… #GagaFiveFootTwo,” Gaga tweeted, posting several raw, intimate trailers that offer a rare glimpse into the off-stage life of the "Million Reasons" star.

The first visual features a tearful voiceover of the singer confessing her loneliness: "I'm alone, Brandon, every night. And all these people will leave, right?" Gaga says. "And I go from everyone touching me all day, and talking at me all day, to total silence." Then, in the captivating second video, we watch the singer ascend on stage wires for her Super Bowl performance earlier this year”.

There is a lot to suggest things in Lady Gaga’s world might not be all that bad. Billboard have looked at her recent tour – in support of the album, Joanne – and the success it has brought her. The article addresses how lucrative the American singer is right now:

“The first box office counts of Lady Gaga’s Joanne World Tour have been reported to Billboard Boxscore, with $8.7 million earned from the trek’s first five shows. (See Hot Tours ranking, below.)

The Joanne World Tour kicked off on Aug. 1 at Vancouver’s Rogers Arena and is slated to play 59 shows through Dec. 18. (The tour has 53 arena shows and six stadium shows on its schedule.)

With sellout crowds in attendance at the first four venues on the 20-week trek, the tour took in $8.7 million in ticket sales at the box office from 78,530 sold tickets at five performances, based on reports by promoter Live Nation”.

There are two sides to Lady Gaga in a life that is far from binary. Many assume, looking at Pop stars and the success they accrue, are going to be adjusted, satisfied and smiling all the time. One does not realise how draining and demanding a modern music career can be. Gaga has not long let the dust settle from her headline appearance at Wrigley Field and the historic nature of that. She is the first female to do so – her social media feed attested as to how tiring it was – and attacked that responsibility with passion and courage (“Welcome to the mother*cking womb” was her bellicose lay-down to any doubters). There is no denying her status and celebrity has helped her become a pioneering and groundbreaking artist. Joanne is Gaga’s most-recent album (2016) and, by some, seen as a mixed affair. One cannot argue with the figures and performance of the record upon its release:

In the United States, Joanne debuted at number one on the Billboard 200, selling 170,000 copies in its first week, and 201,000 total album-equivalent units according to Nielsen SoundScan. It became Gaga's fourth album to top the chart following Born This Way (2011), Artpop (2013), and Cheek to Cheek (2014). The album also was 2016's second highest debut for a female album in the nation after Beyoncé's Lemonade opened with 485,000 copies. As a result, Gaga became the first woman to have four US number one albums in the 2010s.[128] The album-equivalent units for Joanne consisted of 135,000 song sales and 26 million streams along with the traditional 170,000 album sales.[129] The debut of Joanneprompted Gaga to rise to number 1 on the Billboard Artist 100 chart, which measures artist activity across the publication's most influential charts.[130]

The album sales dropped by 70% to 61,000 units in the second week, consequently it fell to number 5 on the Billboard 200.[131] By April 2017, the album had scanned 515,000 in sales.[132] Following Gaga's Super Bowl LI halftime show performance, Joanne arose 66–2 on the Billboard 200, selling 48,000 copies and 74,000 total album-equivalent units (up by 818%).[133] Joanne debuted at number 2 on the Canadian Albums Chart with 17,500 album-equivalent units, behind Leonard Cohen's You Want It Darker. According to the Canadian SoundScan, the album had the third highest on-demand streams in the country.[134] On November 4, 2016, the album was certified gold by Music Canada for shipments of 40,000 copies in the country.[135] Like the United States, the Super Bowl performance also had an impact in Canada, where Joanne vaulted from 54–2, making a total of 524% gain in album-equivalent units.[136]

PHOTO CREDIT: Beats 1 Radio

In the United Kingdom, Joanne debuted at number 3 on the UK Albums Chart, with first week sales of 26,694 copies, behind Elvis Presley's posthumous release, The Wonder of You, and Michael Bublé's Nobody but Me.[137] On the UK Album Downloads Chart, Joanne entered the chart at number 1. It also reached number 2 on the Official Albums Streaming Chart, and number 5 on the Official Physical Albums Chart.[138][139][140] The following week, it exited the top-ten, dropping to number 14, with sales of 9,602 units.[141] As of February 2017, the album has sold 90,624 copies in the nation, and has been certified Gold by the British Phonographic Industry (BPI) for shipping 100,000 units.[142][143] Following the Super Bowl performance the record moved from 88–11 on the chart with sales increasing to 5,289 copies.[144] Joanne debuted at number 3 on the Irish Albums Chart.[145] The album had a less than expected debut in France, where it entered the album chart at number 9, with sales of just over 8,000 copies. Pure Charts website theorized that the moderate performance of the lead single, "Perfect Illusion", and the absence of Gaga in the media during album release week, contributed to the low debut.[146] By the year end, they deemed Joanne as one of the commercially disappointing albums in France, achieving total sales of 12,000 copies.[147]

Critics noted how strong Gaga’s voice is throughout the album and the genre-fluid nature of the material. It remains a strong album and one with plenty of highlights. Gaga co-produced the album with Mark Ronson and BloodPop and, between them, managed to make songs like Perfect Illusion, Million Reasons and John Wayne as strong as any material in her back-catalogue. Some felt the songs and themes addressed were too calculated and meticulous – perhaps, not as much freedom and independence as her earlier records. I am not a huge fan of Lady Gaga’s music but appreciate the effect she has on her fans and how different she is when compared with the Pop mainstream. Joanne is a more stripped-down affair than Artpop (her previous record) and veers between Dance-Pop and Country songs. There is more sophistication and vulnerability on the record. The bangers and dancefloor classics have not been abandoned: they have been mixed inside more adult and personal tracks. There is only three years between the albums but a lot happened in the period between the records – more on that later. Joanne, maybe, signals a new direction for Gaga: from the eye-catching Dance-Pop leader to someone taking the lights down – and the volume – and less constricted. Joanne allows energetic expression but it has time for softness and tenderness. It is less concerned with fitting into moulds and repeating what has come before.

PHOTO CREDIT: Ruth Hogben

It is Lady Gaga’s first two albums – The Fame in 2008 and Born This Way in 2011 – that took her from obscure singer to a global icon. Her debut, with a few co-writers/producers, possessed plenty of hits and distinction. Paparazzi, Poker Face and LoveGame as solid and original and fresh Pop hits that shook up the scene and introduced a rare and colourful plumage – an artist that did things differently and provided a definite degree of interest and fascination. I remember when that album arrived and, not a fan of Pop at the time, was drawn to the talk and attention the album was afforded. Irony-filled, huge and dramatic: no surprise the record topped the charts in multiple countries and sold by the bucket-load. Three years is a long time between releases but, from 2008-2011, Gaga was working on new material and bringing styles like Rock and Electro into the mix – making sure she retained her identity but evolved between albums. Sexuality, freedom and religion are all addressed on the record and, from its alluring and biker-chick cover - is a sexier and more defiant work. The step-up in quality and confidence can be heard on songs such as Born This Way and Judas. There was criticism of the album – its brazen use of religious imagery (mixed with sexuality) offended some corners – was washed away by a sea of positivity.

Even those critics outside of the Pop world – NME and a lot of the broadsheets – poured praise on the record and how passionate Gaga is throughout. Every song gets an epic and personal performance full of excess and strength. Each song is nailed and there is so much life and drama. Judas is one of the best songs from the past ten years – regardless of any genre and artists. From four-on-the-floor House to Disco; Funk and Soul; Pop and Electro – so many sounds and genres seamlessly stirred and poured into an incredible album. Themes look at racial equality and feminism; equality and strength in society – not judging people and challenging those who do wrong and are insincere. Not only are albums like The Fame and Born This Way accessible and popular Pop albums – they are a lot deeper and sophisticated than most of what is out there. It is small wonder critics were impressed by the wisdom, depth and potency of the lyrics. I love the music and the performances but it is what Gaga sings about that endures. She is not someone that wants to leave the serious and hard-hitting at the door. Even from her debut; her music has challenged stigma and broken down barriers. It is important providing music that gets into the heart and head but, one of the big reasons her fanbase included a wide range of ages and sorts, is the fact her lyrics were/are brave and compelling.

To people like me – men who are a bit older – there is a lot to take away. Each of her albums has gained enormous success and, at either end of the creative process, there is a lot to take on and do. The work-rate required to record the songs – from someone who puts her all into the music – is enormous. After that; Gaga would promote and tease songs from the record. Interviewing and promotion right unless release date – it is an exhausting and never-ending circus of sound-bites, articles and repeated answers. Behind all the glamour and excitement of the record, one has to remember she is a huge artist whose time and body are demanded by all. There would not have been a lot of time for her to decompress and detach from music at that time. When the albums were released; there was the promoting, still, and tour dates. It is when the recognition and sales come when the pressure mounts. It is rewarding being an inspiration but there is a downside to the allure and acclaim. Those big world tour – she is on one right now – are necessary to ensure people around the world get to see their favourite star up-close and personal. From the U.S., she travels across the continents and to thousands of people. Ferried between towns and locations for the people: what is the true toll on the person in question?!

PHOTO CREDIT: Greg Noire

I did not want to get too involved in the blow-by-blow of each album for a number of reasons. There are those big videos and songs online – and will include a few at the bottom of this piece – and we all know the chart positions and how the albums were received. If one wants to know the themes, producers and complexities of those albums - they can look on Wikipedia and fill their boots. I wanted to talk about the positivities around the music and how affecting her music is. Lady Gaga is the antithesis and remedy of the shallow and vacuous Pop performer. There are so many who flaunt their bodies and are addicted to Instagram and whoring after fame. This is a cancer that needs to be eradicated because it means artists like Lady Gaga are being lumped in with them. To me, her music is maybe second or third down the list of reasons why she is so essential and influential. The girls and young listeners who take her music to heart are not repeating mantras and choruses aimlessly. They are connected with a very real and human personality who reveals a lot about herself. I mentioned how the tours bring pressure but that is only the tip of the iceberg. Every new album campaign and cycle is exhausting and hugely involving. Artists like Gaga give their everything and are dragged around the world. There is not a lot of time to see family or take time to relax. Scrutiny and pressure is on their shoulder.

PHOTO CREDIT: Harper's Bazzar

If one looks a typical interview - there is that demand to be professional and keep everything on-point and not too offensive. People want to know about the music and what goes into it but not a lot about the artist and what they are like away from music. There are few asking how Lady Gaga handles the endless pressure and what she is like away from the glare and excitement of performances. Away from the multi-million-dollar revenue and success of her tours: there is a vulnerable and real woman that people forget about. A U.S. video questioned whether Lady Gaga should reveal herself so explicitly in the documentary. Those seeing clips are wondering whether that brutal honesty and no-holds-barred aspect to her personality will have a negative effect on her fans.

PHOTO CREDIT: Lady Gaga

I do not feel there is any consideration of her fans: the people who love her will watch it and give their hearts and tears to her. She is not looking to exploit her celebrity and get attention from anyone. I implore people to search YouTube and Google for interviews she has conducted over the years. There is rarely a sense of struggle and someone suffering beneath it. Every time she gives an interview there is something memorable to take away. She is such a fascinating personality but, to many, she is a ‘brand’ – not someone who warrants any safeguarding and human connection. So many want to trip her up and ask asinine questions. The reason Gaga: Five Feet Two is causing ruction is because it is the result of a young woman showing people she is as real and relatable as anyone out there. If an ordinary human made this documentary, there would be few objections.

PHOTO CREDIT: Harper's Bazaar

It is upsetting seeing a famous person reveal themselves with such brutality and lack of filter. I am going to be interested seeing how the Netflix documentary is received and how her established fanbase takes to it. Most will applaud her courage for tackling mental ill health and the downsides of fame. We all know about Lady Gaga’s anxiety and the fact she has wrestled loneliness and demons for many years. This is not a new occurrence but has exacerbated since she came into music. The more successful she gets; the worse her depression and anxiety become. I know many people who feel a personal connection to Gaga because she represents a struggle many of her fans go through. Seeing a star articulate the issues and problems many keep closeted: that provide so much heart and comfort to them. If musicians shut themselves away and maintain a smiley and one-dimensional façade – this is going to give false impressions to the people who love them. Recent suicides – Chris Cornell and Chester Bennington – have shown how musicians, we feel are okay and successful, take their own life. How culpable are we, as fans, for the downfall and emotional torment some of our most beloved musicians face?! One cannot exculpable themselves but, naturally, the problem is more complex than a simple accusation. As a social media obsessed generation; we are becoming less connected with humans and a lot more demanding. Lady Gaga is a champion for mental health and wants betterment and restructure. She knows the profound and prolific problems people like her face and the need for conversation.

PHOTO CREDIT: Harper's Bazzar

Many of us see the glamorous, gorgeous and successful young woman fill stadiums and see her albums go to number-one. The snippets from her 22nd September-due documentary highlight one clear-cut fact: Lady Gaga feels very alone. She has millions of adoring fans but, when she goes home at the end of the day, she feels alone. Maybe love and realistic relationships are impossible given her position and the fact her every move is scrutinised means she cannot really enjoy the benefits of a conventional and substantial relationship. Maybe there is physical gratification but she is not someone going out and spending the night with random men. She wants a long-lasting and true relationship. Not only to make her life feel complete but relinquish a lot of the burden she has on her shoulders.

The endless glare of the paparazzi – the same she was documenting on her debut album – will not let her be and, as we have seen, judge her when she is open to the public. I laid out the sales figures and the commercial success of Joanne because it shows the numerical value of her success – without addressing the personal costs. Those numbers and are black-and-white and seem, in the media’s eyes, to define an artist. Gaga has earned her places as a revered and special human because she offers help and support to so many – supporting the L.G.B.T.Q. community and making anxiety and loneliness more visible. The reason Gaga: Five Feet Two is so important is because it lifts a lid on the realities of modern music and how we treat artists – never considering how they feel and how fame affects them.

IN THIS PHOTO: Lady Gaga speaking at a vigil for the victims of the shooting in Orlando on the steps of City Hall

Gaga is someone who is like you and me – albeit, blessed with incredible talent and passion for what she does. It doesn’t matter how much money she makes and how her tours do. That is a reaction to her popularity but that, in turn, is the catalyst for a sense of expectation and isolation. If the likes of Chris Cornell had been given the chance to reveal their depression and fears in a documentary – would his life ended as soon and heartbreakingly as it did?! That is for debate but I think it is brave and much-needed having an artist as big and known as Lady Gaga (literally) showing her bruises and scars to the camera. We get so absorbed with social media and how meaningless it can be. Even typing this, I am being grated like cheese - given the fact so many people post so much crap. From endless videos and pointless sharing: there is nothing social and real about it. That makes isolation less visible and meaningful – compared to ridiculous videos and status updates. Lady Gaga’s existence is based on streaming figures, dollars and fans – she is rarely afforded the chance to tell her story and ask for time off. Her documentary is not a cry for help or a cheap publicity stunt. It is an ego-free and uncompressing examination of a complex human who, despite her wealth and tremendous backing, does not feel as supported, loved and enriched as she would hope. In 2017 – when there is still a stigma around anxiety – we need more revealing documentaries to make one aware of the extent and reality of mental illness and the simple devastation of loneliness.

PHOTO CREDIT: Beats 1 Radio

One cannot objectify and question Lady Gaga’s aims or feel it is too revealing. We show films with all manner of sex, violence and profanity but when it comes to real and more common incorporations – menstrual blood, the realities of council estates and struggles in communities – that is overlooked. It is not ‘cool’ or what the media want us to see. Yes, anxiety is not fashionable but, then again, how much irony would there be if a star like Gaga succumbed to her loneliness and that was spread in the media. There would be a combination of gaudy voyeurism and trolling – mixed with genuine heartbreak and questions. People would ask why this happened and whether we could do more. This, as I said, is not her cry for help or giving up: a portrayal and expose of a person who is very different to the brash and confident artists commanding stages around the world. The media is so obsessed crunching numbers and spreading rumours. They are relatively uninterested in personal struggles as that, they see, is not part of their job and appeal – feeling they have fame and success so what do they have to be upset about?! Breaking these arguments down – and opening minds to physiological issues becoming rifer in music – is a big and positive step towards better mediation and awareness. Lady Gaga, in her music and humanity, has given so much to the people. She is, as the documentary states, a mere five-foot-two but, in heart and courage, is a giant of a person. Gaga: Five Feet Two will spark debate so let’s hope it is more positive than negative. Despite her loneliness, pains and struggle: Lady Gaga is certainly a hell of a lot…

TALLER than most.

TRACK REVIEW: Party Fears - Sun King

TRACK REVIEW:

 

Party Fears

IMAGE CREDIT: @etags_desig

 Sun King

 

9.3/10

Sun King is available at:

https://soundcloud.com/igotpartyfears/sun-king

GENRES:

Indie; Pop; Punk

ORIGIN:

Berlin, Germany

RELEASE DATE:

27th February, 2017

Performed by Maggie Devlin, Alberto Alba; Mike McGrath, Tyler Ryan; Rhiannon Shepherd and Brad Wheeler

Produced by Brad Wheeler, Robert Kelly and Maggie Devlin

Engineered by Brad Wheeler at Union Studios, Seoul

Mastered by Richard Bradley at Long Range Mastering, St John’s, Newfoundland

Mixed by Robert Kelly at Union Studios, Seoul

Cover photo by Rah Petherbridge Photography

Design by Adam Brennan

The album, Party Fears, is available at:

https://igotpartyfears.bandcamp.com/album/party-fears

_______

THERE are a lot of things to cover in the review…

but, to start, a couple of points that need addressing. I will speak about artists that move location; Berlin and why it is becoming popular; Pop bands and different sounds there; feminism and using music as a useful platform – a bit about variety and mixture of bands (in terms of nationality and tastes). I want to start with social media and organisation as, again, it is something I am forced to bring up. Party Fears are a great band but, looking at my diary for the next few weeks; there is a notable and evident problem that I see: artists not really covering social media and organising their links into one. It is something I often bring up but, for artists, I think is quite useful. One of the most important things I must stress for artists is how disrupting and inconvenient it can be having to scrabble around for social media links. I know Party Fears have lots of sites but, if you are going to discover them all, one must not have to hunt for them. I have had to go to their Facebook and then do a Google search for the remaining sites. They do not have, as far as I can see, an official website, so it is incumbent on them to put all the relevant links on Facebook – or SoundCloud, if that is easier. In any case; they need to make it easier for people like me to see where they are and where I can discover their music. If one has to work hard to put the piece together: that means a certain annoyance will come in and it means I go elsewhere. I have a lot of positives to cover but, in an age where competition is fierce, it is things like this that can see an artist slip behind the pack.

The artists that impress me most are those who have a rich and well-stocked social media portfolio. They might have an official website but, in any case, ensure there are loads of good photos and information on Facebook. For Party Fears; the music is terrific but there is little known about the guys. Unless you track down management/P.R. companies – how it one likely to get the necessary background about them?! I know they all emanate from various areas but, when it comes to their histories and favourite sounds – there is nothing to suggest what they would be and anything to do with that. Photos are numerous but, in terms of quality and variation, it is quite tricky. The photos I have used are the best I could find but it would be beneficial for the band to get some professional shots done and get a lot of current, good images shot – the ones they have, the good ones, are older, in any case. That would give people like me more to work with in a review and provide a visual representation of them. All those social media links and music-sharing websites need to be central and easy to access. If they balance this with a full biography and links to interviews – this would afford them a fuller cupboard and be much more attractive to reviewers/journalists. It sounds like I am having a go but there are so many promising artists that are failing to require something as elementary and easy as this. The next few reviews I have are pretty light in terms of visuals and information. The thrill of finding an artist that has loads of images and great background information is rare. I wonder whether musicians are relying too heavily on music and forgetting how influential social media is. Speaking with Party Fears’ drummer, Eilis, it seems like there is a lot of excitement in the camp. That is pleasing so, with the group becoming more determined, they will need to get their online sites fuller and more information-led. Their music is fantastic but, to stand ahead of the competition, getting these areas addressed is crucial – as soon as possible, really.

I said there were positives so, after a bit of a telling-off; moving on to them. Looking at Party Fears and where their members hail from – there are so many different nations in the camp. I will come to look at that more, soon, but, given the fact they are based in Berlin, it means they are in a wonderful city for music. That wasn’t always the case and, rather oddly, they were based in Seoul. If one looks at South Korea; you will not find a lot of bands like Party Fears. Maybe there are but, doing a quick search, it seems Pop rules the roost. Girls’ Generation are the biggest Pop force in the country. The nine-piece are a sensation there and command huge audiences at their gigs. Bands like BIGBANG and Wonder Girls have gone down in the country’s history and made a huge impression on the music scene. It seems K-Pop and mixing Western Pop with Eastern imagery/culture seems to be a popular currency. I can understand why a band would move to Seoul but, in terms of opportunities, it really depends on the kind of sounds you are producing. For Party Fears; they have a Pop aesthetic but it is less commercial and twee than a lot of Korean artists. They have an importance and socially-aware palette that needs a more aware and multi-cultural audience. It is pleasing to picture Party Fears in the city, playing to the people. I have never been to Seoul so I am not too sure how varied and deep the music scene is. I get views of Pop and something quite sugary but, in actuality, there are quite a few genres represented there. The biggest move was when they all convened to Berlin and settled in the German capital. That is a radical and unexpected shift. The mindset to go from Asia to Europe is quite dramatic. It is important to keep moving and go where you feel most comfortable because, I feel, too many of us get stuck in a rut and remain somewhere we are unhappy. The band, knowing Berlin is a more stable and opportunistic base, upped sticks and are settled in a wonderful city.

I see a lot of artists who move cities but, largely, this is in the same country. There are a few that move across the seas but few are quite as itinerant and bold. If I were to depart the U.K., I would either go to L.A. or Melbourne. The former has that wonderful music scene and is a perfect slice of the U.S. West Coast. There is so much for a musician/music-lover to discover there and is a very attractive possibility. Melbourne has a full and variegated music scene and, like L.A., boasts warm weather, wonderful sites and a great way of life. I could, down the line, see myself going there and spending a few years in either area. The U.K. is great but it is important to keep moving and experiencing different parts of the world. That is the only way one can become fuller and a more rounded human. Party Fears’ lineup mixes nationalities so they needed to go somewhere that has like-minded internationalism and blend. Berlin seems the perfect place for them to push their music and learn. There is evidence to suggest the band have a bright future so Berlin, with all its venues and fellow bands, is a lot more promising than somewhere like Seoul. I have spoken about the city before and am always struck why people move there. It is not a bad place – one of the best cities on Earth – but I never really considered all its merits and sides before. I guess, in music terms, there is a growing scene and so much diversity. It is appreciable and understandable Party Fears decided to make their home here as the city is bursting, vibrant and safe. Moving and relocating can be unsettling but, when you get it right, it makes a huge difference. I hope Party Fears have found their home and are very settled in Berlin. There is a big community in Berlin and they are in the perfect place to build their music and get it to the people.

There is something about Berlin that is luring a lot of artists in. The last artist I interview – that moved to Berlin – decamped from London and now feels he is in a better place. There is less stress and it is a more affordable way of life. Maybe the music scene is not quite as impressive and varied in Berlin but there is something about the politics and buzz of the city that pulls you in. More democratic and secure; the people a little less harried and pushy – this can make a huge difference to the mindset. If you are in a place you feel secure and relaxed; this has a profound effect on the music and the creative outlook. Party Fears, with their eponymous album, seem to take from their past and present but it feels like an album about where they are now and hope to head. I mean, there is not going to be a geographical shift but, given they are in Berlin; I feel they will exploit the city and make good use of all the venues they have around them. I will not go too much into Berlin – as I have covered the venues and artists in previous reviews – but I feel the way of life and people there are as appealing as the music coming out of the city. The average Berliner, compared to a Londoner, would be, I guess, more polite and a little less physical. London is the best city for music, in my mind, but, because of that, it is more compact and busy than any other. That stressed nature means many people are finding living quite stressful. Many are leaving the city and going somewhere else. The band started when Northern Irish native Maggie Devlin moved from Seoul and, with her, brought Australian Eilis Frawley with her. I know the guys have a mixed and fascinating line-up in the band but it is those ‘central’ duo that inspires me. They have conducted interviews speaking about Berlin and their transition. Seoul, it seems, is still in their blood and a bigger factor on their music than Berlin.

IMAGE CREDIT: @natalisucks

It appears there were some great bands in South Korea they jammed with. The way of life there is vastly different to where they are now. I stated how peaceful, compared to London, Berlin is but, perhaps, there is still a lot of stress and issues in the Germany city. It is a cosmopolitan area so, as such, you will get a lot of rush. I feel, long-term, Berlin will be a better fit because it brings to mind another band. ZAP!/Zap! (depending on how angry you are) is a trio that brings together Australian and Greek roots. Its lead currently stars in the Trivago adverts and the band provides a sound quirky and fascinating. You will have to check them out but they moved from Australia and are based in Berlin. It seems they are more at-home here and bonded to the people. I will have to go to Berlin but there are a lot of aspects that are drawing people like bees to pollen. The fact Germany’s leader, Angela Merkel, seems to represent the people and is a strong figure – compared to our P.M. and the U.S. President – means the nation is in safe hands. Because of that; the economy is safer and Germany is keen to be an integral part of Europe – compared with the British, it seems! There is history and culture in Berlin; a lot of mixed nationalities and some of the best music in the entire world. One cannot underestimate the importance of stability and politics in terms of music. Going somewhere that is stable and ‘of the people’ is a great comfort. I feel that is why so many are leaving areas like London and coming to Berlin. It is a city that offers the same level of excitement and opportunity but there is far less uncertainty and division. Party Fears, they say, feel more connected to Seoul at the moment but that will change as they become more immersed in Berlin.

Party Fears are a Pop/Indie/Alternative band but their sound manages to mix so many different possibilities and cultures. They take a slight fleck of the Rock and Pop bands from Seoul and sprinkle that with the current flavours of Berlin. Having Irish and Australian members in their band; they take from the music scenes of each country and mix that all into the boiling pot. The genre of ‘Pop’ seems a very diverse one and it gets a bad reputation. We associate it with a certain commercialism and mainstream lust. That would be unfair because there is a lot of Pop music that has credibility. Party Fears melt Pop and Rock together and produce something different and credible. The band is not the sort that is going to be looking towards the charts but they want to connect with as many people as possible. Some genres are quite rigid and defined but there is a lot of flexibility with Pop. It is hard to compare Party Fears with anyone in sheer terms of sounds – they are an original group and not keen to be lumped with anyone else. I guess the best way to assess them is the fact they have actually taken some influence from K-Pop and the great bands of Seoul and are integrating that with all the sounds they are discovering in Berlin. If one listens to a station like BBC Radio 6 Music – I know I seem to mention them in every review! – you will find a lot of Indie/Pop bands that are original but bring elements of other artists into their sound. Party Fears have a definite grit and energy to them but their chorus and vocals have an accessibility and sweetness that perfectly balances the harder aspects. It is hard to define and explain but I feel Pop is widening and changing perceptions right now. Modern mainstream artists like Lorde show you can play a mixture of Indie and Pop but not fall victim to the worst traits of the mainstream – the manufactured and plastic sounds that aim for Spotify figures rather than credibility.

Feminism and consciousness are important aspects of Party Fears’ music. The band uses their music to write about important themes and tackle sides of society many do not. They are a feminist band and, the fact Maggie Devlin is their central lead, means you have a strong female voice at the forefront. I know their eponymous debut has been getting a lot of great reviews: many highlighting how deep their music goes but the fact the band is original and striking. They have Punk elements and fuse that with Pop/Indie to create music both rousing and colourful.  Few can deny how promising Party Fears are because they manage to step away from the mainstream followers and create their own brand of music. Listening to songs like Sun King and one dives into the lyrics but is stunned by the complexities and simplicities of the music. They have that Pop core but incorporate the grit of Punk and something hard to pin down. There is a chemistry and connection in the rank that adds a little something special to the music. I have mentioned the mix of simple and complex: that is not something to overlook. Many artists, I find, lack the ability to make their music easy to understand and accessible – whilst performing songs that have various layers and nuance. Party Fears are relatable and I can see their music becoming very popular on radio stations around Britain. It is hard to ignore them and not fall for their incredible songs. I have rambled about Pop but that is the magic of it. It is a genre that gets a bad rap in this day but is a lot more interesting than many give it credit for. I listen to Party Fears and know Punk is as important to them. I am not sure which artists they grew up listening to but one imagines there is a blend of the 1970s and present. They have a fondness for big choruses and getting their words into the brain.

I will end this introduction by looking at Party Fears and what makes them unique. It is hard, when collating pictures and information, knowing where the band starts and ends. Devlin and Frawley are the centre of the group but there are other players in the mix. Maybe some of the photos in this piece are outdated – having changed since their Seoul days – but I have to go on what I find online. I know the Australian-Irish alliance is the main drive but, considering the whole sound of Party Fears and we get a variety of players and sounds. In any case, returning to my main point, it is that mix of Irish and Australian that intrigues me. Many bands take their members from different nations but one of the reasons that make Party Fears fascinating and strong is the fact they source from different nations. I know there is a great music scene in Northern Ireland but not as many opportunities as one would hope. I can understand why Devlin would move there and go somewhere a little busier and more spirited. Frawley, emanating from Adelaide, has had to say goodbye to all the surf, wine and women. Well, as the drummer himself said in a recent interview: the city has its share of murderers, churches and wine – one wonders whether they are all linked or need to separate themselves from one another! I have always wanted to go to Australia but know, again, it depends on where you go in order to gain success. There are few cities as promising as Melbourne and Sydney. Adelaide has some great music and Brisbane is a definite hot-spot. I guess, when you are looking ahead, you need to think about security and success. If the guys remained where they were – or stayed in Seoul – would they be able to progress their music?! It is debatable but it is what they have taken from their nations/past that makes them the force they are now. Not only do they take from their home-nations and backgrounds but have taken ingredients from Seoul. Stir this into the brew that is Berlin and you have a band that differs from everything else out there.

The initial seconds of Sun King see twee notes mingle with spectacle and spirit. There is a blend of 1980s and 1990s Pop-Rock – some Art-Pop and Indie of today thrown in. Devlin’s unique voice comes in and provides plenty of character and body to the song. It seems the song’s subject needs to tell their story and come among the people. Whoever this person is; the heroine lets her breathy and sweet voice implore and supplicate. Maybe it is a political figure – or subject known to the band – but, right away, you see visions of this person come to mind. The figure looks taller “from the undergrowth” and it doesn’t matter what they are doing now. The words intrigue and spring from the microphone. In Devin; they have a singer that puts so much personality, character and quirk into the vocal. You get her natural accent but, considering the song/album would have been conceived whilst in Seoul – how much of the city’s music go into Sun King. There is a charm and spirit one might find in K-Pop – without it being bubblegum and too mainstream. The music of Party Fears brings together so much distinction and eclecticism so it is hard to label it alongside anyone else. Their feminist aesthetic makes me think, perhaps, there is a mixture of cynicism and gender-switch in the song. Maybe the ‘king’ figure is a man and not as wise as he should be; perhaps a female and someone who has a lot of rare insight to offer. Perhaps I am jumping to conclusions but I cannot help applying some interpretation to their feminism. The central figure has a lot to offer – it seems the band/hero/heroine knows very little – so there is that need to drink in this wisdom and instruction. Whilst I pick the words apart; there is twanging and luscious bass that sits with colourful and expressive electronics. That pairing of Art-Rock – the type Talking Heads purveyed in the 1980s – and 1990s’ finest Pop-Rock makes it a heady brew.

The more one gets into the song; the more interesting and deep things get. From the opening skip and rush comes a composed and delicate segment that, I think, sees Devlin talks about the hero having nothing to say – some of the decipherability gets lost given the sweetness and preciseness of the performance. It is a beguiling and unexpected parable that takes the energy down and takes the song into a new phase. It is a twist that one does not see coming and takes you by surprise. Devlin’s voice is at its purest and conveys immense passion and entrance. I wonder what the new segment represents and whether it is a darker turn in the story. The opening looked at taking lessons and learning but, now, there is a feeling of emptiness and disillusionment – maybe they are not as sage and learned as one hoped. The drums kick up and a there is a funkiness to the song, now. The head is empty and the eyes are wide: it seems the hero is not as regal and reliable as he presents himself. Against this attack; we get squelchy electronic and keys with random notes and angles. It is a fascinating and full composition that puts so much together. Devlin’s songwriting chops are assured but, here, they seem to hit their peak. I listen to the song and feel it is addressing political figures, men, who are leading people to dark places. Maybe it is a look at prominent men and how much power they wield. Just because they are in positions of authority; does this mean they have all the answers? They are “too far blind” and gone to realise they are dead/lost. Ominous backing vocals accompany funeral organs and the song, mixing in precise and pulsing beats, gives the track such allure and variation. Aching and strummed electronic guitar with a single vocal – “You say nothing” – keeps the song fertile, agile and unexpected. Sun King goes through so many different phases it is hard to nail it into place. That is good because it provides a physicality and evolution that few bands provide. The song’s subject is being taken down and questioned. Everyone will have their own perspective but I think there is a judgement levied at high-powered men and the way they operate. Maybe more personal aspects are being presented but that is the joy of the song – and how it will strike people in different ways. By the end, the band keeps the sonic mobility strong and fascinates the senses. Sun King is a fantastic song brilliant and compelling song that shows how strong and promising Party Fears is.

PHOTO CREDIT: @natalisucks

I will end this now but, before closing things, want to look ahead and see where Party Fears are heading. Their name suggests anxiety in the face of social integration – the outsiders that stand against the wall and prefer to clock off early. They are not the kind of people you’d find assimilating into the mainstream and compromising their ideals. Maybe I am over-reading things but they seem like a group that is determined to make a big difference and doing what everyone else is doing is not the way to do things. The band are in Britain at the moment so seems like the perfect day to review them. Recently, they have played Belfast and, I think, rocked Scotland yesterday. Tomorrow, they play alongside The Last Days of Elvis in Leeds’ Wharf Chambers and will see them play the third country in a week. It must be exhausting for the band but shows they have a lot of love and backing behind them. Few groups manage to command that kind of attention and popularity so soon. After Leeds; they play LOUD WOMEN Fest 2017 on 3rd September. Devlin was excited returning to Belfast and, it seems, that importance was not lost – connecting with her home crowd and proving what she has taken from the country. The band plays Scotland tonight, it seems, so, when they have a chance to breathe – they’ll be preparing their set for LOUD WOMEN Fest 2017. Given the fact Party Fears project a strong feminist message: playing an event like that is really crucial for them. There are not as many feminist/women’s festivals as there should be – more are coming through – so there are not many opportunities like this for the band. I know they are buzzing about the chance and are playing alongside various acts on the bill. You will have to go to Party Fears’ Facebook page – link at the bottom of the review – to catch up on all their exploits and gigs.

I started by roundly admonishing them for not having their social media in order. To be fair to them, they keep people updated on their gigs and developments but they should have an official website together. That would allow them to pop all their links/social media bits together and a portal for all their videos and songs. Maybe there is one out there but it is has been difficult collating all the necessary information. I would not usually expend this much energy debating this point but it is down to the fact Party Fears have that promise and strength I mention it. They are playing around the world and have a huge British following. People here will want to know more about them and where they are heading. Social media is the most effective way of doing this so, let’s hope, the guys do a bit of housekeeping and get some more current photos done – a good shoot that means journalists like me have some good images to pop in a review. The band has a lot of photos on their Facebook but I wonder how many are current and relevant – hence the reason the thumbnail is their cover photo (and does not provide the faces of the band members). Their line-up has changed – and they have worked with various personnel – so I am not sure exactly who plays with them in the studio and on the road. In any case; I am seeing their music develop and get stronger with each release. When Party Fears head back to Berlin in a few days; they will take a lot back in their luggage. The experiences from the road will impact their future music and they would have taken inspiration from the people they have met the last few day – and what they have in-store for the coming day. I didn’t have the chance to review the entire album – not able to expend adequate time and energy to feature all songs – so chose Sun King as a representative of the L.P.’s themes and strengths.

It is a stunning song and centrepiece of the record. I recommend people seek Party Fears out in full and discover what all the chatter is about. I have seen few bands as compelling and varied as them. Not only do they have that international membership but have lived quite a life. They are in the U.K. now but head back to Berlin. They have come from Seoul and met a lot of great acts when they were there. Who knows how inspiring and important that time was but it seems to have fed into their ethos and music. Berlin is their new home and it seems like, when they get to grips with the city, it will drive them and lead to some more wonderful music. The eponymous album is a good coming-together of where they have come from and where they are now. There is a great spirit in the band and they are enjoying getting their music out to the people. That thrill of being on the road is not lost and they seem to be enjoying travelling to new places – even if the accommodation does vary in terms of quality (the life of a band, eh?!). A few important gigs approaching so; if you can see the band play, get yourself down and witness something special. I will end this now but feel Party Fears are one of those acts that can be a mainstream force in time. They are making themselves visible and ensuring their music is different from anything else around. Party Fears is a tremendous album and, together with feminist messages and incredible songwriting, mixes Punk, Indie and Pop into a heady brew. Such is the force and nuance of the album; you find yourself revisiting it and discovering little nooks that were not there before. This quality and standard of songwriting is what will see them progress to the mainstream and add their own unique D.N.A. in. I feel there are few Pop bands that manage to convey anything meaningful and interesting. Party Fears are a necessary and inspiring band that we need to hear more from. Best of luck to them and I hope they have a lot of fun on the road. If you can get out and see Party Fears; you will witness an incredible and memorable show from…

ONE of our finest new bands.

_______

Follow Party Fears

  Twitter:

https://twitter.com/igotpartyfears

Facebook:

https://www.facebook.com/igotpartyfears/

Instagram:

http://www.thepicta.com/user/igotpartyfears/2314940536

YouTube:

https://www.youtube.com/channel/UCE-bxPdwMITgOgH7ZfEobFg

SoundCloud:

https://soundcloud.com/igotpartyfears

 BandCamp:

https://igotpartyfears.bandcamp.com/

INTERVIEW: Andi

INTERVIEW:

 Andi

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CANADIAN artist Andi talks to me about her…

life in the country and how she evolved into the artist she is today. Half Home is her latest single and being met with acclaim and huge love. She has, in the past, crashed in her car between gigs: now, she is part of a large group of musicians that offer the support and incredible confidence!

I find out how her early life, and keen mind, led to the rich sound we hear in her music.

Her debut E.P., Sketches, was released last year and, since then, she has been busy – more tour dates are coming up.

_________

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

It’s been crazy-busy!

I’ve been on tour playing a show every day this week; so, sitting down to chat with you is, pretty much, my first resting moment…

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

I’m a singer/songwriter/producer who creates progressive Pop music. I draw inspiration from many genres - from RnB to Electronic to Noise-Rock.

Half Home is your latest single. It deals with transition and youth. It has quite personal relevance. Was it natural penning the song or was it quite difficult looking back?

I actually wrote that song in my uncle’s apartment with an old electric guitar.

The song was a natural write: I wrote it all in one sitting. It wasn’t difficult to pen. The song helped me make peace with the uncertainty and self-doubt that comes with my line of work/my age in this business.

At the time – which you allude to in the song – you were crashing in your car between gigs and living a rather modest life. Was it quite a struggle or do you think it helped shape who you are? What is touring life like now?!

I never felt it was too much of a struggle because, at the end of the day, I was living my truth and making my passion my career.

It definitely helped shaped who I am - taught me to be resilient and resourceful.

Touring life is great because, now, I’m surrounded by an incredibly wonderful and inspiring band that supports each other. There’s nine of us all together - and living with them is such an enriching experience.

PHOTO CREDIT: Francesca Ludikar

Half Home is the first song since releasing the E.P., Sketches, last year. Is there any more music in-the-works?

There is a full-length debut album well on the way!

Keep an eye out in 2018…

Sketches landed in the top-four of the national CBC Searchlight competition. How did that make you feel (receiving that honour)?

I was very grateful and It’s opened a lot of doors for me...

At that point in my career, it was perfect timing to showcase my first single, Caffeine (ft. JonoJosh).

How involved are you in the complete cycle of a song? Do you involve yourself in the production side, too?

I write the melody, lyrics, and most chord progressions...

Production-wise; I am absolutely in the driver's-seat. I start the production of every song and then flesh out the tune with my other producer and band member, Paul Barton.

With the new album, I’m just starting to involve more players with writing opportunities - it is a new and organic process for the project and the involvement of others varies depending on the song.

I notice a lot of styles and sounds in your music. Which artists and albums did you grow up listening to?

I spent a lot of time with Jazz when I was younger. I started studying Chet Baker, Ella Fitzgerald; John Coltrane, Billie Holiday, etc.

I listen to every genre, now.

Canada is your home. What is the music scene like where you are and do you think it differs massively from the U.S.?

I am proud to be a Canadian artist.

So far, I’ve found the scene to be diverse and supportive: there’s a real sense of inclusivity and opportunity for all genres and type of sound.

I can’t say I have a strong stance on the U.S. scene since (the scenes) vary strongly - depending on the state.

However, right now, there is more freedom for artists of all backgrounds/ways of life to express themselves in Canada.

You have just completed a string of Ontario gigs to promote Half Home. What was that experience like?

It has taught me a lot about leadership, community and performance. It’s also brought the live show to a new level.

I’m so grateful to have had the experience.

You brought the live band on the road with you. How important is it playing with the guys and how did you meet them all?

It’s very important, to me, playing with these members – because, the personal style of each musician is becoming an integral part of the sound-palette for my project.

I, now, design music with them in mind - and their ideas and personalities shine through in the arrangement.

Also; singing and integrating choreography with three backup-singers for the tour has been a dream-come-true. I met them all through connections via Humber College in Toronto (where I did one year of school).

Any more dates in the diary? Can we see you in the U.K. anytime soon, perhaps?!

We’ll be back performing in Toronto regularly starting with Indie Week in November.

If all goes well; I hope to bring my next album to the U.K...

Who are new acts you recommend we check out?

My last Toronto gig was with my good friends and killer project, Babygirl.

Also...check out the feature on my last E.P., JonoJosh.

Both bands are definitely worth a listen.

IN THIS PHOTO: Babygirl/PHOTO CREDIT: Josie Fiegehen

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

Actor by St. Vincent; Choose Your Weapon by Hiatus Kaiyote and The Golden Echo by Kimbra.

The first is an album whose lyrical style/subject matter relates to me very closely on a personal level.

The second inspires me rhythmically and reminds me of my musical roots/the future soundscape of Soul music.

The third album, to me, is a great representation of progressive and alternative sound in Pop - this production and D.I.Y. method of the artist really excites me.

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

Surround yourself with a good support system: be open to criticism from those who you respect.

Learn to fight the fear that comes with creating art. Always be humble - while never underestimating the value of your time.

Never stop working hard.

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).

I’ve been jamming super-hard to Laura Mvula’s Phenomenal Woman

That song has been giving me the strength I needed this summer...so play up!

________

Follow Andi

Official:

http://andimusic.com/

Facebook:

https://www.facebook.com/officialandimusic/

Instagram:

https://www.instagram.com/andi.music/

Twitter:

https://twitter.com/andisounds

SoundCloud:

https://soundcloud.com/andimusic-591512475

INTERVIEW: Iskwé

INTERVIEW:

 Iskwé

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WHEN discovering out who Iskwé is and what makes her tick…

it is like discovering a new way of life! The stunning musician addresses the hardships of the North American Indigenous community – those who flippantly fail to legislate against the draining of the waterways and desecration of the land – and the politicians who put people second. Her new single, Soldier, is deep-cut, bottom-heavy in its intensity. It has beauty and depth but is one of those songs that seem to represent generations yet to come – a cautious warning and statement of intent.

I ask Iskwé about her album, The Fight Within, and what provokes music inside her. She discusses pairing genres like Hip-Hop and Soul; how certain sectors of Canadian life (where she is from) are overlooked and endangered; the inspirations inside her music and where she will be performing in the coming months.

_________

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

Hey, Sam!

I’m wonderful and had a great weekend - thanks for asking!

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

Tansi, waseskwan iskwew nitisin~ihka'son (Hello, my name is Iskwé).

I am a recording artist from Treaty One Territory, Canada and work, mostly, in Electronic-ish music! I released my first album back in October 2013 and am excited to release my second album this coming October!

I have always gravitated towards darker, deep-cut; bottom-heavy sounds that’s (just) what resonates with my creativity I am hugely influenced by that fundamental darkness that came alive in bands like Massive Attack and Portishead - as part of the Bristol sound - but I also love strong, bold women like Björk and Erykah Badu.

I speak up on issues impacting my culture and community (I am a mix of Cree (Indigenous of Canada) and Irish) and am passionate about the necessity of such conversations being had - in order to move forward collectively from the past.

Soldier is your latest single. What can you tell everyone about its themes and inspiration?

It's impossible to know what shape our planet will be in several generations down the road. What I do know is that we need to do better...Soldier is for all the protectors of our land, our water - and our future generations.

I created and edited a lyric video for this song: compiling footage of the natural world; including forests, fields; water and sky. There are, also, clips of humanity's interaction with the land - including traditionally dressed First Nations people; a fisherman and Queen Elizabeth's face on a crisp, $20 bill.

Many subtleties and some in-your-face imagery - all meant to raise awareness to how we are treating this planet and, in turn, treating our future generations.

It is taken from the upcoming album, The Fight Within. Can you reveal any of the songs/ideas that will be expressed on the record?

A major theme I’ve been addressing over the past few years is that of Canada’s Missing and Murdered Indigenous Women. We are at an all-time high - with thousands of unsolved cases of death and disappearances in this country impacting our women more than any other demographic. We make up one of the smallest populations yet have the largest number of unsolved deaths and disappearances - it’s an epidemic that is taking place, presently. 

My goal is to raise awareness on an issue that’s taking place here at home – far too often we think the rest of the world holds the problems facing humanity...but this isn’t true.

We need to look in the mirror first and ask what it is we do every day to make this a better place to be for EVERYONE - not just ourselves.

It seems our natural resources – human and otherwise – are paramount in your consciousness. Do you think our planet is in a lot of danger right now? Should we all be more aware of what is happening around us?

Yes, I think we’re in trouble...

I think our egos are where that trouble begins and, until we can collectively learn to put our future generations as a top priority, we will continue to take and deteriorate from one another (including the land and water).

What provokes a song, in your view? Do you sit down and plan a song or does it come together in unexpected moments?

It really depends on the song! 

Some have seemed to fall out of the sky and end up a full-production within moments - whereas others can take months to build on from either a simple lyric or melodic idea. I’ve found the only consistent factor is that I have no set way of writing!

Hamilton, Ontario (Canada) is your home. What is the music scene like there?

I’m still pretty new to Hamilton. 

I’ve been living here for a year but have been touring quite heavily this past year- so haven’t been home much. From what I hear, this place has a massive scene…I’m still peaking around for the way in.

Listening to your music; I notice elements of Hip-Hop with R&B/Soul. It matches light and dark. Can you tell me what kind of music you listen to - when not creating your own?

I actually listen to a lot of Classical music...

I LOVE string instruments like the cello and violin and, actually, write a lot of my songs based around these two instruments.

I also love those bass-y, bottom-heavy sounds in down-tempo, Trip-Hop; Electronic-like music - those ones are perfect for moody vibes!

Can you remember when music first arrived in your life? Were you exposed to music at a young age?

I was!

Music and art were always encouraged in my home growing up. When I was a kid, I sang for the city choir - in school musicals, etc. It wasn’t until I was a teenager that I veered away from music and found other creative outlets – I focused on dance and visual art during this period; finding my way back to music in my early-20s.

There are a lot of Canadian tour dates approaching. Any particular dates you’re excited about? Can we see you in the U.K. anytime soon, perhaps?

I’ve actually toured the U.K. a few times now and would love to come back! 

I believe we are looking to return in the summer/fall of 2018 - so I’m going to cross all my fingers and toes; it’s one of my favourite places to tour!

As for the Canadian dates; I’m super-excited (to be holding) my official album release party in my hometown of Winnipeg, Manitoba!

This means a lot to me, to be around my family and friends, as my first album release took place in Toronto.

How important is live performance and conveying your music directly? Is it strange transitioning between studio and the stage?

I love performing: it’s the best part of my job! 

I mentioned I had been a dancer back in the day so I’m finding now, more and more, that performance has become this all-inclusive way to express my art in a final form. I find it far more free and liberating than I do in the studio - it’s as the studio recordings are the template I use to share my thoughts and ideas.

Performance is where people can come to experience the full thought-process.

IN THIS PHOTO: Once a Tree

Who are new acts you recommend we check out?

I think you should check out Once a Tree - another Canadian downtempo act; consisting of married duo, Hayden and Jayli Wolf. 

Jayli is also a strong, Indigenous female who writes strong, beautiful songs!

And, of course; if you haven’t yet heard of Tanya Tagaq – check her out (you won’t be sorry!).

IN THIS PHOTO: Tanya Tagaq

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

Portishead: Dummy

This record is, probably, the most influential on me as an artist, overall. My mind was blown the first time I heard this - with the full strings, bassy undertones; floaty vocals…I loved everything about it! I also found their story inspiring - in how they came together and avoided press; to how nervous Beth Gibbons would get before performing.

Björk: Vespertine Live

This album took so many of my favourite songs - and paired them with a live orchestra. Heaven!

Erykah Badu – New Amerykah Part One (4th World War)

The political tone on this record, and the strong, strong woman that is Erykah Badu, gave me strength and encouragement to follow in a similar footpath.

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

Make sure to learn the voice of your intuition and inner-guide - so that you follow your own lead.

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).

Once a Tree – Howling

________

Follow Iskwé

 Facebook:

https://www.facebook.com/iskweMUSIC/

Instagram:

https://www.instagram.com/iskwe/

Twitter:

https://twitter.com/iskwe

SoundCloud:

https://soundcloud.com/iskwe

YouTube:

https://www.youtube.com/channel/UCHXQ2U-lXZuid9CD7zJnVjQ

INTERVIEW: SuperGlu

INTERVIEW:

PHOTO CREDIT: Pete Hewitt 

SuperGlu

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MANNINGTREE seems rather remote and, well…

it actually is. Finding a band from that part of the world would seem unlikely. Luckily, SuperGlu adds a bit of spark to the near-deserted Suffolk town - and have released the video for their awesome track, Welcome Home. The guys released their E.P., Horse, last year and are building their profile with every new release.

Their bass player, Krista, guides me through their coming-together and the inspiration behind their music...

I was keen to know the artists SuperGlu are influenced by and what the future holds for them; if there is a music scene in Manningtree and any advice they would give to upcoming musicians.

_________

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

Good, thanks.

Had a day off (today) and ended up throwing away all my clothes. Feel purged but not really sure if I've got anything to wear tomorrow....

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

We are SuperGlu: a four-piece Indie-Rock act from South-East England.

My name is Krista. I am the bass player of said band and taller than an average chest of drawers.

Sitting next to me is Ben Brown. He is at playing an unplugged electric guitar and is (a) probable lactose intolerant.  

Nice to meet you…. 

Welcome Home is the new single. What can you reveal about the track and its origins?

It was written with a hangover after a house-party.

Ben thinks it sounds a bit like Yankee Doodle. There is a park in Mistley (swans; smells like malt) called the 'Welcome Home' field. Perhaps it's a bit about that...

That…and being in love... or whatever songs are normally supposed to be about.

You all formed in Britain’s smallest town, Manningtree. How did four people with such similar sensibilities and ambitions find one another in such a small place?

There are only around thirty people that live in the town. There are three pubs and two Indian restaurants.

To be honest, I'm surprised it took us this long to find each other!  

Is the reason you have such a big sound to counteract the confines of where you hail from?

Not really.

It just kind of happened. If you play loud you get noticed in a bar/go deaf.

Is it true, between you, there is a regional Disco-dancer; a boat-dweller and abstract painter? It sounds like a film waiting to happen, surely?!

It's true!

Though, I haven't danced in a while. Ben W. lives on a boat with his ex-wife and her kids (don't ask!). Ben Brown recently opened his first solo exhibition (of what look like stolen children's paintings) at the Minories Art Gallery in Colchester.

Alex is soon-to-be an official marathon runner.

What do you have planned in terms of E.P.s and albums?

We are currently finishing something - we aren't sure if it's an E.P. or album. 

There are elements of Ramones and Japandroids in your music. Are these artists you grew up listening to?

Someone sent Rockaway Beach (a year ago) to Ben Brown and he listened to it in a traffic jam - as it was the only C.D. he had.

He was driving past Stonehenge. 

PHOTO CREDIT: Yakub Merchant

Huw Stephens, of BBC Radio 1, has championed your music. How important is his backing?

Loads.

I remember the first time Diving Bell got played on his show. We were all dancing around the living-room, shouting really loudly and, probably, pissing off our neighbours.

Do you think the music industry is becoming too digitised and sterile, in a lot of ways?

I really miss the feeling of opening up a C.D. case and listening to an album back-to-front on repeat. But, then again, streaming has enabled loads of artist to get themselves out there.

Who knows...?!

With such varied hobbies; how do SuperGlu unstick from the music? Do you all hang away from the band?

Yeah... 

The Browns are brothers - so they have to kind of hang-out.

We have quite a large group of friends around the Suffolk area - who we live to drink with on the weekends.

Balancing social life, band and working nine-to-five is pretty hard, though.

Are there any new artists you recommend we check out?

There's, also, a new band called Oasis everyone's raving about - has two brothers in; a bit like Ben and Alex. 

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

(Selections chosen by Krista).

Jeff Buckley: Grace

It reminds me of the past present and future - and, every time I listen; I hear something new.

For Ben Ward….I am guessing anything by Blink-182

To make himself feel young again.

Alex; probably something I've never heard o - but I'll say anything by Pete and The Pirates

As we were listening to them the other day in the car and, judging by his shouting and cans of beer drank in the back seat, he likes them quite a bit. 

For Ben Brown…I'll make him choose Support Mistley Swans by Dingus Khan

Because it's the best album on the planet.

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

Don't give up your day job. 

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).

Krista: Fade into You by Mazzy Star

<

Ben Brown: Made a List by Dingus Khan

Ben Ward: What's My Age Again? by Blink-182

Alex Brown: Mr Understanding by Pete and the Pirates

________

Follow SuperGlu

PHOTO CREDIT: Yakub Merchant

Facebook:

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Twitter:

https://twitter.com/SuperGlu_band

Instagram:

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SoundCloud:

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Spotify:

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YouTube:

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FEATURE: Memory Tapes: How Music Defines and Shapes

FEATURE:

 

Memory Tapes: 

 How Music Defines and Shapes

________

UPBRINGING and parental guidance are as key to moulding a human…

PHOTO CREDIT: Unsplash

as society and the people around them – how they dictate their life and the decisions they make.  I have spoken about music before and how instrumental it is to one’s development. Many of us do not realise how powerful and multi-purpose it can truly be. I find myself, now, in a position where I require guidance and comfort as much as any time in my life – the solitude turning to loneliness. Music is a synthetic form of human contact and unable to tackle the complex maelstrom of emptiness. Loneliness and depression are, in themselves, powerful forces that can immeasurably disrupt and change someone’s life. The lexicon and unquestioning love of music is a remedy that is not being harnessed quite as fervently as it should be. I, myself, struggle with a variety of psychological concerns and find music, whilst not a cure, provide accompaniment and unbiased guidance. Again, I am not suggesting if one gets into music at a young age they can avoid pitfalls such as criminal recidivism, social anxiety and depression – these are factors influenced by surrounding, unique D.N.A. and societal factors – but few are being indoctrinated to the potency and passion music’s variegated banquet offers. To me, it has been a lifeline and purpose: it is debatable how life would have shaped itself were it not for that ‘spark’. An interesting piece, from Mid-day.com, supports my claims how much can enrich and nourish the soul:  

“Kamakshi and Vishala Khurana, who founded a company called The Sound Space, which practices music therapy, believe that music has a miraculous power to heal and that sound has the capacity to influence every aspect of a human being from the time of conception. They conduct specialised workshops including sound for better concentration, music therapy and an easy and fun filled introduction to Indian Classical music for children.

PHOTO CREDIT: Unsplash

"Music should constitute a major part of our lives. Listening to the right music has innumerable benefits such as lowering stress levels, reducing depression and anxiety and maintaining a happy, balanced and calm home/office/travel environment. There's nothing like too much music. Very loud music can adversely affect the ears. But music only benefits our brain by releasing endorphins, which elevates one's mood. It is in fact a wonderful stimulant," says Vishala Khurana, co-founder, Sound Space.

Ashutosh Phatak, founder and teacher, True School Of Music asserts, "Life is full of music and there's no better way to live it. It doesn't have to mean sitting down and consuming albums, but there's music everywhere — in the rhythm of a local train's movement, or in the sound of the waves at high tide. People tend to watch more music than listen to it these days." He feels that if more people listened to music all the time, they would be calmer and better disposed to handle stress”.

It is interesting the effect music has and, in a scene that, sometimes, is hypotonic and anaemic – realising how evocative and restorative great music can be is a wonderful thing. I feel the young need to be initiated to the depth and true scope of music as young as possible. There is a fear, among many, we are becoming less adventurous and backwards-looking the less prevalent physical forms of music are. The browsing culture is being (more and more) limited to online channels and radio discovery. Both are valuable sources of discovery but I wonder how broadminded we are as consumers. Every day, I rediscover a song that escaped my mind – caught up, as I usually am, with what is brand-new. I suppose, doing what I do, the majority of my musical assessments are with new acts. I am a big fan of stations like BBC Radio 6 Music – who provide a perfect balance of older and fresh sounds – but I feel we are all becoming time-limited with regards music. I have a worry the new generations are going to be brought up on streaming services and modern radio – the lost art of vinyl heritage is becoming a rarity.

I, like many of my generation, grew up with our parents’ record collection and sounds of the time – whether that be modern artists on C.D. or cassette; vinyl crackling in the background. My evocative and genre-straddling upbringing spanned as far back as the 1930s; right through to the present (1980s and ‘90s) and, as I went through school, the wonderful transition from twentieth to twenty-first-century. I have not forgotten the music I grew up on and, if anything, I am discovering new nuances and lessons. Not only does music of the past connect us to memorable times and periods: it helps inspire contemporary artists and ensures music has that rich variety. I am concerned we are becoming too modern and relying on sites like Spotify for our music suggestions. It is as good as any way of turning on to the new artists out the block but, if one wants to immerse themselves in the fullness and endless fascination of music’s annals – how easy is that to do?! I am finding few people, younger than me, taking the trouble to reconnect with older music and the artists they would have heard growing up – and those their parents experienced when they were young. Before I continue my point; I wanted to explain how meaningful a single album/song can be. For various reasons, I have been listening to my favourite album quite a lot: Kate Bush’s The Kick Inside. It stands as a tremendous album but, to me, it represents so much more. It is what I am saying regarding music’s powerful allure. That is a record, released in 1978, that came to my ears round about 1986 (or there about). It instantly hit me and amazed me with its beguiling beauty, strange vocals and fairy-sweet flurries. It, as the years have progressed, gained new sides and qualities. I do not think an artist of this age could produce a record as timeless and enduring. Maybe it arrived at a time when I was more impressionable and uneducated. If I were hearing that album as a teenager; I do not feel it would be any less potent.

PHOTO CREDIT: Fish People/Kate Bush

I shall not go into the album bit-by-bit but, that record alone, has done more to me than every album released this year put together. My fondest music memories arrived when I was going from primary to secondary school. I was experiencing the incredible Dance and mainstream music of the early-1990s and all the innovation available. I feel music hit a rare high in the 1990s so it is no surprise the sounds of that time have remained with me. The retinue of eclectic artists that produced incredible records helped me through tough times: at a stage when I was adapting to growing up and all the fears and uncertainties associated. Not only did I behold the songs of modern artists: the music of my parents – which helped instruct and inform them – was an invaluable source of knowledge and compassion. It is hard to explain how impactful and important music has been to me – from such a young age, too. One of the reasons I am so itinerant and deep-digging when it comes to new music is because I feel there is so much hidden potential. Even if you are a fan of a particular genre; it is always wise seeking out sounds you might not otherwise have considered. In every genre, there is something that strikes a different part of the imagination. I am a big fan of modern Folk and songwriters that articulate subjects such as love and self-examination with such beautiful and entrancing tones. I am not criticising modern music but find, it alone, does not fulfil me. I remember songs like Everybody Wants to Rule the World and where I was when I first heard it – my first memory of life and, hence, the first musical experience – and why Bush’s Swallowed is particularly emotional. All of us grew up with music and realise how important it is but I think a lot are putting the past on the shelf and too concerned with that is current and popular.

IMAGE CREDIT: Getty Images

There are, to be fair, people who explore music from past and present but I wonder we are letting history slip by. I would not be where I am (and who I am) were it not because of the way I was brought up and how music was instilled in me. It is such an essential part of life and has helped me overcome so many obstacles. Music is a stunning force that can lift the mood and, more importantly, give purpose to a life and save people from harsh realities – I have seen many, on the point of suicide, saved by music! If one limits themselves to the sounds of today; it does not give the individual the best and variation music provides. Streaming and social media are big players and many are exclusively discovering music through these platforms. That is good – if one wants to only listen to new stuff – but it denies the soul of so much brilliance. I am thankful for the way music was taught to me and the passion I developed young. Artists like Kate Bush – who I have rhapsodised over and with good reason – who has been a pivotal Muse and constant companion. I cannot state how fulfilling and enriching music can be if you open yourself to it and swim in its warm and vast ocean. If we ignore and pass by everything that has come before, we are going to raise generations unaware of how music has developed – and how it began. In every possible connotation, sense and aspect: embracing music with open arms really does…

PHOTO CREDIT: Unsplash

MAKES a huge difference.

INTERVIEW: Adam Prince King

INTERVIEW:

 Adam Prince King

________

THERE are few characters like Adam Prince King in the music industry.

As I prepare a Kilimanjaro-esque climb up a mountain of reviews and interviews; I am weeding out those that will require some embellishment and visual flourishes – augmenting and uncovering hidden depths and bringing the shine to the surface. That is not needed for Adam Prince King - as he is someone immured from boredom and the mundane: a veritable human-festival of eccentricity, fun and fascination.

I talk to the London-based songwriter about his latest tune, Before the Sun Goes Down; its video – since the questions were sent; a video has appeared – and what it feels like having the critical ear firmly lodged against his chest (or mouth: whichever is less weird/more appropriate).

_________

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

I'm really good and really sh*t all at the same time! Life's funny like that.

I'm good because I'm looking forward to the release and people seeing my new video - and sh*t because releasing music petrifies me…ah, life!

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

I'm Adam Prince King. I'm a London-based music producer and singer - with a fondness of avocados and an addiction to hooks and melodies. 

Before the Sun Goes Down is the new single. What can you tell me about it?

It's happy and sad all in one; bleak yet hopeful.

What do you think about it? I want to be the interviewer! (I like it - Sam).

Will there be a video for the single? What future plans do you have for it?

The video is ready to be put out anytime now...

My plans are to go to number one; win a Grammy and live in a beach hut (with WiFi) in Barbados - but the universe may have other plans, so I just do my thing and see what happens!

What's that saying...we make plans and God laughs at us (or something like that)?

It follows on from the previous song, Flamingos, but has a different vibe/sound. Was there a conscious decision to create something different from that single – whilst retaining a unique 'Adam Prince King sound'? 

I hate pigeonholing my sound and creating the same song over and over...

I feel like it's evolve-or-die for my creativity. I agree, the production is simpler and more restricted but also feel my essence, my lyrics and voice tie the songs together. 

The single has buzz and uplift but moodiness and emotion. Is it difficult being open and raw in a song but keeping the overall textures accessible and engaging?

I have always loved writing raw lyrics but to an uplifting piece of music: I love juxtaposition. The Smiths did that really well.

Were you shocked Flamingos went viral and got such a huge reception? Did that motivate you to keep striving and working hard?

It's a double-edged sword.

You feel like, woooooo! People like what I'm doing and it's motivating but then the little head-Devil pops in and says "It's a fluke, you silly little man; people will soon find out you're a fraud and that you’re an awful artist."

But, then, you have to find a way of pushing forward regardless.

I believe an E.P. is out later in the year. What can you reveal about that?

It has five tracks on it and my favourite one is a track called Witches.

It should be released through a really cool label - that mainly deals in getting music into T.V and film - but I can't fully confirm yet as we are still negotiating.

Can you tell me about some of your musical influences and the artists you grew up listening to?

I grew up listening to a lot of Cypriot music and, also, lots of old Elvis and Cat Stevens records - when I was very young.

I can hear bits of David Bowie’s work in your own music. Is he someone influential to you? 

Yes.

David Bowie is my father; Kate Bush is my mother.

You sport quite a, let’s say, 'peculiar' look. What was the reason for adopting this style and do you think it adds to your musical style? 

Is it the moustache!?

I guess I'm quite eccentric but it's not something I overly-think about. If I see something that resonates with me I wear it - I love colour and vibrancy, both in my music and in my fashion choices.

When I was a kid, I used to dress myself and go to primary school in a shimmery waistcoat paired with a red bow tie and Albert Einstein hair – so, I guess I've always been peculiar.

Any tour dates approaching? Where can we come see you play? 

I hope to play Sofar sounds in London pretty soon.  

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

Joni Mitchell - Blue

The lyrics, the melodies; the voice - Joni just knows.

The Darjeeling Limited: Original Soundtrack

Because it's one of my favourite films - and I love all the songs.

Britney Spears - Blackout

Amid her breakdown; she produced one of the best Pop albums I'd heard in years - the production was slick. She worked with the best producers.

I have a soft spot for Britney - don't judge!

Are there any new artists you recommend we check out?

Do you know what: I'm so out of the loop!

I need to listen to new music! I'm stuck in the '70s and '80s at the moment!

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

Keeping on the Britney theme: you better work, bitch!

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).

This could be fun. Hahaha! 

Ummmm…the theme from Buffy the Vampire Slayer, please! 

________

Follow Adam Prince King

 Official:

https://www.adamprinceking.com/

Facebook:

https://www.facebook.com/adamprincekingmusic/

Twitter:

https://twitter.com/adamprinceking

Instagram:

https://www.instagram.com/adamprinceking/

SoundCloud:

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Spotify:

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YouTube:

https://www.youtube.com/channel/UCxr0Aa5Vc9X4ycUBsyStVLQ?sub_confirmation=1

FEATURE: The Return of The KLF

FEATURE:

PHOTO CREDIT: Built by The JAMs  

The Return of The KLF

________

EARLY this morning; The KLF’s Jimmy Cauty and Bill Drummond…

PHOTO CREDIT: Faber & Faber

launched their new book, 2023: A Trilogy by The Justified Ancients of Mu Mu. The launch, in Liverpool, saw the duo arrive in a battered ice cream van with a spooky jingle. The rules set down – to those attending the launch – included (the fact) people could kiss them (but no tongues allowed) and they would get their book stamped – none of this signing malarkey! It was a typically unique and quirky spectacle that, perhaps, indicates a new phase for the Scottish innovators?! I have been following the duo since their early days and am amazed at how many guises there have been. We all know the time they set a cool-million on fire – more on that below – and an infamous stage appearance. where they fired a machine gun into the crowd (nobody was injured in that publicity stunt).

They are not an act that entertains conventionality and predictability. Over the last few months; there has been rumour and chatter something is happening in the KLF camp. Before I go on further, sourcing a couple of articles from The Guardian today, news and revelations concerning The KLF’s new book. The first looks at the publicity stunts and ending their career – providing an extract from their new work:

“So why exactly did the KLF set £1m on fire? It’s been a burning question for 23 years, as pop’s greatest provocateurs chose to let rumour, conjecture and myth around the publicity stunt – held on the Scottish island of Jura and ending their career on 23 August 1994 – swirl about unanswered for two decades. Until now.

PHOTO CREDIT: @Popjustice

GoogleByte v Beyon-Say: an exclusive extract from the KLF's chilling novel about the world in 2023

The KLF, the band that burned £1m, are back – with a futureshocker in which AppleTree and GoogleByte are global powers. But is a shadowy group called the Illuminati actually in charge? And is it true J-Zee and Beyon-Say are members? 

The project formed by Bill Drummond and Jimmy Cauty in 1987, which has lain dormant in a self-imposed moratorium of 23 years, returned at 00.23am on the morning of Wednesday 23 August. As Drummond and Cauty drove into a backstreet of Liverpool in an ice-cream van to begin three days of events, their first new work – a trilogy of dystopian fiction, an “end of days story”, called 2023: A Trilogy – simultaneously dropped online.

IN THIS PHOTO: Bill Drummond and Jimmy Cauty

Yet this is not a book for those looking for straightforward answers, and is as obtuse as the KLF themselves, who have published it under their other moniker, the Justified Ancients of Mu Mu. It is a multi-layered, self-referential meta tale, starting with two undertakers, Cauty and Drummond, who discover a life-changing book called 2023: A Trilogy on a hotel bookshelf. It was written by “George Orwell”, the pseudonym for one Roberta Antonia Wilson, 33 years ago. “What you are about to read is what they read – well almost,” reads the preface, adding that it has been translated from Ukrainian.

It is a tale which switches between the diary of the author, Roberta, in April 1984, and her fictional novel set in 2023, in the tax haven of Fernando Po, which is the last nation state on earth (on a small island off the coast of Africa). “It was once part of Equatorial Guinea, before Equatorial Guinea did their lucrative deal with Wikitube,” notes the book.

It is littered with bastardised references to 2017 culture in a nod to the grim future that could befall us all – the Big Five who rule the world are GoogleByte, Wikitube, Amazaba, FaceLife and AppleTree. Winnie, the main protagonist, has had an affair with Julian Assange in her younger years, and now uses an iPhone23; Michelle Obama has been the first female president of the US in 2020 but now models for Damien Hirst; Putin was crowned (ceremonial) czar of Russia; Simon Cowell was murdered by a former contestant live on China’s Got Talent in 2017. An alternative history for the Beatles and their role in world peace is also offered. Yet for all the technological progress, today’s social flaws, particularly the degradation of women, remain unchanged in 2023.

PHOTO CREDIT: Unsplash 

KLF’s re-entrance into the world on Wednesday night in their battered ice-cream truck also almost exactly mirrors a passage of the book, which points to a note scrawled on a warehouse wall in Liverpool. “I found myself in a dusty, sooty city. It was night and winter and dark and rainy. Then I saw an ice-cream van pull around a corner and pull up beside a derelict building.”

While the book is not specifically about Cauty and Drummond, they crop up as self-referential characters, at one point referred to as “men in their late sixties” who “meet up in a red brick two up, two down terraced house in Northampton, alongside comic book author Alan Moore. It is the first time they have been in the same room together since 1994.” In the book, these three men withdrew £1m in £50 notes and burn them in a bonfire in front of the Houses of Parliament. What follows is a passage which is the closest to an explanation for the publicity stunt that the KLF have ever offered”.

PHOTO CREDIT: Unsplash

The second article gave us an exclusive extract from the book: providing a sense of what it is about and the fascinating imaginations of Jimmy Cauty and Bill Drummond…

“09.27 Sunday 23 April 2023

There are some who have decreed order is the natural order of not only the human condition but of everything that has ever existed and is ever likely to exist.

And there are those who have proclaimed chaos is the natural order not only of the human condition but of everything that has ever existed and is ever likely to exist.

And there are those who have made it their lives’ work to exploit our natural hunger for order.

And there are those who have made it their lives’ work to exploit our natural hunger for chaos.

It is a free market for all of you living in the free world.

Whereas I am on the island of Fernando Pó, off the west coast of Africa. It is where I was born and bred. I may have disagreed with the island being a tax haven, but I so abhor it being bought by AppleTree. Or, for that matter, by any of the other Big Five. I am totally and completely against what they are doing with the world. Womankind needs to have war, famine and inequality to function properly: without them we as a species will be over within a couple of generations. As for religion, we need as many as we can have to compete for our souls. The more radical the religion, the better.

That is why I am here with these five dolls I have made to represent the founding mothers of each of the Big Five, and over the next few days I will be sticking my needle made from bamboo into them. You may think this is a futile and primitive approach to bringing about world change, but it worked for my ancestors and it already seems to be working for me. Last night I began testing the process by putting a needle just a short way into the doll that is Stevie Dobbs, and I think it was successful. I can already sense her days are numbered”.

Tom Robinson is paying tribute to The KLF from 1 P.M. on Sunday. Catch that BBC Radio 6 Music show as it provides better revelation what is happening in their creative process. It is going to be intriguing see if there is anything coming from Cauty and Drummond. Whether the book is a prelude to a new album; maybe the guys are planning a retrospective gig of some degree. The reason this current release appeals to me as it provides chance to celebrate one of the most influential acts in the House/Trance movement. After 1987 (What the Fuck Is Going On?) was released in June of that year – the boys were on the map and, at that juncture, known as The Justified Ancients of Mu Mu (The J.A.M.s).

IN THIS PHOTO: The album cover of Chill Out

All You Need Is Love was their first single and, with that, they began their memorable, if controversial career. It is not considered their best album but did put them in the critical mindset. The fact the samples they used on the album were plagiarised sparked a huge debate. Now, an artist could not do that without facing a barrage of legal bills and court cases. It is debatable, if artists like The KLF had been more judicious with their sampling – asking the artists for permission – such strict rules would not have come in. The plagiarism on the record was a cheeky bit of creative license but did, in as much as anything, show they were willing to do whatever it took to succeed and be remembered – or maybe they got lazy and thought nobody would realise! There were some good songs (on the record) but is seems far less engaging and innovative than their later recordings. Unfortunately, owing to the reckless, unauthorised use of samples; ABBA objected to the duo’s use of Dancing Queen – all copies of the 1987 were destroyed and it led to the self-deprecating and revealing, Who Killed The JAMS. It was holy nihilism and a production of self-deprecation and pathos. Many critics were impressed by the response to media criticism and legal issues – that blighted their debut album.

It was, too, a creative and sonic step from the duo and led, with compilation and remix-albums in-between, to their third studio L.P., Chill Out. Many see that Dance album as one of the genre’s best: most agree it is a huge sonic leap with wide-open spaces and intriguing sonic complexions – developed and intricate electronic imaginations. Birdsong, womb-music (as one critic called it) and grandly epic music. It was an ambient and downbeat song that juxtaposed a lot of the more mindless and pointlessly upbeat offerings. At this point, The KLF’s creators – they were calling themselves ‘The KLF’ at this point – were more jurisprudent and were using samples more intelligently and conscientiously.

There were samples from Elvis Presley (In the Ghetto) and Fleetwood Mac (Albatross) but, unlike their debut, The KLF were not forced to delete it – not being chased by vengeful Swedish Pop groups! I am stalling and hovering over important swathes of The KLF’s genius but, in truth, the height and apex of their music career was their final album, The White Room. I am typing this whilst enjoying the Tammy Wynette-heightened banger, Justified and Ancient. It is such a strange and rousing song that puts sound-effects, ice cream van-referencing lyrics – heading into Mu Mu Land – and one of the most hypnotic choruses of the 1990s. The KLF disbanded in 1992 – there were plans for a darker version of this album – but, what they left, was astonishing. The Stadium-Pop/Trance/Dance/Electronica anthems were conceived as a road film (coinciding with their film of the same name) that was The KLF’s search for the mystical ‘White Room’. It was, by anyone’s judgement, the artist peak of the late-1980s/early-'90s Acid-House movement.

The 1991-release, in its definitive forms, contains some of the biggest songs of The KLF’s career – covering the earlier incarnations, for that matter. What Time Is Love, 3 A.M. Eternal (Live at the S.S.L.) and Last Train to Trancentral are absolute classics of the time. Justified and Ancient, with that peculiar but essential Tammy Wynette turn, helps create a wonderful and hugely spellbinding tune. Yeah, there are some fillers on there – Church of the KLF and Build a Fire are not exactly essential – but it is those four tunes with, say, the title track, define an album. It was a perfect finale for Cauty and Drummond. Reviewers often include it as part of their favourite one-hundred albums ever. It is not only a definitive statement from the 1990s: it is one of the most enduring and spectacular albums from all of music.

Take away the machine gun-toting Brit Awards spectacles and money-burning stunts; the mayhem and the chaos – it is the music that overcomes and outshines all of that. Of course, being The KLF/The Justified Ancients of Mu Mu; the theatre and scene-stealing goes hand-in-hand with their music. We all miss those heady days when the duo were running riot and, away from the headline-grabbing antics – they were creating some of the most unifying and influential sounds of the day. Maybe The KLF’s dystopian and future-focus novel – in all its forebode and allure – is a standalone event but one would hope for more. Maybe there will be another album: that must be what everyone is wishing right now! The ice cream van arrival and bespoke publicity campaign cannot be for a book launch, alone! I have been compelled to look back at the legendary duo and what they have done to music; how they have changed the culture of Dance music and those incredible highlights. Whatever is coming next, you just know, it is going to be…

 IN THIS PHOTO: The KLF's Bill Drummond at the 1992 Brit Awards/PHOTO CREDIT: Richard Young/Rex

BLOODY bonkers!

INTERVIEW: Glam Skanks

INTERVIEW:

 Glam Skanks

________

THE captivating and eye-catching quartet of Ali, Veronica; Cassie and Millie…

makes up Glam Skanks. They have been described as an all-female band-version of The Rocky Horror Picture Show. Their album, Glitter City, mixes theatre and spectacle with mixes of older-days Glam-Rock with the sort of mainstream sensibilities that makes them an accessible option. It is their infectiousness and unique personalities that are alluring audiences and marking them out for big things.

I talk to the U.S. band about supporting Adam Ant and lending Alice Cooper their make-up. They talk about enviable Rock and Roll memories and how they hope to redress the gender imbalance in music; their favourite albums and songs and their treasured memories of the road.

_________

Hi, girls. How are you? How have your weeks been?

Glam Skanks: We’re great!

Just got done filming a new music video.

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

Yeah. We’ve got Ali on Lead Vocals; V. on Lead Guitar; Millie on Bass and Cassie on Drums.

Can you tell me how Glam Skanks got together? Have you been friends for years now? How did that band name come about?

Glam Skanks started when V. and Ali met on Craigslist...

They had both posted, almost identical ads, looking for female musicians - for a Glam-Rock-inspired band. After a few years of playing with other girls, Millie and Cassie - who had been playing in bands together since their early-teens - joined up.

The band name came when we booked our first gig. We didn't have a name and knew we needed something to start promoting. After a friend joked about making 'lamb shanks' into ‘glam shanks’, the name ‘Glam Skanks’ came up - and we thought it perfectly fit our vibe.

I know you played Camden Rocks. What was that experience like?

It was incredible.

The whole experience of going to England - and playing in another country - was amazing enough and then, to add playing such a well-known festival, was a dream come true.

PHOTO CREDIT: Dave Cox

Any more dates coming later this year?

We’re working on something...

We have a gig with Adam Ant at The Roundhouse (in London) in December - and were hoping to book a tour around it.

Some have said Glam Skanks are what a Rocky Horror Picture Show house-band would be like. Do you think that is a fair assessment? Is that film/show something you girls are a fan of?

That’s a great description of us...

We’re huge fans of The Rocky Horror Picture Show. We grew up going to midnight showings all dressed up - and always thought we would be a great fit to play before the movie started.

PHOTO CREDIT: Dave Cox

In addition to opening for Alice Cooper; you supported Adam Ant on his U.K. tour - and you’ll be back to open his show at The Roundhouse in December. What is he like to work with? How did that invite come about?

He’s great to work with: a true showman and an absolute professional.

We share some mutual acquaintances with Adam and, when they had shown him our videos, he liked us enough to ask us to come along and tour with him.

I heard Alice Cooper asked to borrow your make-up. What was your response to that?!

At first, we laughed, because we thought he was joking!

When we found out he was serious, we, obviously let him use whatever he wanted.

In Kevin Smith’s film, Yoga Hosers, you had one of your songs featured. You have hung with Aerosmith’s Joe Perry. How do things like this happen? Is there a standout memory from all these crazy experiences?

We’re lucky that we have some connections that run in the family. V’s dad, Bruce Witkin, is a member of the Hollywood Vampires and has produced and worked with a lot of famous artists.

One standout memory was the night we opened for the Hollywood Vampires. We got to jump onstage with Alice Cooper and sang School’s Out with him and the whole band.

Glitter City is the new album. What can you tell us about the themes and ideas that compelled the record?

There wasn’t really any particular theme or idea: we just wanted to make a record that sounded like the music we love - but with our own twist.

That said, there’s definitely an underlying tone of female empowerment. Even though there are not many songs that are explicitly about that; we went in with the mindset of wanting to inspire other girls and women with our music.

Veronica. You grew up in a unique Hollywood Rock and Roll family. Was it possible to have a ‘normal’ childhood or was it quite strange? What is Hollywood like for a young and ambitious artist?

I don’t know if anyone, technically, has a ‘normal childhood’ - but mine didn't feel that different from anyone else’s.

Hollywood is hard for any young artist but I was at least lucky enough to have a bit of a head-start since I'm from L.A. - and have the advice and help from my dad.

PHOTO CREDIT: Dave Cox

Millie. You almost didn’t join the band. Why was that and what changed your mind?

I was super-busy with other bands and had just moved to Los Angeles - so, I wasn't sure about joining another group.

The girls won me over with their passion and drive for music and fun personalities - so I gave it a shot.

Listening to you girls play, your music and power can match any male band. Why do you feel there is still gender inequality and sexism in music? Is that something you are keen to tackle?

Thank you...

Unfortunately, there’s still gender inequality and sexism everywhere in our everyday lives - so music isn't going to be any different, especially when Rock ‘n’ Roll is considered a boys-club.

That’s something we hope to change, not just in the music industry, but everywhere - so all girls and women are treated fairly and equally no matter their race, social status or sexuality.

Your brand of music, 'Glitter-Rock', has changed since the early days. What have been the main changes and do you feel more bands should play in the genre?

It’s funny because, to us, Glam and Glitter-Rock aren’t really a sound but more of an attitude and, in that sense, it’s never changed.

It’s about the stage-show and the spectacle - and that is one thing that more bands these days could use.

I can imagine you have your fair share of touring anecdotes! Any particularly vivid or ‘memorable’ ones?!

Yes!

We had a night in Manchester where we stayed at a sort of tavern and we were immediately thrown off when we walked in - because there were Christmas decorations up in the middle of May. We didn't think too much of it but, later that night, we noticed our door didn't really lock and, when we tried to move our beds together, we found blood splattered on the walls.

We decided to not-so-gracefully sneak out at 4:30 A.M.

Are there any new artists you recommend we check out?

Right now, we’re into The Lemon Twigs.

They put out a great record last year.

IN THIS PHOTO: The Lemon Twigs/PHOTO CREDIT: Riku Ikeya

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

Veronica: That’s so hard because there’s so many that have had a huge impact on me, but, I guess I’ll have to choose The Rise and Fall of Ziggy Stardust and the Spiders from Mars by David Bowie.

Every song on that album is perfect and the concept of youth and alienation still hits home.

Ali: Probably Rumours by Fleetwood Mac

I just feel so happy and inspired when I listen to it. Every song is perfect. I never get sick of listening to it.

Millie: I never have just one album that I fall back on because I'm always changing what go-to album – but, for sure, one of my favorite albums is Panty Raid by Fabulous Disaster: an all-girl Pop-Punk band from San Francisco - where I grew up and saw as a teenager.

They have inspired me to play music and get in an all-girl band. Their songs sing about heartbreak, annoying preps. (and etc) - everything I can relate to!

Cassie: I would say Deloused in the Comatorium by Mars Volta

Just like Millie; it's hard to pinpoint one specific album or artist because I'm influenced by so many different styles of music - but this one is definitely top-five because of the instrumentation. It really influenced me to push my drumming.

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

Just go for it!

Don’t be afraid that it might not happen or ‘I might not make it’: you can’t start a revolution if you don't go out and try to make it happen.

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).

Veronica: Anything by David Bowie

Ali: Please play It's Late by Queen - this song is brilliant

Millie: Please play Free Money from Patti Smith

Cassie: Please play Take a Chance on Me by ABBA

That’s our backstage pump-me-up song whenever we're on tour.

________

Follow Glam Skanks

 Official:

https://www.glamskanks.com/

Facebook:

https://www.facebook.com/Glamskanx/

Twitter:

https://twitter.com/glamskanks

Instagram:

https://www.instagram.com/glamskanks/

SoundCloud:

https://soundcloud.com/glamskanks

Spotify:

https://open.spotify.com/artist/4u6p3yHcVdgmzAiArcbfEc

YouTube:

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

INTERVIEW: Farrago

INTERVIEW:

 Farrago

________

FARRAGO are an exciting and rock-solid…

Alt-Folk/Indie band that marries lush cinematic sounds with powerful acoustic guitars and silky bass – plenty of expressive percussion and epic vocals. I talk to lead singer Ian (in the photo above) about the band’s career and recording their E.P., Oh, Beautiful Darkness, at Abbey Road Studios. He tells me about arriving in London in 2012 – having started his music lust in Brisbane; having walked out of a fruit-picking job – and how they all found one another.

I learn more about the E.P. and what one can expect on 7th September at The Finsbury – where the video for Better Than Real Life will be projected during the performance. Ian discusses the musicians that matter most to him and each of the band picks a song to end the interview with.

ALL FARRAGO PHOTOS: Sebastian Trustman (unless indicated otherwise)

_________

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

Hi! It has been great – and hectic.

Lots of exciting work going on with the new E.P. - which is being pressed at this very moment.

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

I’m Ian Bennett: lead singer, guitarist and songwriter of Farrago – an Alt-Folk band made up of myself plus Tina Longford (on Violin and B.V.s); Simone Feroci (on Bass and B.V.s) and Jack Robson (on Drums).

The music is a real mixture of Folk, with Rock, Indie; Jazz and Blues thrown in for good measure.

PHOTO CREDIT: Mr. Fizzy

I am interested in Farrago’s origins. I believe it was 2009 and a busking outfit birth? Can you expand on that and how you became the band you are now?

Farrago was born on the streets of Brisbane, Australia - after walking out of a fruit-picking job.

It was just two of us back then – me on vocals and guitar and my partner, Ruth, on melodica. It was amazing, to me, people were more into our original tunes than the covers. There was a real thirst for hearing new music.

We played our way around Australia and New Zealand, in venues and on the street, then, spent some time in India writing new material and making some D.I.Y. recordings.

But, I really missed having a whole-band-sound; so we came back to England to keep the project growing. The line-up we have now is just what I was hoping for!

Big, dynamic and bold.

You arrived in London in 2012. What compelled that decision and how influential is London to your music?

I’m from London, and so, coming home was always on the cards...

London is hugely important to my music: I love the vibe and variety here. I love that London draws people in from all around the world. I’m always meeting inspirational musicians from all walks of life. Also, London pushes you hard!

To get anywhere, you have to work like crazy - which certainly keeps the standards high! I met all my band-mates whilst playing various live shows in London - so I have a lot to thank this city for!

The E.P., Oh, Beautiful Darkness, was recorded at Abbey Road Studios. What was it like recording at such a hallowed space?

Man...it was incredible.

I felt like a kid in a sweet shop – so much great gear that has been used by some of the best musicians in the world. It was humbling and unbelievably exciting to be there for a while. We recorded the E.P. in the main studios but I have to thank the Abbey Road Institute for making it happen. We worked with two fantastic students – Noah Dayan and Lucas Cristoff – who took us under their wing.

The future of the recording industry is in safe hands!

PHOTO CREDIT: Mr. Fizzy

Can you tell me how that opportunity came about?

Myself and Simone were playing a few tunes at an open mic. at The Magic Garden in Battersea and Lucas happened to be there in the audience. It’s a great open mic. for meeting other serious musos – a night called Sing for Your Supper; run by a very passionate poet and friend called Carl Chamberlain. I got chatting to Lucas and the rest is history!

I met Noah at the Institute and we hit it off immediately. They co-engineered - and Noah mixed the E.P.

When will the E.P. be launched? I understand the video for Better Than Real Life will be shown for the first time there? What can you tell us about the video and its storyline?

The E.P. will be released on 7th September - with a launch party the same night at The Finsbury pub (in Manor House).

The Better Than Real Life video is going to be projected during the performance. It has been great fun making it with director Daria Lanz; actress Stephanie Cannon; Director of Photography Philip Moran and the band. We’ve been messing around with L.E.D. lasers; paint, masks - and confusing members of the public in the process!

Better Than Real Life is about a character that prefers to live in the digital world - rather than reality – so, all the scenes are about the tension and release this creates.

Uncle Onion Records is the band’s label. What was the decision behind releasing the E.P. on your own label? Did it provide a freer creative construct?

I decided to create the label, back in 2014, for the release of our first studio-E.P., All Beginnings Are Illusions.

It was, mainly, so that we can build-up our own catalogue of music without any external forces coming into play. It has been a steep learning-curve but it has been useful learning more about how the industry works. I love the ethos of D.I.Y. and community building - so I wanted Farrago to reflect this.

How do songs come together for Farrago? Do you all collaborate or will someone write lyrics – the remaining members pitching in with the music?

I’m constantly writing new material at home.

The ones that stick I bring to the band. By the time they hear the songs, they already have a structure and lyrics. Tina, Simone and Jack bring their musical magic to the songs at this point. This way, I can filter out the songs that don’t make the grade - before the others spend any time on them.

It’s a pretty productive way of working, I find...

PHOTO CREDIT: Mr. Fizzy

Are other there any tour dates later in the year? Which dates are you most looking forward to?

We’re holding off on new dates until after the launch.

My next focus is on getting festival bookings for 2018…so keep an eye out! The odd gig will creep in though, I’m sure.

Keep an eye on the website for dates...

Do you have anything else planned in terms of more music? Do you think ahead to the next record or are you very much focused on the latest E.P.?

There’s always plenty of new music in the pipeline.

Once the launch has happened, I’ll be working with the band on a handful of new songs that I’m focusing on at the moment.

I’ll be looking to record another E.P. or album in 2018.

How do Farrago unwind and is there ever a chance to break away from the music?

That’s a good question!

 I’m around music, pretty much 24/7. I spend most of my free-time seeing my mates play music or going to music community events. My favourite way to escape for a bit is to go to a festival – preferably, a very chilled one, like Womad or End of the Road.

Last year, I saw The Shins, Joanna Newsom; Teleman, Ezra Furman; Savages and Kevin Morby all play on the same festival bill. It was incredible!

Who are new acts you recommend we check out?

I am lucky enough to have some very talented mates...

Russell Joslin is a Folk music tour de force. He sings with Sarah McCaig and they are simply stunning together.

Tom Hyatt writes and performs a lot in London. Well worth checking out.

My friend, Mary Erskine, has a band called Me for Queen. She is incredible (Russell, Sarah and Tom will be playing with us at the launch).

(Probably) the artist I most admire at the moment is Scott Matthews. His songwriting and voice are truly inspirational. He won an Ivor Novello for his song, Elusive. It gives me shivers just thinking about it!

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

I’d probably have to say Grace by Jeff Buckley.

It completely blew me away the first time I heard it and has been a benchmark ever since. As far as I’m concerned, it has everything an album should have: incredible dynamics, feeling and depth…and, of course, there’s his voice.

My god; what a voice.

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

My advice would be to always get what you want from it. It’s a weird time we’re living through - with consumerism ruling everything - but the craft of songwriting takes time and perseverance - so enjoy the ride and trust yourself.

Everyone will have their opinion about what you should do but, ultimately, it’s what you want from it that matters.

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).

Ian: Elusive by Scott Matthews

Simone: Beautiful Freak by Eels

Tina Longford: Play Dead by Björk 

Jack Robson: The Bronx by Booker T. Jones (ft. Lou Reed)

________

Follow Farrago

 Official:

http://www.farragoband.com/

Facebook:

https://www.facebook.com/farragoband/

Twitter:

https://twitter.com/farrago_

YouTube:

https://www.youtube.com/channel/UCNVz-a15k3v1zdQFWeFy_fA

FEATURE: Taylor Swift and the Social Media Blackout Phenomenon

FEATURE: 

 PHOTO CREDIT: EPA/Justin Lane

Taylor Swift and the Social Media Blackout Phenomenon

________

IT seems, as we have been hearing in music news, Taylor Swift…

is, most definitely, up to something. There has been buzz, speculation and conspiracy given the fact she blacked her social media pages out. It might be the case, before this even goes out, she has announced a new record. It seems there is a trend for artists making a grand statement when releasing new material. Well, actually, it is not quite THIS big but the art of promotion and build-up is becoming more of an event. Radiohead – always the promotional pioneers – started a bit of a revolt with their pay-as-you-like strategy when In Rainbows was released in 2007. Last year, for A Moon Shaped Pool, they took down their online portfolios and channels – casting a black curtain and confusing fans. It was a moment of excitement that strayed from the rather predictable modern promotional strategy. Taylor Swift, one assumes, is doing ‘a Radiohead’ when it comes to her latest album. The Oxford band, when announcing A Moon Shaped Pool, were back in action pretty soon and, before you knew it, the first single, Burn the Witch, was before us. There is a danger, before I hit ‘Publish’, the announcement has been made. One presumes Swift is teasing material – if the social media blackout was an error then it makes this piece rather redundant.

She is a megastar that commands millions of dollars each year and has legions of adoring fans around the world. She could, easily, sit back and release an album in a more conventional sense. Nowadays, one releases a statement or vague announcement. There might be cryptic messages and little concepts – Arcade Fire invented their own (fake) corporation/business when promoting their latest, Everything Now – or something original. Then, the singles arrive one-by-one. Often, one might have heard four or five songs before an album is released. In a competitive market – where streaming and electronic distraction channels are replacing retail – artists have to think of ways to adapt and conquer that dynamic. In a bid to send statements and show distinction: even those as big and famous as Taylor Swift is shutting off the spotlight – leaving the audience in anticipation. Whether an album arrives by the end of the week – one would assume so – it is interesting to see what form the material takes. It might not a surprise of epic proportions but, perhaps, it is a big single or something else. Who knows what it could be - but I am curious why there is the need to create such a sense of theatre and drama! There is something operatic and definitive about blacking out your social media channels. Yesterday, when talking about the twentieth anniversary of Oasis’ Be Here Now; I was filled with nostalgia recollecting the queues that formed around its release.

That was at a time when we still went and bought physical albums. It may seem like I am an old man wishing things were like they were back in the ‘good old days’ - what I mean is; the quality of an album could bring people out in droves! There was no need for hype and endless promotion. There are albums, in this day and age, that get big reactions but music is relying more and more on extravagant and overly-precise promotional campaigns. Every band or artists have a single release schedule: making sure they are introduced to the world at specific times: launched at the perfect time to gain maximum impact. It is clear something is happening in Taylor Swift’s camp but it will be interesting how this will manifest itself. It seems Timeless – a single, by the sounds of it – will be released. Maybe that is the title of an album but, as Vox explained; there have been other developments and theories abound:

“…then, yesterday, she posted a grainy video of a snake on every account she owned. Rumors flew that she was planning to make an announcement at 2 pm Eastern, just as the solar eclipse was reaching its peak in New York, in what would have been the ultimate power move.

The eclipse came and went without an official announcement from Swift, but a page didappear on Genius for a Swift single called “Timeless,” and timeless.com has been registered and is “coming soon.”

We’re still waiting for the official announcement. But right now would be the perfect time for a new Taylor Swift single, for a few reasons. Let’s break ‘em down.

It’s is the perfect way to build suspense for Sunday’s VMAs

MTV’s Video Music Awards are this Sunday, and while Swift isn’t technically on the roster, it’s widely rumored that she’ll be making a surprise appearance. It would be a very Swiftian move, if so. The VMAs were the site of Swift’s infamous 2009 encounter with Kanye West, which was the moment in which Swift was perhaps most thoroughly in control of her publicity narrative, and they’ll be hosted this year by Katy Perry, with whom Swift has a well-documented feud — all of which would mean headlines galore for Swift. By releasing a song now, Swift is in the perfect position to give it its live debut at the VMAs this weekend, summoning all the associated publicity that would come with it.

 If you’re planning to release an album in October, August is when you drop the first single

Historically, Taylor Swift has released a new album every two years in October. Following that pattern, she was scheduled to release a new album last fall, but she skipped a year. If she’s planning to return to her traditional schedule this year, she’ll need to release a new single about three months before she plans to release her album in order to build buzz — in other words, she needs to release new music in August.

It’s been just over a year since the #KimExposedTaylorParty

Last July, Kim Kardashian West released a series of videos online that appeared to demonstrate that Swift had signed off on Kanye West’s controversial “Famous” lyrics (“I feel like me and Taylor might still have sex / Why? I made that bitch famous”), despite Swift’s claims to the contrary”.

IN THIS PHOTO: Kim Kardashian West

The Telegraph had other theories around the reptilian-video-tease and other possibilities:

“Others have suggested that the creature in the video isn't so much a snake but a dragon or a lizard. The pop culture science website Inverseconsulted six (!) different herpetologists for their analysis of what the video actually depicts, with all coming to the conclusion that it probably isn't a snake.

"That is not a snake, nor other reptile," Joseph Mendelson, Ph.D., director of research at Zoo Atlanta, told the site. "It actually changes the length of its body, which is what worms or octopus tentacles do. Snakes, even the couple of really odd ones out there, can't technically accomplish this."

“Others have suggested Swift may be planning a dragon-from-the-ashes video, something involving an octopus, or may just be a huge Game of Thrones fan. These suggestions makes sense, but they also aren't half as much fun to speculate about.

In further far-fetched speculation, it has also been claimed that Swift may have deliberately coincided the release of her new single with this week's solar eclipse as a reference to "shadow bands" – thin streaks of light which appear to shimmer on the ground ahead of and in the wake of an eclipse. These "shadow bands" are also known more colloquially as (dun dun dun) "shadow snakes".

She might be planning a collaboration with Katy Perry

There have also been rumours that Swift will perform her new single live at this Sunday's MTV Video Music Awards, though that has not been confirmed. An interesting aside to that bit of speculation is that the ceremony is being hosted this year by Perry's one-time arch nemesis Katy Perry.

Perry will also be performing her single Swish Swish, a diss track written in response to Swift's Katy Perry diss track Bad Blood.

The fact that both women will be in the same venue has also led to speculation that the pair might bury the hatchet and perform together, particularly after Perry has expressed her wish to put aside their feud in recent months. However, she has denied that they have a collaboration in the works.

"Listen, I'd love for the beef to end, take it off the barbecue," Perry told SiriusXM's radio show The Morning Mash Up yesterday. "I'm down, but I haven't heard anything of it."

That is a lot of spice, flavour and additions to the overflowing rumour-cauldron! Katy Perry has claimed not to be in conversation with Swift so, is that a deflection and bluff?! The Pop market lacks a certain excitement and originality so, when it comes to releasing new material, is the event and build-up more memorable than the actual song?! The song will be called Timeless, it seems. Snakes/snake will be part of the dynamic/video and, given the rumours around Katy Perry - it seems two Pop superstars will join forces. Maybe the song will be a summer-defining epic but, it seems, it is not going to depart too much from Swift’s previous material. Her schedule regarding releasing albums every two years suggests, whatever arrives, will be the start of a new album, one suspects.

IN THIS PHOTO: Katy Perry/PHOTO CREDIT: #StevenKline 

Maybe the snake represents a slimy ex-boyfriend. Relationships and empowerment are going to be important factors in the song – maybe they are merely red herrings. All of this chatter and brew has done what the label and management intended: get the millions interested and build up that immense sense of anticipation. Even people like me – not a huge fan of Swift but an admirer of how she conducts herself – are intrigued by campaigns that differ from your usual strategy. I mentioned how, back in the 1990s, there was a more standardised and low-level campaign. Singles would have been released but few artists would spend so much time and energy creating cryptic messages and teasing videos. Maybe we have reached an age where the spectacle and allure take precedence over the actual music. I am fascinated by the sensation of the social media blackout and why artists do it.

PHOTO CREDIT: Sarah Barlow

When Radiohead silenced their channels; many assumed it was them disconnecting from fans and getting away from the chatter. When the lights were brought back up; new music arrived and, in a strange way, it seems like a much bigger thing. We had been plunged into confusion and many had gone into panic-mode. That sense of relief seeing music arrive created a more intense and visceral reaction than if the band had done it in a straightforward and unimaginative way. Radiohead have always been pioneers and keen to do things differently. Taylor Swift is, perhaps, a less innovative songwriter but is part of a culture that understands the power and importance of social media. That blackout, like Radiohead, saw the Internet go into a tailspin. The rumours were fulminant and it has, for better or worse, seen fans chatter and share their opinions.

We are piecing things together and guessing when a song might arrive. She could have, three years after 1989 – got my two-year theory wrong! – have released an album like everyone else - but her celebrity and cachet has grown to such gargantuan heights; that could never be. It has been a little while and there has not been a mass of material from her lately. Bad Blood (featuring Kendrick Lamar) was released two years ago, is one of the most-viewed videos ever and has been seen over one-billion times. One suspects, if the ‘snake teaser’ were on YouTube; it would get the same amount of views given enough time. One of the reasons Swift has decided to do this blackout is to get the tension and sheer explosion of fascinating to its fever-pitch best. If she had done what, say, Lorde had done and released her album after a run of singles – with a comparative lack of circus – would that be fitting for a mega-famous artist under constant scrutiny?!

It would be have been a risky strategy going for the single-teaser-single-photo-single-album configuration three years after a huge-selling record. There is a timeliness about a possible single/album release. Recently, Swift won $1 (a symbolic amount) off of former D.J., David Mueller, who assaulted her by groping. Swift, after the photoshoot with Mueller and his girlfriend, has said ‘thank you’ and blown off the assault. She won the case and has had to deal with something traumatic and deeply upsetting. Not that new music is a way of profiteering from a high-profile court case but one feels that blackout was a reaction to the tension and furore around her name – she could not simply do something casual and minor. She is a fired-up woman right now and wants to make a statement. There is a sense of calculation throughout everything that suggests she is constantly being guided and advised. Artists as big as her cannot release an album when they want and decide which singles to bring out – choosing their own promotion techniques and choosing their level of involvement.

Not that Swift is consorting with evil spirits: she is a successful businesswoman and performer and is not going to be controlled. It will be interesting seeing the results of all this cloak-and-dagger, smoke-and-mirror stuff. It is interesting seeing how meticulous and grand a promotional campaign can be these days. Smaller artists do not have the status and reputation to be able to do this – very few can take down all their social media sites and have people stick with them. That complete blackout could backfire but, for someone like Swift, it is has been planned and discussed to ensure it is the very best way to promote her new music. Timeless, it appears, will be that music and, whether a single or album, is creating so much talk and rumour - right across international media. On Friday (perhaps); we will get to see what all the build-up is about and, with it, one of the most talked-about and hyped-up music promotional campaigns…

OF this decade.

INTERVIEW: I Am Willow

INTERVIEW:

 I Am Willow

________

THE Valetta-born artist I Am Willow shows the stunning brand of music…

coming out of Malta (she is now based in London). Time Out and Annie Lennox are fans of her music; she has been featured by BBC Introduction - and someone who can hold an audience spellbound by her voice alone. There is something simple and effective when one hears songs like Oceanful and Hearts in the Night (the new single from the talented singer-songwriter). I speak with her about the song’s story and how her music comes together; the musicians that have inspired her and what the music scene in Malta is like.

She talks about music and childhood; whether there will be an E.P. arriving and how big relationships and the personal are to her songwriting – and a couple of new artists we should all be aware of.

_________

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

I’m feeling pretty good - now that I’ve finally started to share my music with the world. The response so far has been incredibly encouraging and I feel particularly inspired.

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

I’m a girl that loves to go to my 'safe space': under a willow tree; looking out at the world and then writing about it. I’m human and definitely have my flaws - and this all comes across in my music. I love books and films so you could say my music carries a certain cinematic atmosphere.

However; the Pop princess inside of me always finds a way of showing itself.

Talk to me about the single, Hearts in the Night. What is the song about and was it an easy creative/recording process?

Hearts in the Night was the result of a completely improvised session with Benbrick - my co-writer and producer. We had never worked together before and we had no specific targets on the day we did. This song was an incredibly organic result of our two creative souls coming together and trusting each other.

Funnily enough, the song is actually about trust and allowing someone to show you the way. Imagine being blindfolded and allowing someone to take you by the hand - and cross you over the busiest street in New York.

That’s what this song is about: trust.

It follows the popular and impactful, Oceanful. How do you think the tracks differ and, in terms of sound and lyrics, were you keen to create something new and distinct?

When I work with producers; there’s always an element of trust involved.

I have to believe that they will bring something that I wouldn’t even have thought of to the song and that it will take the song to a much better place.

The beauty of Oceanful and Hearts in the Night is that they were the result of the first session with both sets of producers. In the case of Oceanful; it was Zeke McUmber and Ron Haney. Both songs were written on the day of production and neither session was meant to be an 'I Am Willow session'.

Indeed, I Am Willow didn't even exist when Oceanful was written: it was the seed that started the whole project. And, to answer your question, lyrically the songs differ immensely - because I was in a very different emotional place. The mood is, especially, more intense in Oceanful (boy problems), for example.

However, the main difference - which I find beautiful - comes from the fact that I am working with different producers. They each bring their own individual stamp to my music. It’s completely real, raw and organic. 

Is there going to be an E.P. or album arriving at some point?

Let’s just say there’s much more music coming your way….

How important are personal relations and experiences to your songwriting? Do you take a lot from your own life and write about what you go through? How much is fictionalised and abstract, in that sense?

Everything I write about is absolutely genuine and true.

I write about my own experiences, my strengths and fears – and, sometimes, I’ll take lyrical inspiration from books.

But, to me, songwriting is a form of therapy.

Listening to your latest track, and the reception you are getting, it seems like you are in a good and creative period. How do you think you have developed as a songwriter the last year or so?

All I know is that the music people are responding to all happened as a result of trust.

I wasn’t trying to please anyone. I wasn’t expecting anything to come of it. So, I want to continue to throw myself into completely organic situations and trust that sometimes we will have similar results.

One thing I do feel is that I trust myself a lot more.

Born in Malta; you are based in the U.K. What is the music scene in Malta like – compared to the U.K.? Are there a lot of great artists making waves over there?

Malta is a really beautiful setting for a creative person…up to a point.

It’s a very small place, and with it, comes very few opportunities - which is why, I feel, like there’s a lot of potential that doesn’t really reach its maximum. But, the potential in those waters is evident - even to the highest-trained experts.

I’ve heard it said so many times before: “There’s something in the water”.

Can you tell me about the musicians you grew up listening to and your idols?

I grew up on Classical music. I was playing the piano from the age of four and my grandmother was my teacher. Even on Sunday picnics; the first things she would say to me was “Did you practice?”.

But, I have very fond memories of dancing to the Spice Girls with my mum and then, later, being completely mesmerised by Kate Bush, and then, Tori Amos.

Later, I collected a few more idols like Goldfrapp, Radiohead; Beyoncé, Jungle; alt-J … it’s a funny list - but I have a pretty wild selection.

Annie Lennox is a big fan of your music. Is it weird getting love from someone so huge?! Have you ever performed with her – or is that something you’d like to do?

It’s weird and it’s not...

We often look up to these icons and forget they’re just human beings, like us. I write music from the heart - so it’s bound to resonate with someone. It just so happened to be Annie, which, don’t get me wrong, is the honour of all honours. Performing for her was as amazing as it was terrifying. I will treasure it forever.

If I ever get the chance to perform with her; I would take it in a heartbeat!

You are classically-trained and have a cinematic and emotional palette. How influential are culture and the arts with regards your music? Do you connect film, literature and finery with your own personality and way of working?

Yes.

I would have to say I am very influenced by any other creative form: art exhibitions, film and dance (and all sorts). But, I would say, the primary source is (definitely) literature. When I find a good book; I am transported so completely that I can step back at any time – and, sometimes, lose my train-of-thought, mid-conversation. It’s very annoying to some. Haha.

Of course; it is inevitable that this has some effect on my songwriting.

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

Keep an eye out on my social media pages/@iamwillowmusic for news of a performance on 16th Sept.

IN THIS PHOTO: Roatana/PHOTO CREDIT: @nicolebusch

Who are new acts you recommend we check out?

I would have to recommend Rotana

An amazing artist that I work with.

Also...JP Saxe

A mutual friend and incredible musician (and songwriter).

IN THIS PHOTO: JP Saxe

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

Goldfrapp - Felt Mountain

They introduced me to production as a state of mind - and I have always wanted to try the same thing.

Ludovico Einaudi - La Scala Concert

I’ve seen his music used in film and it is (just) stunning. I have recently started composing some piano pieces that this album has inspired.

Blur - Midlife: A Beginner’s Guide

Because it has such a sense of identity and freedom (I, simply, love it).

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

Stop trying to be who you think everyone wants you to be and just be you - it will surprise you!

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).

ODESZA - Kusanagi

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Follow I Am Willow

 Facebook:

https://www.facebook.com/iamwillowmusic/

Twitter:

https://twitter.com/iamwillowmusic?lang=en

Instagram:

https://www.instagram.com/iamwillowmusic/

SoundCloud:

https://soundcloud.com/iamwillowmusic

Spotify:

https://open.spotify.com/artist/3ukWWgyya0Rufa41yNvwmo

YouTube:

https://www.youtube.com/channel/UCZfdobfV1NuXjpniMGjA6wA

FEATURE: Be Here Now at Twenty

FEATURE:

 Be Here Now at Twenty

________

THE twentieth anniversary of Oasis’ Be Here Now has provoked a lot…

of discussion and division. I shall come to the album’s qualities/negativities – and the people who are all having their say – but, in 1997, there was a huge amount of attention on Oasis. In the Britpop battle with Blur: advantage had switched to the Manchester band – Oasis’ What’s the Story (Morning Glory?) toppling The Great Escape in 1995 – and they were, in their own words, immortal gods. That braggadocio and confidence was typically cocky but deserved. Having produced two of the 1990s’ best albums: many would forgive them for thinking they were indestructible. The band seemed to articulate a sense of freedom, togetherness and revelation – songs that connected with people and articulated a sense of hope. Oasis’ first two albums – their debut, Definitely Maybe, certainty – was chocked full of anthems and era-defining songs. A working-class band from Manchester able to bring the people together – it sparked the fire of Britpop but, more importantly, introduced the world to one of the greatest bands of the past couple of generations. Before providing my thoughts and why Be Here Now’s release was a historic milestone - a look back at the record’s release and themes. Oasis’ management, Ignition, knowing how well-received their previous albums had been - were concerned about the level of attention Be Here Now might receive – wanting the media to tone things down and keep the promotion to a minimum.

Almost stealth-like: the company wanted minimal airplay and a calmer sense of proportion. Naturally, this backfired spectacularly and, maybe consciously, created hype and speculation. Sensing something monumental was about to arrive; radio stations, fans and publications were heavy with rumour and fascination. This sense of what-if created more momentum and attention than if the band had promoted the album in conventional ways.  The album sold 424,000 copies on the first day of release alone – becoming the fastest-selling album in British chart history. The album’s creation was marred by drug abuse and arguments and, as Noel Gallagher revealed to Kirsty Young during his Desert Island Discs appearance (2015) – they had recorded three albums in as many years and all of it was recorded under the influence (Liam and Noel the biggest partakers). Typical of the band: the previous year was filled with over-confident proclamations and successes.

Noel Gallagher was invited to 10 Downing Street – he revealed, in the same Desert Island Disc interview, it helped usher Labour into government – and the celebrity status the band were afforded, as you’d expect, went to their head. That belief that they were God-like figures, coupled with drug use, was never going to result in a modest and focused album. So proved to be the case because, the winter before its release, Noel Gallagher revealed he was suffering writer’s block.  Most of the songs on Be Here Now, lyrics at least, were taken from before the time Oasis got a record deal. Gallagher was idling and thinking; looking for something that could match the magic of What’s the Story (Morning Glory?).

PHOTO CREDIT: Jill Furmanovsky

Joining album-producer Owen Morris; the two laid down eight-track demos on a TASCAM recorder – drum machine and keyboards for the most part. Morris, looking back at those demos (recorded in Mustique) realised he had made a mistake. Rather than use the demos – Noel’s bass, guitar and percussion notes – they went with the album sessions. The album, as a result, was bloated and overblown but, as explained, I shall come to that later. Having performed two concerts at Knebworth House in August 1996; there was a creative and confidence high that got to them in a good way. Of course, with that much love behind them, they would feel pumped and eager to release new material. Perhaps the pressure and demand meant Be Here Now was rushed. Exploits away from the studio were impacting the strength of Oasis’ bond. Liam was going further off the rails and, aside from taking jabs at Noel, was partying and getting into scrapes. There was tension and the belief Liam would leave the band – I think Noel wanted him out as he was bringing the wrong kind of attention the way of Oasis. There was a consensus that, if the band has recorded the album in summer 1996 – at the villa in Mustique when the songs were laid down in rough form – then that would have been a happier and more focused environment. Maybe wait a year and let the pressure settle but, like The Beatles in the 1960s; that enormous need for something new forced them into a bad decision.

Many saw those villa recordings and the pre-Knebworth House period as the last hurray for the band. Those epochal concerts were career-high moments that started a decline. The anthem nature of their previous two albums was all in place. Whereas records like Definitely Maybe were energised; there was tightness: songs not really going on too long but able to convey so much in that time. Be Here Now was Elvis in his final days: bloated, troubled and lacking any control. The cocaine-fuelled – perhaps literally and sonically – meant tracks ran on and on without much reason. Some cuts repeated lines inanely whilst endless guitar solos and layers gave it a full-on and suffocating feel. D’You Know What I Mean and All Around the World drag and bore; My Big Mouth employs over thirty layers of guitars.  Lots of top-end frequency tones and experimentations – a little more freewheelin’ and indulgent than previous albums. The compelling sing-along that defined earlier breakthroughs like Live Forever was replaced with sub-pub-anthem-chorusing that seemed to indicate there were few in the ranks that had the courage to question Noel.

PHOTO CREDIT: Steve Double Photography

Maybe there was too much rush, tensions and distraction. Whatever the truth from within camp: Be Here Now was released to the world on 21st August, 1997 and was, by all accounts, a phenomenon. The album itself can be split between those diehard fans and those experiencing the band for the first time. From my perspective; Be Here Now is a confident record but one that fails to capture the same quality and focus as their first two. The band was keen to try something new – in terms of sounds – and keep that lyrical simplicity intact. They did this but, fuelled by pressure and growing fame, their sense of economy abandoned them. Noel Gallagher freely admits there should have been judicious edits and greater self-awareness. Maybe, cropping a few of the longer songs would have been beneficial – some songs merely repeat guitar lines and aimlessly find Liam repeating the same codas/words with zero resonance.  

The band had shown, on songs like Champagne Supernova, they could do something long and explorative without losing interest. That song ends What’s the Story (Morning Glory?) and is a classic Oasis anthem. Songs like that, Wonderwall and Live Forever should have acted as guidelines in regards quality, running time and themes. Circumstances had changed so it was understandable Noel Gallagher would not be at the same standard he was on the previous two records. He had, as he confessed, said everything he wanted and was going through a dry-spell – making things up when formulating the songs for Be Here Now. I love Stand By Me and, whilst it is a long song, it has an effective and memorable chorus that seems to reflect the finest points of What’s the Story (Morning Glory?). All Around the World has a big chorus but suffers from excess and over-long running-time.

PHOTO CREDIT: Stefan De Batselier 

There are a few fillers but, take it on its own merits, and it is a classic three-star album: not a disaster but hardly a modern-classic. Compare it to Oasis albums to that point and it can only be viewed as a failure/missed opportunity. Unfortunately, given the hype and expectations of the time, critics listened to it with blinkers and rose-tinted glasses. The same way they had done two years previous with Blur’s The Great Escape: there was the assumption, without listening, the album would be as good as their previous best. The mass positive reviews were generated as a reaction to the huge speculation and build-up Be Here Now received. When the festival has died down, and there was relative quiet, more realistic and considered reviews were generated. Some remained positive others retracted previous praise and provided a more constructive criticism. The change in cultural dialectic between Oasis’ Britpop-period and their distancing from the common man was lost in translation. Ego and enormous self-belief had stripped away the qualities that made the band such heroes.

the real reason I wanted to celebrate Be Here Now’s twentieth anniversary was to reminiscence and reflect on a time when a single album created such a buzz. Today, I have seen articles talk about the album and interview those who were queuing to snap it up twenty years ago. Being a Blur fan; I wasn’t among the thousands that lined the streets to grab a copy when shops opened on that exciting day. Maybe the quality of the album meant a lot of the prominence and prestige its release accosted made the reviews a little unreliable and one-sided. There was a huge wave of excitement one got swept up in. Reading a fascinating article from The Quietus (from last year); it was argued Be Here Now had some clear qualities:

“While critics often cite the chorus as an exemplar of the vacuity of the album, they tend to ignore the different rendering of it the second time through, which reveals its true purpose (the "All my people right here right now/D'you know what I mean?/Yeah, yeah" of the first reading goes from opaque to transparent when the "D'you" is replaced with a "they" for the second run through). The final lines achieve the near miracle of dragging some sort of unifying and relatable lessons from the personal pain of the past, the song turning an image that may in itself be an echo of that abuse when exhorting listeners to "Get up off the floor and believe in life/No-one's ever gonna ever ask you twice". To be able to take something universal and uplifting from that kind of experience is an achievement deserving of the highest respect”.

It is worth reading the remainder of the piece as it does give a new spin – that seems to contradict and challenge the retrospective reassessment the album has received. It was amazing seeing the news the day the album came out. People excitedly packed into shops and chatting in queues. There was a community and spirit in the air we have not really felt since. Yes, there have been big albums that saw huge queues – nothing gathered the same momentum and attention as Be Here Now. It was Oasis’ Beatles-moment – the retail equivalent of Knebworth, if you will.

If the album was not quite deserving of the immense sales; it was wondering seeing people come together - and music meaning that much to others. The digital revolution means we will never again see that same sort of thing happen on the streets of Britain. Our pavements are becoming synonymous with danger and protest: the simple joy of camping out for a long-awaited record seems a distant memory, sadly, we cannot recapture. I feel Be Here Now’s release, for all its warts and faults, marked a wonderful time when the art of buying music was at a rare peak. There is an anhedonia when purchasing music today – if, indeed, you actually do buy something. Gone are the days when a single record could bring together the masses. We are more concerned with streaming and seeing if we can get something for free on Spotify. It is an inevitable evolution but one I am not happy about. Oasis, twenty years ago, did something extraordinary. The controversy and ambiguity of the build-up; the ferocious excitement of the release – the deflating, if slightly funny, bump to Earth. It was a turbulent and wonderfully exciting thing to behold. I have been listening to Be Here Now for a few hours and am appreciating things I missed. I can appreciate the confidence of the band and the sheer dramatic emotion of the movements – those extra-ultra-confident anthems and the layers of guitar. It is very different from anything Oasis attempted but is, by no means, their worst album. It marked a need to make a change and move on: compete with the end of Britpop and the embrace of American guitar music. However you assess it - and whatever you feel about it - one cannot ignore the fact Be Here Now changed the face of music…

 PHOTO CREDIT: Jill Furmanovsky

IN so many ways.

FEATURE: The Peel Session: Celebrating the Legendary Tastemaker

FEATURE:

 

The Peel Session:

 Celebrating the Legendary Tastemaker

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I am not the biggest authority when it comes to John Peel but felt…

PHOTO CREDIT: Getty

it was only right acknowledging the master as his birthday approaches – 30th August would have been his seventy-eight birthday. It is a tragedy he is no longer with us – more on that later – but one has all those treasured memories and takeaways. Before I share my memories, and why he is such an important figure in music; an overview from Wikipedia:

“John Robert Parker Ravenscroft, OBE (30 August 1939 – 25 October 2004), known professionally as John Peel, was an English disc jockey, radio presenter, record producer and journalist. He was the longest serving of the original BBC Radio 1 DJs, broadcasting regularly from 1967 until his death in 2004.

He was one of the first broadcasters to play psychedelic rock and progressive rock records on British radio, and he is widely acknowledged for promoting artists working in various genres, including pop, reggae, indie pop, indie rock, alternative rock, punk, hardcore punk, breakcore, grindcore, death metal, British hip hop, electronic music, jungle and dance music. Fellow DJ Paul Gambaccini described Peel as "the most important man in music for about a dozen years". In 2012 he was among the British cultural icons selected by artist Sir Peter Blake to appear in a new version of his most famous artwork – the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover.[1]

Peel's Radio 1 shows were notable for the regular "Peel sessions", which usually consisted of four songs recorded by an artist live in the BBC's studios, and which often provided the first major national coverage to bands that would later achieve great fame. Another popular feature of his shows was the annual Festive Fifty countdown of his listeners' favourite records of the year.[2]

Peel appeared occasionally on British television as one of the presenters of Top of the Pops in the 1980s, and he provided voice-overcommentary for a number of BBC programmes. He became popular with the audience of BBC Radio 4 for his Home Truths programme, which ran from the 1990s, featuring unusual stories from listeners' domestic lives”

My first exposure to John Peel was hearing my favourite artists performing the famous Peel Sessions. The idea was an act would come in and perform four songs for Peel. It was a pre-recorded show that meant you could edit and remove any swearing – it might be a risk doing it today, considering some of the acts he had performing for him. I have fond memories of everyone from The Smiths to Jack White. One can get a complete rundown of The Peel Sessions here (there is a complete playlist at the bottom of the piece) and, if you want NME’s consideration of the ten best Sessions – one can glean them here. The reason I wanted to start with this side of his career was the fact those Sessions, not only produced some fine performances and legendary recordings but allowed Peel to connect with an artist. I have been listening to PJ Harvey on BBC Radio 6 Music and, during the feature; there was a snippet of her speaking with John Peel and her career to that point. Peel always came across as someone who did not mince his words but had an affectionate and tender side. That blend of characteristics brought the best from his guests and, in the comfort of the recording space, one experienced tremendous and one-of-a-kind performances.

During the thirty-seven-years Peel was at the BBC; there was in excess of four-thousand sessions recorded by over two-thousand artists. That is extraordinary and one can argue it spearheaded similar live sessions like BBC Radio 1’s Live Lounge and, in fact, every other live session on national radio. Every D.J., in a sense, wants to carry on Peel’s legacy and the way he connected with artists. I will come to his tastemaking legacy but, to show what exceptional taste the man had, a feature regarding his appearance on Desert Island Discs. It is no surprise seeing such an eclectic selection but even less of one finding The Undertones’ Teenage Kicks spoken about in such revered tones.

That is, as we know, Peel’s favourite song and a big reason it has been passed down to new generations. I must admit, the first time I heard the song, maybe in the 1990s, and it opened up my eyes to The Undertones and singer Feargal Sharkey. The next song I heard from Sharkey, conversely, was his cover of A Good Heart – songs that look at very different aspects to love! It is amazing how we discover older and rare musicians through contemporary D.J.s. One of the big reasons John Peel leaves such a vacuum in music is because of his endless passion and curiosity regarding music. A piece in Evening Standard, five years ago, looked at how Peel’s archives and records were being made available to the public:

“Music fans will be able to rifle through the contents of John Peel's record collection as the late DJ's huge archive begins to be opened to the public from today.

The Radio 1 presenter - who died in 2004 - amassed a colossal treasure trove of vinyl during his four decades as a champion of new music.

His collection is now being placed online with details of 100 albums being added in alphabetical order each week over the coming months as part of a digital arts project.

At one stage there was talk of Peel's collection being saved for the nation to give the public access to his records through the National Sound Archive.

IN THIS PHOTO: Peel Acres

But now it will be opened up through an online project The Space, which is being launched by Arts Council England and the BBC.

The first batch of albums - with artists beginning with the letter A - was being placed online today.

The list begins with Mike Absalom, who has called Peel "the musical Maypole around which we all danced".

Creators of the site say it will allow visitors to browse through the records and the DJ's index cards as well as letting them view personal notes, home movies - including footage from his 50th birthday - and archive performances.

 Peel amassed more than 25,000 vinyl albums and 100 will be added weekly until October.

His widow, Sheila Ravenscroft, said: "We're very happy that we've finally found a way to make John's amazing collection available to his fans, as he would have wanted.

"This project is only the beginning of something very exciting."

Users of the site will see his collection includes releases by acts such as Philadelphia new wave band The A's and industrial electronic act AAAK.

The first batch of albums, for which Peel had typed out track listings to aid his cataloguing, also includes more mainstream selections. It features the first three albums by ABC - The Lexicon Of Love, Beauty Stab and How To Be A Zillionaire”.

There are features and programmes that have marked Peel’s death – and what his passing means to musicians and music-lovers alike – but every year we mark his life; there is a sadness, for sure. Whether marking his death or birthday, I feel there is endless currency when it comes to exploring Peel’s legacy. The reason I bring him up is because, in an age where so much of our music is digital and immune to promotion, his presence is needed more than ever. We have D.J.s and people promoting new songs but there are far less of it. So many of us discover music through sites like Spotify and YouTube. Social media plays a big part but the role of the D.J. is becoming less relevant.

IN THIS PHOTO: The White Stripes

The reason I listen to BBC Radio 6 Music is that they value the necessity to bring people the best new music on a one-on-one basis. They play the songs and talk about the artists: they do not provide links to Spotify and leave it there. One gets a very direct and passionate group of D.J.s bringing all the best sounds around. One of John Peel’s sons, Tom Ravenscroft, is a BBC Radio 6 Music D.J. and has the same hunger as his father – even if he hasn’t aged enough to have the same legacy. William, another son of Peel’s is a music journalist/broadcaster. Both seek out the best new talent around and have learned a lot from their father. Another radio titan, Terry Wogan, died a few years ago and was another incredible tastemaker.

He was considered, at one point, the most influential man in music and, on his BBC Radio 2 show, constantly had musicians perform for him. Both Wogan and Peel were both incredibly influential and have had an incredible effect on my generation. Another reason I miss John Peel is the way he pretty much broke The White Stripes in the U.K. It is no secret John Peel loved The White Stripes and it is debatable how many of us would have been aware of the American duo were it not for him. Afflicted by the quality and originality of their earliest recordings; he featured them on his show and had them play as part of his Peel Sessions. The duo was still in circulation when Peel died in 2004 but would have appreciated what he did for their careers. There is no telling how long it would have taken The White Stripes to be taken to heart in this country the way they were – it might never have happened, to be honest. They are not the only act that has Peel to thank for making them successful but they are the most famous.

John Peel left the world, as we know, in 2004 (aged sixty-five) and was on a working-holiday in Peru at the time. It was an immense shock and something we are still getting used to. Before I wrap this up; a little Wikipedia input regarding Peel’s legacy:

“Since his death various parties have recognised Peel's influence. A stage for new bands at the Glastonbury Festival, previously known as "The New Bands Tent" was renamed "The John Peel Stage" in 2005, while in 2008 Merseytravel announced they would be naming a train after him.[25]

The John Peel Centre for Creative Arts opened in Stowmarket in early 2013. The main purposes of the centre is to serve as a live venue for music and performance and as a community meeting point.[43][44]

In 2009 blue plaques bearing Peel's name were unveiled at two former recording studios in Rochdale – one at the site of Tractor Sound Studios in Heywood, the other at the site of Suite 16 Studios – to recognise Peel's contribution to the local music industry.[45]

 On 13 October 2005, the first "John Peel Day" was held to mark the anniversary of his last show. The BBC encouraged as many bands as possible to stage gigs on the 13th, and over 500 gigs took place in the UK and as far away as Canada and New Zealand, from bands ranging from Peel favourites New Order and The Fall, to many new and unsigned bands. A second John Peel day was held on 12 October 2006, and a third on 11 October 2007. The BBC had originally planned to hold a John Peel Day annually, but Radio 1 has not held any official commemoration of the event since 2007, though gigs still take place around the country to mark the anniversary.[46][47][48]

At the annual Gilles Peterson's World Wide Awards, the "John Peel Play More Jazz Award" was named in his honour.

In Peel's hometown of Heswall, a pub was opened in his honour. Named The Ravenscroft, the pub was converted from the old Heswall Cottage Hospital, Peel's birthplace.

PHOTO CREDIT: Rex Features

Several Peel-related compilation albums have been released since his death, including John Peel and Sheila: The Pig's Big 78s: A Beginner's Guide, a project Peel started with his wife that was left unfinished when he died, and Kats Karavan: The History of John Peel on the Radio (2009), a 4 CD box set. Rock music critic Peter Paphides said in a review of the box set that "[s]ome artists remain forever associated with him", including ...And the Native Hipsters with "There Goes Concorde Again", and Ivor Cutler with "Jam".[50] A sizable online community has also emerged dedicated to sharing recordings of his radio shows”.[51]

In ten days, we will mark the seventy-eighth birthday of a hugely influential figure. Nobody since his death has managed to exert the same impact on modern music. There are some important tastemakers around but none that will have the relevance and legacy as John Peel. The number of vinyl the man left the world – one can imagine it filling an entire house – speaks volumes about his voracious passion for music. We need to remember John Peel even more at a time when people are discovering new music through streaming sites. I am not sure what he would make of the digitalisation of music but I am sure he would still be acting and one of the champions and bastions of the physical release – getting artists to perform and scouring crates for rare vinyl. It is sad realising he has been dead for thirteen years but his importance and legacy will never diminish. When his birthday does come, I feel we should make an extra-special effort to celebrate and commemorate one of music’s…

TRUE giants.

FEATURE: Globetrotting (Part Two): Thirteen Artists to Watch

FEATURE:

 

Globetrotting (Part Two):  

IN THIS PHOTO: Tash Sultana/PHOTO CREDIT: @hellomikeamico  

Thirteen Artists to Watch

________

THE second part of my feature looks outside of London...

IN THIS PHOTO: YONAKA/PHOTO CREDIT: Tom Bronowski

well, for most of the acts – and recognises artists emerging from other parts of the planet. There are three more installments to come so, in this second segment, I take my sights to artists I feel will be making some impressive-sized waves in the coming months.

This list looks at some quality American acts with the finest of British; some treats out of Canada and France – a variety of sounds and treasures for the ears. There are a couple of Australian wonders and a real compendium of awesome music and intriguing personality.

Over the coming weeks, I will delve further into new music and collate the brightest and rarest music specimens around – those primed for big things as we creep longing towards 2018…

________

The Aces

Location: Utah, U.S.A.

Genres: Pop; Rock

Essential Song: Baby Who

Reasons to Watch: In June; the girls released their E.P., I Don’t Like Being Honest. They are playing in the U.S. right now but, on 27th September, they play Hoxton Square Bar & Grill and It will be a chance for the British crowds to see the band and what they are all about. The E.P. mixes 1980s-Pop and the sort of Pop/Indie of Haim and Shura. It is an intoxicating brew that is perfect for the summer weather – powerful enough to bring heat and good weather to the British crowds!

Follow: https://www.facebook.com/acesmusic/

The Wild Things

PHOTO CREDIT: Marcus Maschwitz

Location: London, U.K.

Genre: Rock

Essential Song: F.I.A.

Reasons to Watch: One of the biggest regrets, musically, this year – aside from not punchy Ollie Murs when he passed by me in London one day - was when I missed The Wild Things play The Lexington recently – I was afflicted with a nasty cold so felt best not to spread it to them and large sections of London. They claim, the coolest line in a review (of theirs) was "Boiler suits and swaying hair move deliciously with slide guitar" – it is a pretty good line. The guys have news planned and it seems like something big will be going down before we close 2017. Led by siblings Syd and Cam; Rob and Pete amply provide oodles of grit, swagger and talent – they are a kinetic, eclectic and assured Rock band that is among London’s most promising.

Follow:  https://www.thewildthings.biz/

Pillow Queens

Location: Dublin, E.I.R.E.

Genres: Rock; Alternative

Essential Song: Rats

Reasons to Watch: Those who have seen the Irish band perform live – I am among them – can attest at how charming, loveable and explosive they are. They are one of the most passionate bands around but charm crowds with their between-songs banter. Calm Girls, their 2016-E.P., is a stunning three-track everyone should get involved with. This year has been a successful one that has seen the quartet play their first London gig – important steps and big successes are sure to follow.

Follow: https://www.facebook.com/pillowqueens/

Bishop Briggs

Location: Los Angeles, U.S.A.

Genre: Alternative

Essential Song: The Way I Do

Reasons to Watch: There is something alluring and captivating about L.A. songwriter Bishop Briggs. The ponytailed hair and intense stare – a lyric forming there… - mixes with an incredible voice and songwriting gift that makes it hard to compare her with anyone else. Her eponymous E.P. (released this year) bursts with confidence, incredible passion and one of the strongest voices in modern music. She is a unique and captivating artist whose blend of quirky and loveable personality is almost as remarkable as her fresh and phenomenal music.

Follow: https://www.facebook.com/thatgirlbishop/

Sonia Stein

Location: London, U.K.

Genres: Alternative; Pop

Essential Song: One of Those Things

Reasons to Watch: I will be seeing Sonia Stein when she plays my night at #Blogtober (5th) in October. Before then, she is enjoying the love her E.P., One of Those Things, is receiving. Sixes & Sevens, the last of the singles from her E.P., has been unveiled and it seems like Stein has a busy few weeks ahead. There are gigs and promotional duties; I am sure she has plans for more music in 2017. There are few that have the same set of ingredients as Stein – one of those artists that can assimilate popular demands and integrate her own heartbeat and personality into the music. Her beauty and sensuality feed into the music and combines with vibrant and emotive compositions. There is plenty of movement, fizz and energy in her compositions. A musician and human that makes music for the people – even when the songs stem from her personal pages. Someone to watch very carefully.

Follow: http://soniastein.com/

Happy Hollows

Location: Los Angeles, U.S.A.

Genre: Indie-Rock

Essential Song: Feel the Moon

Reasons to Watch: The guys have just released the new single, Meteors, and are preparing for the album release party on 29th September. Concordia is a record you will want to get a hold of because, the songs the Los Angeles group have put out, are incredible. The Art-Rock duo is, as they admit, an unlikely match: two polar-opposites consisting Northern California’s Sarah Negahdari and graduate student/bassist Charlie Mahoney. They met when Negahdari was ready tarot cards at a strip mall (yep) and, since that peculiar meeting, have performed hundreds of shows to adoring crowds. They are better known in their native America but it cannot be long until they are a huge fixture in this country – and the rest of the world!

Follow:  http://www.happyhollows.net/

Tash Sultana

PHOTO CREDIT: Dara Munnis Photography

Location: Melbourne, Australia

Genre: Alternative

Essential Song: Murder to the Mind

Reasons to Watch: If you have not heard this Australian treasure; you owe yourself the pleasure of discovering her music. In an industry where there are few genuine originals: Tash Sultana is a magnificent artist whose mix of sounds and incredible voice puts her music directly into the brain. There is the same dexterity and eccentricity one notices in Nelly Furtado’s voice but that would sell Tash Sultana short – she has so many different sides and is a lot more accomplished as a musician and lyricist. She started with homemade videos and busking the streets. Now, the Melbourne resident is on the cusp of the big-time and has a series of international tour dates approach. I will have to catch her when she comes over next month – her final date here is 02 Shepherd’s Bush Empire on 14th.

Follow: https://www.tashsultana.com/

Tonight Alive

PHOTO CREDIT: Jordan Knight Photo

Location: Sydney, Australia

Genre: Rock

Essential Song: World Away

Reasons to Watch: Like country-mate Tash Sultana: Tonight Alive have a busy tour diary but are performing in Australia-only, it seems. They have international appeal but are keen to make their stamp on their native population. They have seen their music featured on The Amazing Spider-Man 2 and are a Rock band that brings energy and intensity to every song they perform. Led by the phenomenal and compelling Jenna McDougall; it seems there is a big future mapped out for the Sydney quintet. I hope they do come to the U.K. as there is a lot of love waiting for them here!

Follow: https://tonightalive.com/

XamVolo

Location: London/Liverpool, U.K.

Genre: Electronic-Soul

Essential Song: Old Soul

Reasons to Watch: In a lot of ways; there are similarities between XamVolo and the ethereal Benjamin Clementine. Both have natural cool and modesty; a voice that defies gravity and beauty – able to lacquer darkness and provide light to the impossible. The differences like in the sonic backdrops. Whereas Benjamin Clementine has a more poetic and preacher-man calm: XamVolo is a raw and energised prophet whose voice is propelled and backed by teasing beats and swirling electronic vapours. With new material brewing – an acoustic version of Old Soul was unveiled last month – it is only a matter of time before an album/tour is announced.

Follow: http://www.xamvolo.com/

Charlotte Cardin

Location: Montreal, Canada

Genre: Alternative

Essential Song: Dirty Dirty

Reasons to Watch: Washington, Philadelphia and Boston are upcoming dates for Charlotte Cardin. A remarkable musician whose voice, often, is backed by crackling beats and moody pauses – atmosphere and epic possibilities from an artist who is capable of tender consideration and out-there confidence. Accompanied by Mathieu Sénéchal and Benjamin Courcy; it is a musical proposition that fits perfectly into the Canadian music scene. Further dates across the U.S. follow and, after releasing the incredible Bad Boy E.P., there is a lot of demand for Cardin and her music. I hope she is another artist planning a sojourn to Britain – the reception she would get would be immense.

Follow: http://www.charlottecardin.com/

Odd Couple

Location: Berlin, Germany

Genres: Rock; Classic-Rock

Essential Song: Gone Solid

Reasons to Watch: I have reviewed these guys and was lucky enough to dive into Flügge and a modern Rock masterpiece. The band is unconcerned with the generic and shallow Rock music of today. They nod back to the bands of the 1970s: a time when there was genuine spirit and innovation in the genre. As such; one gets dirty and instant riffs; songs that address the world around them and more originality than most artists of their ilk. The duo is playing Europe in the coming weeks and, one suspects, they will have time to pop to the U.K. They have played Luxemburg and Norway and are amazing and rocking crowds on the continent. A musical force you definitely need in your life!

Follow: http://www.oddcouple.de/

YONAKA

Location: Brighton, U.K.

Genres: Alternative; Alt-Pop

Essential Song: Wouldn’t Wanna Be Ya

Reasons to Watch: Led by the incredible and nuanced voice of Theresa Jarvis; the Brighton four-piece headline The Borderline on 14th September and will be their biggest London show yet. Things are getting bigger and better for the band. There are singles being dropped here and there so it only seems natural they will collate into an E.P. I am not sure what the guys are planning but, judging by the reaction their live shows are getting, there is a lot of demand for them. Their hooks and songs consort with darker forces but there is something accessible and mainstream-ready about them. A deep and exciting brew of sounds and scents that singles the band out for great things. Make sure you follow their careers – there are big things ahead of them.

Follow: https://www.facebook.com/weareYONAKA/

HEZEN

PHOTO CREDIT: Isaac Murai

Location: Paris, France/London, U.K.

Genres: Electronic; Trip-Hop

Essential Song: Smoke & Mirrors

Reasons to Watch: Sarah Hezen has gained comparisons to the likes of Massive Attack and Portishead; the inventiveness and quirk of Björk but, comparisons aside, what one hears is a unique artist that has a very impressive story. She has been performing dates in London and divides her time between genre and France – HEZEN is a French artist but is finding opportunities and love in Britain. Her E.P., Stigma, was released earlier this year and it is clear there is more afoot. One only need take a brief hit of her music to be stunned and taken somewhere else. It is so evocative and physical it moves the mind, body and soul. Another artist with a very clear and prosperous future ahead – there are few quite like HEZEN.

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

FEATURE: Early Risers: The Artists Who Never Bettered Their Debuts

FEATURE:

 

Early Risers:

IN THIS PHOTO: Arcade Fire (whose debut, Funeral, stunned critics in 2004) 

The Artists Who Never Bettered Their Debuts

________

IT might seem like a rather negative title and one…

IN THIS PHOTO: Björk (one of the few artists who has improved and evolved her music after a stunning debut release)/PHOTO CREDIT: Jean-Baptiste Mondino

that employs a modicum of schadenfreude. The idea behind this is to highlight some of the best debuts ever but show how hard it can be topping something so revered and celebrated. Maybe certain acts go in so hard they cannot better themselves. When critics do get behind a record and elevate it to stunning heights: so few manage to go on to record better material or take that kind of pressure. Rather than mock those who have failed to live up to their debut-release stage; I have collected some of the finest introductions from giants of the music scene.

_________

The Stone Roses – The Stone Roses (1989)

The Manchester band have talked about a third album but, as it stands, they have only released the two. It may seem insignificant and pointless saying a band that has created only two albums cannot be judged too harshly for not topping their debut. Such was the impact and strength of their eponymous debut; songs like She Bangs the Drums and I Am the Resurrection became the cornerstones of the 'Madchester' scene. Critics noticed its blasts of 1960s-music and Psychedelia; invention and swagger from the band. They failed to capture that same spark on the ironically-titled, Second Coming - similar-sounding to their debut but minus the timelessness and magic. Maybe the fact it arrived in 1994 – right in the middle of Britpop – made it an ill-fitting outsider. Regardless of its disappointing follow-up: few can deny the potency and legacy of The Stone Roses.

The Strokes – Is This It (2001)

Bands like The Libertines were keen to capture the same sort of energy, Punk rawness and youthful abandon like New York’s The Strokes on Is This It – perhaps not as potently done on The Libertines’ debut, Up the Bracket. Arriving a year into the '00s; the album seemed to represent a feeling that was in the air at the time. The songs, all penned by leader Julian Casablancas, resonate and connect the moment you hear them. They do not have the polished and vapid sound so much of today’s music does – the songs are edgy, raw and underproduced; allowing their true spirit to shine. Their 2003 follow-up, Room on Fire, was an impressive record but could not live up to the standard they set on their phenomenal debut. The band’s current record, 2013’s Comedown Machine, was met with mixed reception – it seems the best days for the band have passed. There have been diminishing returns but Is This It represents a single moment and snapshot perfectly captured by The Strokes. A timeless classic!

Arcade Fire – Funeral (2004)

There are debates as to whether the band’s follow-up, Neon Bible, is their best offering but I feel nothing rivals Funeral. The Canadian band’s latest, Everything Now, has been met with critical coldness. They are a band, like The Strokes, who have gone in hot and have been unable to reach the heady peaks of their first offering. Rebellion (Lies) is, perhaps, the best-known song from the album. Wake Up is a classic whilst the ‘Neighbourhood’ songs – four tracks with similar titles that form a sort of suite – show there is a conceptual arc to the narrative. It is a wonderfully rich and beautiful album that mixes Art-Rock strands in such an interesting and unique manner.

Pretenders – Pretenders (1980)

The legendary American band launched the 1980s with a timeless album packed with classics. They have released as recently as 2016 but, on Alone, it is more a solo project for Chrissie Hynde. The band’s introductory statement contains Precious, Brass in Pocket and Kid – three staples from the band that showed what they were all about. Pretenders debuted at number-one on the U.K. album charts and stayed there for four weeks straight. It is seen as one of the best albums of the 1980s and, to many critics, one of the finest albums ever. The fact the group never scaled the same peaks as they did here is not a reflection on their talent and consistency – such was the gravitas and ambition they put into their debut. It remains a startling album that has influenced a number of bands through the years.

Television – Marquee Moon (1977)

There are few albums that rank alongside Television’s debut, Marquee Moon – let alone debut releases. The incredible songwriting of Tom Verlaine makes every song seem like an adventure and epic. The sonic overdrives and explorations; the lyrics complicated, intriguing and arresting. An essential album in the American Punk-Rock movement defined the times and highlighted Television as natural leaders. Their 1978 follow-up, Adventure, is a startling work but doesn’t quite have the same genius and durability of Marquee Moon. Listening to Marquee Moon forty years after its release means one has fresh ears and perspective. It is timeless and ever-relevant. The music does not age and the performances, if anything, reveal fresh nuance after all this time! 

The Velvet Underground – The Velvet Underground & Nico (1967)

1967 was a year that saw celebratory and pioneering works like The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band. That Summer of Love and feeling of rebellion was in the air. Along came an album that addressed heroin, sadomasochism and sexual deviancy – prostitution and loose morals – to challenge that order and balk against the conventions of the day. That was not the intention of the group but, with the likes of John Cale and Lou Reed in the ranks, they were never going to provide a traditional and toned-down record. It was, at the time, given bad press by critics and embroiled in controversy and lawsuits. Retrospective acclaim has seen the album given the kudos and acclaim it deserves. Their follow-up, White Light/White Heat, got great reception but, after splitting with Nico and artist Andy Warhol; they wanted to create better albums sales and fewer controversies. Nothing compares to the influence and original spirit of their debut – another album that has had an immeasurable impact on modern music.

Ramones – Ramones (1976)

Again, many might tussle against the assumption a band like Ramones peaked on their debut. Their first four albums are all exceptional and faultless but there is something extra-special about the eponymous debut. The fact it came first and, in my mind, contains stronger songs, means it is the finer record. The band barely recorded a sub-standard record in their career but there was nothing to rival the first four years of their career – before they headed into the 1980s and saw a slight dip in impact. Ramones created a simple and direct album that addressed drug abuse, relationships and the far-right – songs that rallied whilst others went straight for the groin. The fact there are few adornments made the album connect with critics and the public easily. Great Punk albums would follow – The Clash’s London Calling in 1979, for one – but this is the spearhead and godfather that showed their peers how it should be done. British bands like Sex Pistols were listening closely as, one year after Ramones was released, they put out Never Mind the Bollocks, Here's the Sex Pistols. It is clear what an effect Ramones’ debut has and how it helped define and shape the Punk movement.

Oasis – Definitely Maybe (1994)

What’s the Story (Morning Glory)? is a classic Oasis album but, in terms of its timeliness and impact; I feel Definitely Maybe is their peak. Released in 1994, at a time when huge bands like Blur and Radiohead (and Pulp) were coming to prominence; there was something refreshing and direct about Oasis. The Northern, working-class equivalent of Blur – closer to Pulp, in that sense – the Gallagher brothers-led band penned a classic in Definitely Maybe. Tracks like Live Forever gave hope to a generation and became a festival anthem. The album reflected the voice of the youth: those with few stresses and the need to embrace everything in life. Supersonic, Cigarettes & Alcohol and Slide Away are remarkable songs that, like all great tracks, have not aged or lost their edge. Oasis, as we know, fell victim to the tensions between Liam and Noel and were unable to sustain the pace and genius of their first two tracks. What’s the Story (Morning Glory)? marked a confident and consistent step from the band but it is Definitely Maybe that announced them to the world - and proved the equal (or superior rival) to Blur’s Parklife.

Norah Jones – Come Away with Me (2002)

Norah Jones might not be everyone’s cup of tea but there are few that can deny the place Come Away with Me  holds in music. An alluring and sophisticated batch of Jazz-Pop songs that highlighted an incredible voice and accomplished songwriter. Gentle and serene throughout – its mood and personality do not alter much through the record – proved popular with many but it was the standout song, Don’t Know Why, that everyone remembers. Day Breaks, Jones’ album released last year, marked a slight return-to-form (following a fallow period) but she never matched the beauty and soothe of her incredible debut album.

Dizzee Rascal – Boy in da Corner (2003)

There are strange comparisons between Dizzee Rascal and Norah Jones. Dizzee Rascal’s Boy in Da Corner arrived a year after Jones’ debut: his current album, a year after her latest (Raskit was released a few weeks back). Both peaked on their debut album but that is where the similarities end. London’s Dizzee Rascal created a Grime classic on his initial outing. A teenager at the time of its release: the record displayed slick and impassioned raps; incredible wordplay and consistently confident performances. There was a period – before Raskit; after Showtime – where Dizzee started to lose his edge and identity. Too many collaborators going into the mix; themes moving away from the manor and more needless profanity. He has regained his Grime crown this year - but Raskit cannot begin to capture the same majesty and brilliance of Boy in da Corner.

Weezer – Weezer (1994)

Weezer put out their eleventh album, Pacific Daydream, later this year and it is going to be another exciting release from the American band. They are a group that, in my mind, provided their best work right at the start of their career. Pinkerton, the sophomore album, gained some negative reviews – getting retrospective acclaim and appreciation – but it was their eponymous debut (or their ‘Blue Album’) that provided those rich vignettes (from Rivers Cuomo) about video games and Kiss posters; self-depreciating wit and classic standouts – Buddy Holly has become their signature tune. In a year (1994) that produced more classic albums than any other year: it is a compliment to say Weezer ranks alongside the finest of them.

The Doors – The Doors (1967)

Again, like 1994: 1967 was not short of incredible albums. The Doors arrived on the scene and were like nothing else out there. The poetry and sexuality of Jim Morrison; the incredible fusion of Jazz and Rock – a band that was solid and exceptional right from the off. It is hard to believe a single album contains so many world-class and famous songs. Light My Fire, The End and Break on Through (To the Other Side) are a trio of examples. Future albums like Strange Days proved popular but there was nothing that gained the same sort of love and adulation as The Doors. The raw vocals of Jim Morrison and the incredible performance-connection of Ray Manzarek, Robby Krieger and John Densmore was a unique brew that made every song absolutely essential.

Pearl Jam – Ten (1991)

One could say Nirvana never topped their debut, Nevermind, but I feel In Utero is its better. There is no doubt Pearl Jam’s Ten is the summation of their career – and arrived right at the start of their career. The 1991-release contained pearls in Jeremy, Black and Even Flow; Alive Oceans and Porch. It is a Hard-Rock classic that arrived at a time when Grunge was taking hold. Eddie Vedder’s powerhouse vocals and impressionistic lyrics differed from a lot of what was out there. Singers like Kurt Cobain went for more scorched and unsophisticated vocals; lyrics that were more direct and unambiguous. Vedder’s semi-operatic delivery raised the songs to new levels and, in Ten, helped create a 1990s masterpiece. One of the strongest and most talented bands of that era: the Seattle band went on to release some fine albums but nothing lived up to the standard and brilliance of Ten.

The xx – xx (2009)

I See You is the recent, Mercury-nominated album from the incredible trio. Many would say their latest album matches their debut but nothing can quite equal the beauty and unexpectedness of xx. It was released in 2009 and found few like-minded records at the time. Romy Madley Croft, Oliver Sim and Jamie Smith showed an incredible chemistry and connection that made their dreamy, near-flawless Pop songs shine. An unconventional and truly original album; xx saw many new bands copy the xx and throw the same elements into their music. The reason I See You is not as impactful is, because, the xx, to avoid repeating themselves, have changed their sound – the fact so many ape them means they cannot replicate the same sounds as heard on their debut. Whilst they continue to make music of the highest order: they hit a rich, gorgeous and rare vein on xx.

Supergrass – I Should Coco (1995)

The same way Ramones amazed with a stripped-down and simple album: Supergrass burst into music with a direct and uncomplicated album - that still managed to throw in musical sophistication. Their key tune, Alright, became a summer anthem and one of the essential Britpop gems. Caught by the Fuzz, Lenny and Mansize Rooster are epic and rousing – showing how the band could create Rock and Pop songs that differed from anything out there. The boys would go on to create sensational albums like In It for the Money and Supergrass - but it is their first flourish that really stands the test of time. It arrived at a time when the likes of Oasis and Blur were tussling for chart superiority. The cheeky chaps were unconcerned with getting involved and provided the world with an album that could match the quality of Blur and Oasis - but didn’t have to compete with the same levels of stress and media attention.

Patti Smith – Horses (1975)

If one has to mark out the debut that betters the remaining body of work: maybe Patti Smith’s Horses is the quintessential example. Of course, she went on to produce some world-class albums but such was the standard and quality of Horses that it washes everything away. Even in 1975; Rock had not encountered anyone quite like Patti Smith - one could argue Joni Mitchell had the same impact on Folk. Placing prominence on words and delivery; the poet-cum-musicians turned the art-form into something new and incredibly vivid. Her reinterpretation and elongation of Van Morrison’s Gloria opens the album – it is split into two parts: the first, she wrote and the second is a more traditional cover of Morrison’s song – but songs like Free Money and Birdland are incredible works. Smith is someone who continues to write music and there is that undeniable passion and dedication to her work. One listens to Horses and it is an aural experience that gets into the mind and takes your imagination somewhere truly wonderful.

ABC - The Lexicon of Love (1982)

A New-Wave/Pop masterpiece of the 1980s saw ABC arrive in music with something elegant, sophisticated and emotive. The album went against the plastic and manufactured nature of a lot of the day’s music and created something more natural, symphonic and honest. Martin Fry’s stunning voice and personal lyrics gave one a window into an enigmatic singer wrestling with relationships and their meaning. The Look of Love (Part One) – no parts two and three, you’ll notice – is a classic track of the 1980s. Poison Arrow is no slouch - and the entire album has a solidity and consistency that hit critics hard. Many place it among their favourite records of the decade. The Lexicon of Love has inspired bands and songwriters since 1982.

Guns N’ Roses – Appetite for Destruction (1987)

In 1987; Appetite for Destruction became the biggest-selling debut album ever. It has sold over thirty-million copies and remains the finest record by Guns N’ Roses. The guys are currently touring and it appears there might be new material in the future. To be fair, it is going to pale in significance compared with their epic and astonishing debut. Slash’s explosive and sensational guitar work perfectly matches Axl Rose’s dark and sexual lyrics. The album was vital because it helped shepherd away from the Hair Metal bands of the time to a more credible option. Guns N’ Roses were in no mood to prance on stage and perform cheesy ‘anthems’. They were a gritty and hardcore proposition with coruscating riffs, incredible strings-percussion unity and some of the most impassioned vocals in the world. Appetite for Destruction is one of the finest albums from the 1980s and remains the apex of Guns N’ Roses eventful career.

TRACK REVIEW: Rews - Shine

TRACK REVIEW:

 

Rews

PHOTO CREDIT: Jonny Finnis /COPYRIGHT: Marshall Records

 Shine

9.6/10

 Shine s available at:

https://www.youtube.com/watch?v=ZE2DDWEBWT8&feature=youtu.be

GENRES:

Rock; Alternative; Indie

ORIGIN:

London, U.K.

RELEASE DATE:

18th August, 2017

_______

I have had to reorganise the order of my reviews…

because it is best to capture the freshness and energy of Rews’ latest single, Shine. Rather than leave it, like a doughnut, in the box to get a bit stale and hard – have a quick sniff a few days down the line – and, when taking that first bite, put it in the bin with regret: best to dive in to its warm, sugary and jam-filled goodness and get it at its purest. That might seem like an odd way to describe a song but, when listening to Rews, one is filled with different emotions and words. I shall come to assess the girls soon but, before then, talk about duos and women in music; the bond that ties musicians and how effective it can be to music; classic songwriting and why music lacks that right now; the first album and looking at the modern-day promotional campaign; getting to festivals and how that can build a song – the future of Rews and how they can translate and grow in the coming year. This is not the first time I have featured Rews so forgive any repetition in this review. Many, who follow the band, know the duo consist Collette Williams and Shauna Tohill. Their coming-together and friendship is one of the reasons why many people are fascinated. I am not sure how that initial meeting came to be but, with Tohill a Belfast resident – Williams based outside of London – it would have seemed unlikely. The fact they have been performing together for a long time – and seem stronger than ever – is a testament to how connected they are. One can argue many bands/duos have that say strength but I have not seen it as obvious. I wanted to look at duos because there is a surfeit of those sticking in the mind. I have lauded the duo and explained how it is the perfect number of people.

PHOTO CREDIT: Mike Rees Photography

You do not have the crowd and mass of a full-band nor the solitude of being solo: it is tight and focused and, if you are in a duo, you have to have that closeness and trust. Most duos, that I have found, are very close friends or, in a lot of cases, lovers. Despite the fact so many duos are around; I am finding few that are being heralded and enduring. To me, I think the media is still focusing on bands and solo artists – that established stock is what they cling on to and has that commercial value. Maybe there is something unknown and new about a duo. In terms of the mainstream; there are those like Tegan and Sara and Royal Blood – more on them later – but, in terms of the big releases, I feel solo artists have taken the top honours. In my view, the duo is that concise and fascinating combination that can, if done right, provide the same depth and sound as a band – more marketable and enduring than a solo artist. Your lone artist has to take care of everything and has to expend twice the energy as a duo. It can be a struggle getting everything together, promoted and performed. Naturally, many burn out, which is why I tend to stick with a duo – as they have that potential to remain on the scene and provide more consistent results. That is true of Rews who, as I type, have not long come off the stage of another gig. It seems like they are among the hardest-working acts around and they thrive from the energy and reaction the crowds afford them. Given the rise and popularity of duos like Royal Blood: there are a lot of people looking for like-minded artists that have the same sort of allure and power. The duo is much more complicated and can play Rock/Alternative; there are Folk and acoustic-based twosomes; those that perform Electro-Pop and R&B. It is not as rigid as one might think and, unlike a four-piece band, it seems there is more variation and nuance when it comes to sound and genre. Tohill and Williams have struck a chord and seem to be very much in demand – I have tried booking them a couple of times and they are definitely in the bigger leagues at the moment.

I have talked about women in music and still, in 2017, have to argue and fight. It is not a natural thing to speak of a female artist without feeling a slight sense of guilt and anger. There are more female duos coming through but it is only the last couple of years when female bands – that are not girl groups – have gained a critical ear. The morals and equity afforded male bands/artists have not been applied to female artists. Look at bands like Honeyblood, Haim; Warpaint and…well, I couldn’t think of a fourth, you see. There are so many great female bands coming through: so few that make it into the critical columns and get the attention they deserve. The acts I have mentioned are stunning and potential festival headliners. Yesterday I wrote a piece that highlighted Dua Lipa and her recent achievement: her song, New Rules, is the first female number-one single since Adele’s Hello – that song was top of the charts back in 2015. There is still an obvious imbalance and sexism in music but, without lecturing regards the festival issues – I shall address that in the conclusion – it is amazing there are fewer opportunities for women in music. Rews are a force of nature who is not concerned with being seen as second-best. They have been getting a lot of great gigs and gaining momentum. I wonder how far they would have come were they men. Their sheer talent and hard work have got them where they are: perhaps they would be a few steps up if they were male. That seems like an odd assumption but there is a definite preference, for festivals and bookers, towards male acts. The reason for addressing this point was to show how influential Rews are. They are not your manufactured and primed duo and, whilst they have a label behind them, they are not dictated to and defined. They have a lot of artistic freedom and do not have to compromise their ethics.

PHOTO CREDIT: Nick Kent Photography

There are a lot of female performers in genres like Folk and R&B but we still see the majority in Pop/the mainstream. That is an area of music where things get murky and unsettling – how many of those big Pop stars have their own say and are being marketed because of their music (their looks and sex appeal being proffered). I have explained how female Rock bands are coming through but it is a recent development and one we need to keep going. With some claiming Rock is dead – or its pecker needs a few blue pills and a few nights at a Paris hotel – any representation that imbues a genuine Rock spirit, and has that ability to evolve and survive, should be taken the bosom. Whilst other Rock acts are climaxing early, taking a cold shower and crying their way out of the hotel door – it is duos like Rews that are…well, I’ll drop the line of thought as it seems to lead us in rather a heated direction. In any case; I feel there should be as much focus paid to the girls of Rock as the boys. Maybe there is an institutional aspect to the argument: it has always been the case Rock/Alternative is a boys’ club and it seems strange the girls are coming to prominence. I wonder whether stubbornness is leaving many doors closed: I am hearted by the fact Rews are a guiding light for upcoming bands and a real source of inspiration for female artists. They, in an industry that is still make-dominated, showing they can mix it with the best of them. With every release and step, Rews continue to carve themselves out as a force to be reckoned with. There is no doubt they will be mainstream treasures very soon but the way they have grown the past few months is very exciting. Critical kudos and big gigs mean they have grown in confidence and seem more determined to push themselves as much as possible.

PHOTO CREDIT: Rosie Powell

There is a tight and unerring bond that glues Rews to the ground. It seems like Tohill and Williams are meant to be together and have that true simpatico. One sees it in some bands but you wonder what happens behind-the-scenes. If you have a quarter; how solid is every member going to be? There might be one or two that do not get on with the others quite as well – various bands will have issues at some point. Sure, there are a few that are rock-solid but it is a rarity. With Rews, one knows there are never any cross words and issues. One hears and sees the duo in-time and of one mind on the stage. When they come off, looking at their social media accounts, they hang together and have that shared love. The photos that come through are filled with smiles and posing. Like best friends or sisters; the girls are rock-solid and unbreakable. This might seem all very nice and sweet but it has a huge impact on the music. When you have musicians that are close and comfortable around one another; the music is a lot more free and genuine. I hear bands/duos and know the members are not quite as together as you’d imagine, Maybe there are fracture and frictions and that can compromise the nuance and promise of their music. Rews are fairly new on the block but I do not perceive growing success to be detrimental to their friendship. If anything, the bigger they get, the more excited and tighter Tohill and Williams become. It seems they are born to the stage and have been dreaming about success for a long time. Collette Williams is one of the best young drummers around and, apart from being a brand ambassador, has the power and ability of the best male stick-wielders around. I have seen a few bands that have a woman on drums – Saints Patience among them – and, I don’t know…there seems to be something different and exciting about them. Not to say male drummers are a spent and obvious force but one gets a different cadence, sensation and playing style with female drummers.

PHOTO CREDIT: Nick Kent Photography

Not only do Rews have a world-class and hungry drummer/singer in Williams: Shauna Tohill is a singer/guitarist/songwriter with few equals. She co-writes lyrics with Williams and, between them, they are incredible young writers. Touhill's shredding skills perfectly complement Williams’ percussion. There is a rawness and potency but they are, in every song, have that deep understanding. Without looking at one another; they are in-time and in-step. It sounds like they have been performing for decades and have that incredible tightness. Tohill and Williams are original songwriters who can pen a classic/arena-ready song but pen from their own perspectives – without falling into clichés and being too rigid. That ‘classic songwriting’ and style is something lacking in music. A lot of artists are producing great albums but there is nothing to tie them – in terms of themes and style. Whether a fantastic Hip-Hop record or a Pop nugget – one cannot easily draw a line between them. There is something about Rews that nods to the classic Rock legends but has a contemporary skin. The hooks and compositions are forward-thinking but will resonate with those who have that love of the giants of Rock. I am not sure what the record collections of Tohill and Williams look like but it is obvious they have affection for the biggest and boldest bands of all time; those legendary songwriters and the best of the modern market. It is not only Rock artists that feed into their music. One hears elements of Pop and Folk in their quieter portions. The girls have a deep knowledge of music but, rather than replicate their favourite acts, they sprinkle little bits here and there. Put all that together and one gets something memorable and familiar – instilled with a unique energy and effectiveness that cannot be understated. They are not a rigid act that produces the same song time and time again: every new jam has an original intent and goes in a different direction.

Tying into my next point, I wanted to address comparisons critics have made between Rews and Royal Blood. I might have fallen into the trap myself but there is something dangerous about comparing artists with others. It is flattering, I am sure, for Rews to hear they remind people of the Brighton duo but there are inherent flaws. For one, I feel Royal Blood’s latest album lacks any distinction and they are, rather worryingly, treading water on their second record. One wonders how their third album will fare if they rehash their latest effort – which is a slight tweak of their debut. The good thing about being compared with Royal Blood – D.J. Mark Radcliffe has made the comparison – is the fact the duo (Royal Blood) are doing so well. The boys are playing sell-out shows and are one of the biggest acts in the world. Many critics have reacted positively to their latest work and highlighted it as one of the year’s best. Being ranked alongside them can do no harm, for sure. The girls must buzz from that and the fact that Radcliffe quote is the one that is sent to people like me means they do not object. I find myself reaching for other quotes because, as much as anything, Royal Blood are a lot more limited than Rews. The girls project the same amount of force and rock as hard as the boys – that is where the comparisons end. In terms of songwriting; the Rews girls are much further ahead and more nimble. Royal Blood tend to focus too narrowly on love and the fall-out of relationships. It is a predictable and rather depressing hearing the same set of lyrics spread across an album. They could address the state of the world or something outside the box – the fact they do not, shows there is a very limited mindset which means they are not going to endure as long as they should. Rews, in Tohill and Williams, have songwriters that take from life but do not obsesses over broken hearts and wrong-doing boyfriends.

They address odd characters and observations from life; brief encounters and strange feelings. It is a heady concoction that means the songwriting palette of Rews is a lot broader and more exciting than Royal Blood. Another issue I have with Royal Blood is their compositional rigidity. There is nothing engrained in the Rock Rulebook that says it needs to be all meaty riffs and nothing more. The duo has been compared (unfairly) to The White Stripes who, in spite of the fact there were two of them, varied their sounds and stepped into Blues territory; used piano, marimba and other instruments – every album and song had its own identity. I know Rews will expend the same sort of character and variation down the line but there seems to be so many acts coming through that do not stray past the drum-guitar-vocal-with-big-riffs-and-steely-drums songs that the likes of Royal Blood keep churning out. Rews’ latest, Shine, is an emphatic and stunning track but one wonders whether their upcoming album, Pyro, will employ different instruments/sounds. Its title suggests fire and explosion so that would suggest a pure Rock experience. As phenomenal as Rews are; I feel comparisons to Royal Blood will do them more harm than good. There are many artists that are copying and duplicating Royal Blood’s sound which leads to a rather one-dimensional and stodgy brand. Rews deserve comparisons with the most-popular artists around but are a lot more appealing and malleable than Royal Blood. Their sound and connection is different; the songwriting vastly so and their music digs deeper and remains in the memory for longer. I shall not labour this point but feel they should have another quote on their P.R. emails/releases – one that recognises how unique they are and the fact they are going to last longer than Royal Blood. My point is the fact they have a fantastic sound that is not easy to link with anyone else.

PHOTO CREDIT: Nick Kent Photography

Before I look at Rews’ latest track; it is interesting watching the promotional campaigns of modern artists. Back when I was younger – many years ago, now! – a song got radio-play but then, after that, an album would sort of come out with little fuss. Aside from the odd T.V. spot here and there; it arrived and people would buy it. Now, it seems things are more much structured and elongated. I have been arguing with myself whether that is the best way to do things but, in the case of Rews, it seems perfect for their music. Their sounds and instant and fast but, if they promoted their music the same way, it would be damaging to their career. The modern market demands a certain savviness and strategy and, when they release a new single, they put maximum effort in. One might get a teaser clip on Facebook and a few photos on Instagram. The girls will provide status updates and keep their fans informed and instructed. They are very smart when it comes to promotion and do not over-do things. I see too many artists strike a poor balance and ruin a promotional campaign. So many provide too many updates and endlessly drag a song/album out. By the time the song is out you are bored of it – they keep sharing it afterward - and it gets rather grating. There are others who do not do much promotion and keep their music confined to places like Spotify – not making videos or provided few updates. This is just as damaging and detrimental as doing too much. Rews, as said, have a team behind them but take charge of their social media. They know the right balanced and do not suffocate people with piecemeal information – drip-feeding a song until we are all fed-up of it. They do not relax and are constantly looking for ways to get their music to new people. The fact their music has reached people like Mark Radcliffe is down to them and their talent – and the way they promote everything they do.

PHOTO CREDIT: Paul Reynolds

I feel the future of Rews is very bright and prosperous. I will touch on this in the conclusion but know the girls have lots of dates coming up. They have already played festivals this year but, before summer ends, are getting themselves out there and taking advantage of the weather. Pyro is out on 3rd November and will be getting a lot of reviews when it is released. I am not sure how many new songs are going on the album – or whether they are putting all their previous singles into the mix. I guess it will, likely, be a collection of eleven/twelve songs that has a balance of older and brand-new. All of their songs hang together so they can sit on the album in any order without damaging the flow and personality of the record. Shine seems like a natural mid-album inclusion; Shake Shake to open; Death Yawn second – Miss You in the Dark and Can You Feel It? towards the end of the record. I know they will have a running order in mind but it seems, when the album is out, it will propel them to new heights. They have performed around the world but, in terms of international dates, the possibilities are endless. I can see a lot of American dates following and gigs in continents like Asia – maybe a few Australian dates in the pipeline. It is clear Rews are on an upwards trajectory and when the album comes out, it will do them a lot of good. Singles are great but many people move on rather quick. Having all that music is one place, and there being a physical product to buy, means the music will get into new hands and endure – those demands will increase alongside the popularity. The girls are a modern phenomenon and, as such, can choose their own path. They will want to take advantage of the gig demands but remain at home as much as possible. There are lots of spaces in London they have not played and areas I feel they have yet to conquer.

One is in no doubt Rews mean business from the opening seconds of Shine. Anyone expecting a Take That/Aswad-style song – given the title – are in for a shock because it is a stone-cold chugger that rocks and swaggers its way to the forefront. The guitars churn and drill with intent and force. Tohill creates something intense and menacing but there is melody and control at work. Rather than swing out of control and provide an aimless riff: she has penned something that compels the body to move but gets the mind working, too. Williams backs her with a solid backbone and driving percussion. The two show how connected they are and, looking at the video, so much emotion and expression goes into their performance. They are not lazily tossing a song out. Every note has meaning and they put their everything into it. The chorus, as one might expect, takes the song’s title to hand and projects it in a different way as one would imagine. The vocals, unlike previous songs, have a more dirge-like quality. It is an intense song and one that has a lot of emotion at heart. Previous jams like Shake Shake have been looser and contained Pop edges. Shine suggests something positive and sunny but, as Tohill sings, she cannot make a person shine. They have holes and rough edges; maybe it is a lover or downcast friend – someone not paying dues and showing respect that expects the heroine to life them up. Shine is a grittier and more serious track that previous Rews offerings. Tohill, all smiles on previous songs, is in no mood to suffer a fool. It seems like someone has been messing her around or asking for too much. Unlike previous tracks from the girls; there is an emphasis on the rugged and serious. There is a physicality and sexiness but a definite sense of control and gameplay.

Tohill has a huge emotional range and, as a singer and songwriter (with Williams), she demonstrates how wide-ranging her skillset is. Here, one gets recollections of Garbage’s first two albums. If many have compared Rews’ chug-and-slam to Royal Blood: the Scottish band comes to mind when hearing Shine. Elements of Version 2.0 (Push It; When I Grow Up) and Garbage (Supervixen; Stupid Girl) come through and one gets an interesting blend of 1990s Alternative-Rock and modern-day Alternative. One is amazed and intrigued by the shift in sound and the new influences being incorporated in the music. Tohill, as a writer, might be addressing a failed relationship or showing distain to someone too clingy and dramatic. Williams articulates a sense of sexuality and seduction. Her drumming, in the chorus, has the intensity and a singularity but possesses flourishes, roll and fills – a technical drummer who can matches emotion and intuition with a variety of expressions and asides. It is a fascinating performance that matches Tohill’s intoxicating guitars. I can see, listening to the guitar, where the Royal Blood comparisons come in. There is that same Grunge-cum-Rock blend that has a swampy and dark hue. It rumbles and groans but, if one listens closely enough, there are big differences. Shine seems, in a way, like a song that has a Pop/mainstream appeal. Its lyrics, one can compare to someone like Katy Perry or Taylor Swift, let’s say. The girls might balk at that but Shine is, as it is revealed, about a figure that turns head but can’t get any love. It has that sensibility that means it can be extrapolated and understood by teenage audiences – as well as older listeners. Both, in the video, exert an immense sexiness and intensity. Shauna Tohill, as a frontwoman, is commanding and a dominating presence. She has a tough and fiery skin but someone who exudes immense sexuality and intensity through her performance. The same goes for Collette Williams who summons a riot of sticks and pummel at the back. Both propel the song to immense heights. Whether the heroine gets satisfaction has yet to be seen.

Maybe there is that sexual coming-together but, thinking about the song’s title, it might refer to happiness and self-fulfillment or something closer to the bone (an orgasmic feel; unable to get the guy off). That might be a very male perspective so I’d like to assume, listening to the lysis, the guy has a slight anhedonia. There is a definite need for directness and satisfaction. Maybe the guy is complicated and it is not as simple as it seems. Tohill wants to get satisfaction but, given the guy is an enigma, that road to satisfaction is not easy. Maybe I am over-reading and it is from a third-person perspective. There is evidence to suggest the song’s hero reflects a general feeling of dissatisfaction and frustration. Tohill and Williams are lyricists who have always reflected their own stories (and the people they meet) – making me wonder if this is taken from the scent of her pillows or the back-pages of her imagination. Williams, always the nuanced player, creates some incredible fills and patterns that help augment the lyrics and give the song new drive. Rather than aimlessly pummel; she continues to plug and search – coming up with little inventions and avenues other drummers do not know about. Tohill’s guitar remains viper-like and beer-fuelled. I have mentioned Garbage as a possible influence but, listening to Shine, it could easily have fitted into the best of the 1990s – albeit, there is a lot more polish to the production compared with Garbage. “If you’re a stream/don’t let me in” it is said – our girl need an ocean to wade through. That is an intelligent line and one that can be interpreted a number of ways. Maybe that refers to a sexual challenge or the wholeness of the man – someone who is not quite the full package. Given the fact Tohill strides and growls in the song’s video – one cannot shake off that desire she has to be fulfilled and enriched, in body and mind. The song changes pace and mixes solos with the consistent chorus. There are drum runs and guitar firework: every new stage provides a different flair to the song. The video sees the girls daubed in glitter and tossing their bodies and hair; shots cutting quickly and both balancing sexuality and tease. It is an eye-opening and unforgettable shoot that perfectly fits the song’s energy and intoxicating spirit. It also shows how varied and progressive the duo is – always bettering themselves with every fresh release.

I have dug deep into Shine and, comparing it to their previous material, there are definite developments. I hear new shades and colours in their latest single and it seems, with every release, they get tighter and more confident as a unit. The production is perfectly suited to the song’s ethos and variations – not too polished or ragged. The girls combine beautifully and it seems like this song will be a standout from Pyro. I cannot wait to see whether they release another song before the November release-date or if they are going to stick to performance. Few can deny the magnitude of their music and I feel, as highlighted earlier, there is a mixed blessing being compared to the likes of Royal Blood. To highlight the fact is writing them off too easily. I am not a big fan of the boys and have grown a bit weary of their music – they have not adequately adapted and seem content to trot out the same songs time again. The most promising comparisons is when looking at live performances. Regardless of how samey their songs are: the way they translate them on stage is a biblical hurricane that blows away most of the competition. It is that link that excited me most. I have seen reviews of Rews’ live performances but yet to see them up-close. That is one of the ambitions for this year and, if I cannot catch them in 2017, will make sure I do soon after. There will be an album launch so I will do my best to get there. Before then, the girls have more dates coming out. They played The Belfast Empire last night and, presuming they are still there now, will be taking advantage of the city and enjoying its wonders – this is where Shauna Tohill hails. Rews play Graze Festival a week today – sounds like a rural-cum-hippy hoedown – but it might be an interesting date. From recent dates like London’s House of Vans to festival appearances at Glastonbury – they are a duo that gets themselves about and do not turn their nose up.

PHOTO CREDIT: Nick Kent Photography

They perform as much as they can and, with every date, seem to grow stronger and confident. The fact they play to a mix of small and large crowds, means they’re preparing themselves for the variation of the road and will get no big shocks. If they performed to festival crowds, they would get a shock when they are faced with smaller crowds. If it was the other way around, the girls would have quite a challenge. No doubt the girls are ready for the bigger festivals but their music is able to connect with those in a smaller, more intimate space. I will end this in a bit but wanted to urge the girls to keep pushing and dreaming as, right now, they are among a handful of female artists getting recognition. There is still that imbalance and female acts have to shout a lot louder to get heard. The likes of Rews are guiding lights for fellow artists who might feel they will not be seen. Rews’ confidence and exceptional songwriting mean the big reviews and gigs are putting them on the map. They are an organised unit that promotes their music and ensures the fans are kept updated. They are prepared for the challenges of modern music and, in Shine, show they are capable of evolving and shifting their music without losing focus. Rews do not repeat themselves but have a very clear sound that defies any easy comparison. In a music world that seems to lack originality and edge: Rews are a duo that blows the cobwebs away and mark themselves out as a mainstream act of the future. When they get there, they will not sell their talent and ethics for money and fame. You listen to their music and know it comes from the hearts and is not designed for charts and marketing men. Few like them exist so, when Pyro comes to the fore, it will show just how intent and promising they truly are. Shine is a bright, burning and prefaces the approaching fire and…

PHOTO CREDIT: Rosie Powell

KEEP that spark alive.

_______

Follow Rews

PHOTO CREDIT: Rosie Powell 

Official:

http://www.rewsmusic.com/

Twitter:

https://twitter.com/rewsmusic

Instagram:

https://www.instagram.com/rewsmusic/

Facebook:

https://www.facebook.com/wearerewsmusic/

YouTube:

https://www.youtube.com/channel/UCqrzf8MKEmBbbyo3wpzkQGQ

SoundCloud:

https://soundcloud.com/rewsmusic

Spotify:

https://open.spotify.com/artist/4B06m6NJ8e5AnzIZNtZtta

FEATURE: New Rules: The Singles Chart in 2017

FEATURE:

 

New Rules:  

IN THIS PHOTO: Dua Lipa/PHOTO CREDIT: OfficialCharts.com/REXShutterstock 

The Singles Chart in 2017

________

THE first part of the feature’s title refers to the song…

by Dua Lipa that sits at number one in the charts. It is notable because it is the first British female number-one since Adele’s Hello claimed the spot back in 2015. The charts are announced weekly and have only seen two female artists in two years reach number-one. Metro assessed the news like this:

“Not only has she shot to the top of the charts and received a well earned number one, she’s the first UK solo female to hit the top spot since Adele’s Hello in 2015. That, quite frankly, is mind-boggling.

Little Mix were the only women to score a number one in that time – other than that, the charts have been dominated by male artists.

Hopefully Dua’s achievement marks a change in the tide.

The likes of Justin Bieber, Shawn Mendes, Zayn’s breakout solo single Pillow Talk and James Arthur’s comeback all dominated the charts last year.

Dua Lipa, 21, has broken that trend, having also garnered 108 million views for the video for her chart-topping track”

There are cynics that could view that as a reflection on the quality of Lipa as an artist. That sounds like an odd sentence but is it the case that her album has hit minds and hearts at a very precise moment – rather than an indication regarding a change in the air. I have written many pieces about equality in music and the need to effect change and evolutions. Dua Lipa is an artist that has a very fresh and urgent sound but, in many ways, seems perfect for the charts and mainstream – in the sense she knows what has come before and how to add her own personality to it. She is a very vivacious and warm artist; someone who engages with her fans and has a very grounded personality. She is undeniably beautiful and attractive and, in an age where there is a lot of talk about sexual exploitation and sexuality.

She is not someone who wants to bare flesh to get streaming figures and video views high – she is an artist who shows pride and defiance; using her beauty as a form of expression and empowerment. The fact she has hit number one has been received with a mixture of congratulations and condemnation. The former, because the young artist has achieved something wonderful and wholly expected. Her eponymous album has been one of the surprises of 2017. Where Pop albums by Katy Perry and Kesha have been met with mixed reviews: Dua Lipa has managed to seduce critics and win hearts with her blend of fiery summer-ready jams and sweaty-inducing anthems. Her songs assess relationships and gender roles; the need to win a sense of independence and go out into the world on her own terms.

IN THIS PHOTO: Adele/PHOTO CREDIT: Vogue

New Rules seems ironic and wholly appropriate given the rare honour Dua Lipa has been afforded – the chance to, not only inspire more female artists to claim the same prize, but raise questions about how the charts are regulated and run. Despite the fact there are co-writers and various producers on Dua Lipa’s debut: critics have noted how strong and memorable her voice is and how the songs get into the brain and demand repeated listening. One should not be shocked to see Lipa get to number one but, considering this is the seventh release from her debut album, why did it take so long?! It is not her fault but is New Rules a stronger song than, say, Hotter than Hell, Be the One or Blow Your Mind (Mwah)? Those songs are the equal of New Rules so it seems strange they did not get to number-one – and makes one wonder why her latest single managed to get to the top spot. The component of her lyrics – self-empowerment, sex and rising about the fray – have resonated with a generation seeking a genuine and promising artist.

There is no denying the potency and attractiveness of Dua Lipa’s music but one could argue she should have hit the number-one position a lot sooner – many British female peers deserved that same success since Adele in 2015. The fact the charts are so male-dominated makes me wonder whether more needs to be done. There are no more men in music than there are women – maybe a few more men here and there – but, in two years, why would we only have one British woman claiming a spot at the top of our charts?! I know there have been American successes but, if one looks at a month-by-month rundown of the charts, it is male-dominated and genre-specific. There are a lot of Pop and Dance number-ones and it makes one wonder why genres like Folk, Hip-Hop and Soul are not quite as well-represented as more mainstream tastes. There have been stories we have all reacted to. Ed Sheeran, very recently, saw many of his songs in the charts because of the relevance of streaming – counting towards the totals which meant, because his music was streamed more than other artists, he saw his tracks get comfy in the charts.

Before I go on; a look at the new guidelines introduced and why they have come into effect.

“The changes are designed to ensure the chart continues to be a showcase for the new hits and talent which are the lifeblood of UK music.

The key change will be to allow artists to have only their 3 most popular tracks (based on sales and streams) to feature in the Official Singles Chart Top 100.

The move will make it easier for new hits and artists to feature in the chart by preventing multiple tracks from popular artists dominating the singles chart. The move will minimise double-counting of album tracks between the Official Singles and Albums Charts and make the two charts more distinct. The new changes are expected to boost the number of chart hits by around 10%.

 IN THIS PHOTO: Ed Sheeran

In the past 12 months, artists including Drake, Stormzy, Kendrick Lamar, Chainsmokers, Little Mix, The Weeknd and Ed Sheeran have had multiple tracks in the Top 40. The changes will limit the domination of such artists, with streaming of tracks (as music fans listen to their favourite albums) spilling over into the singles chart.

The most high profile example of this came in February when all 16 tracks from Ed Sheeran’s Divide album featured in the Top 20.

An additional adjustment will see the introduction of a new streaming ratio for older tracks which are well past their peak and in steep, prolonged decline.

The aim of both changes will be to support new talent, giving new hits the freedom to progress up the chart, without being inhibited by older tracks which have passed their peak, or album tracks by big name artists.

In recent years, streaming has grown dramatically as the consumer’s favoured way of accessing music – from around 600m audio streams a week in January 2016 to 1.2bn a week today. As a result, streaming’s share of the singles market has grown to more than 80%

While this represents a revolution in choice for music fans – with 40m tracks available to stream across a wide range of services at different price points, alongside traditional music purchase – it has also changed the music landscape and the consumption reflected by the Official Singles Chart”.

Calvin Harris, before Dua Lipa, held the number one spot and marks a depressingly familiar pattern. He, with guest vocals from the likes of Rihanna, penned a rather generic and predictable Dance track that needlessly stuffed guest spots – to make it more popular and stream-able – but, once heard, falls out your back-end within minutes. There was no shock to see him go to number-one but, a few days later, when Dua Lipa hit the top of the charts with a superior offering, it was groundbreaking and shocking.

IN THIS PHOTO: Calvin Harris

Her song got there by its quality and popularity but it showed the charts is more keyed towards a certain style and gender – not as open and quality-driven as once it was. I am old enough to remember the days when people actually bought singles – think the last one I purchased was, tragically, Madison Avenue’s 1990s banger, Don’t Call Me Baby. I used to love scuttling down to HMV – Our Price existed back in the 1990s, too – and snapping up something that cost a few quid. As unwieldy as it is to have a pile of singles festooning a C.D. rack; there was something noble and worthwhile knowing you had contributed to a process. Because of you, and several thousand others, you were the reason an artist went to the summit of the charts. Not only that but, because you had a pile of C.D. lying around, you would play them again and enjoy them long after they were released. I am baffled why they stopped releasing physical singles – they have albums on C.D. so why not singles?! – and go entirely digital.

That is where the downfall has come in! I appreciate the fact it is a more open and equitable chart than once was. Back, years ago, you were in the charts because you had a record deal. Now, an unsigned act can make it in. The fact charts reflect digital downloads means, in theory, The Beatles and Kate Bush could still get into the charts. That might seem rather pointless but it means older music is more visible to younger generations – who might have otherwise forgotten about it. Given the fact Ed Sheeran – the man who helped spark the change in chart guidelines – has been derided because of his Mercury Prize nomination has given many critics pause for thought. We can questions whether award shows are reflecting the true quality of music: is the charts culpable of celebrating the most commercial and least impressive?

I can safely say that none of my favourite singles from this or last year have made it anywhere near the top of the singles charts. My tastes, if I do so myself, are impeccable so it would not be far-fetched were one or two of those tracks to make it to number-one, no?! There are those that would argue the charts, for many years, have been redundant and unimportant. To an extent, I agree, but they are a portal and port-of-call for many who want to discover the ‘best’ of new music. Dua Lipa’s success reflects an anomaly, of sorts. How long do we have to wait until another British female artist gets a number-one?! Rather fittingly; the lack of female British number-ones are taking the piss. The only way we are going to ensure the finest music is preserved and promoted by new generations is to have a look at the way the charts are run. I do not follow them at all – irrelevant and anarchic as they have become – but worry that there are many who do stick with them and get all their new music from there. A couple of articles, written over the past couple of years, ask whether the charts are still relevant in a streaming age.

The BBC spoke with songwriter Billie Marten, who had this to say:

"And Spotify are really helping me out by putting my music onto playlists. They're really exploiting that in a great way. I'm really thankful for that because I think, otherwise, people wouldn't listen."

Indeed, curated "new music" playlists on services like Spotify, Apple Music, Deezer and Google Play could be the key to breaking the chart gridlock - although there is some concern that these playlists are programmed globally, potentially putting UK artists at a disadvantage.

Arctic Monkeys manager Ian McAndrew agrees: "In my experience, streaming serves as a platform through which music is being discovered. So while it may distort the charts, it serves as an access point for new music, and I think that's got to be a good thing."

Perhaps it means the charts are becoming irrelevant - at least as the gold standard of success. Bands now look at ticket sales, or engagement on social media as indicators of their reach and impact. And those are the things, rather than hit singles, which traditionally sustain careers.

PHOTO CREDIT: Unsplash

The Guardian’s Kitty Empire, back in 2015, explored it from a new angle:

“More pop change is afoot. From July, singles and albums will no longer come out on Monday in the UK, but on Friday – a move that will bring worldwide release dates into harmony. After more than 40 years on Sunday nights, BBC Radio 1’s chart show, to be hosted by Greg James, will move to Friday evening, from 4pm to 6pm. Not only that – as of 10 May, kids’ TV channel CBBC will play host to The Official Chart Show, a magazine programme studded with videos and gossip, and hosted by Cel Spellman, a successor, of sorts, to the much-missed Top of the Pops.

With charts as accurate as they have ever been, both the top 40 and what you might call chart-watching as a national pastime are now under scrutiny. The move to CBBC speaks volumes about the need to hook a younger audience into consuming pop in ways an older audience would recognise. (Quite how young that audience might be was slightly misunderstood by NME recently, who weighed in with jokes about Rastamouse, a show on CBeebies, the channel aimed at pre-schoolers).

PHOTO CREDIT: Unsplash

Thanks to the internet’s endlessly personalisable technologies – YouTube channels, streaming, you-name-it-on-demand – pop has been at the forefront of a seismic change in listening. The past couple of years has seen Radio 1 lose millions of listeners as it attempts to retune to a younger audience. Much has been written about this decline in broadcasting, where many once witnessed the same thing at the same time, and the rise of what we do now: stacking up podcasts, Sky+-ing content and streaming the latest obscure remixes on Soundcloud, as and when. “Narrowcasting” describes the endlessly niche way in which we watch and listen. With everyone off doing their own thing – especially the young – what is the role of the mainstream charts and, indeed, of mainstream chart shows, in this age of fragmented, bespoke consumption? Our young interviewees, stopped and quizzed in Camden last week – not a scientific sample but reflecting a range of ages and tastes – seem to point to the charts’ redundancy, certainly as a tastemaking exercise. But is it telling that more than one commented on the rise of a rock band, Royal Blood, to No 1 as being significant?”

Maybe music has become more of an album’s game but it seems, given the fact so many artists lust over big Spotify streams and YouTube figures – is it simply the case we are refusing to follow the charts and buying the music we want – rather than be guided by something many consider arbitrary and homogenised? It is not the case music has modernised to the extent the charts are archaic and out-of-touch. The fact they are not all-encompassing and fundamentally flawed have made them seem far less relevant over the past few years. I am not willing to accept we abandon the charts and simply make our own minds up. The charts are not a way for people to be annoyed: it is for artists to see their songs acknowledged and given proper dues. In an age of streaming where we do not provide feedback or thanks: the singles charts is a way of getting that recognition and approval.

PHOTO CREDIT: Unsplash

I argue passionately again the assumption, as some see fit, the charts have not been popular or purposeful since the 1960s. I think, in an age where we want something quick and unquestioning: it is worth addressing the charts and restructuring it in a way that means it regains its importance. I listened to the charts through the 1990s and early part of the last decade. I always looked forward to seeing whether a song I purchased has made it into the top-ten. Now, we go to Spotify or wherever and get a song we want and that is the end of that. The fact physical sales are being replaced is another tragedy – one that will have to wait for another day – but we are taking far less care with music. The album charts are still relevant so why should music be quantified by mass rather than quality? The fact an album is made is down to the fact an artist has a collection of songs – do we simply release an album and ignore the individual songs that go onto it?! You can’t bring an album out without releasing singles and seeing how well the songs do.

The more we ignore old ways and embrace technology and the digital: the more music starts to lose humanity and relevance. We are buying fewer albums than we do digitally; buying more albums than singles and choosing to stream for free – rather than pay for our music. Artists are not being compensated fairly and there is a great divide between the artists of Spotify and the mainstream-heavy charts. Given these inalienable facts; can we argue, with any judiciousness, claim we should scrap the charts and see music slip further into the tar-pit?! I propose we retain the singles and album charts and make the ins-and-outs less pugnacious, controversial and complicated. Keep the new rules as they are – to ensure no artist can have more than a set number of tracks on the charts. Keep the streaming element but ensure guidelines are introduced to ensure the charts reflect gender and genre.

IMAGE CREDIT: Freepik

We cannot have so few females getting to number-one and genres like Dance and Pop stealing focus from other avenues. Albums sales should be part of the equation and, maybe, compartmentalising the charts into various genres, perhaps? There are so many great artists who do not have a record deal and do not have the advantage of Spotify promotion and success. I review so many acts that have their music on SoundCloud, BandCamp and Spotify and, while not getting as many streams as the bigger acts, create better music. There need to be other considerations aside from streaming figures as it does not reflect quality and diversity. Many people stream a song because it is trending or fashionable. There are great acts gigging around the country and those who release great songs to the world – to see them get modest success and viewing figures. It is a complex brew and one that will not be settled soon.

PHOTO CREDIT: Unsplash

I think the charts need to survive and grow as they are responsible for music lasting and inspiring this long. If we scrapped the singles charts back in the 1960s, it would have enticed fewer musicians to the world and led to a much more ignorant and poor scene. The fact we have evolved too far and abandoned the physicality and heritage of music means we are weakening its structure and compromising its rich history and legacy. There are so many different and great acts out there: all of whom deserve a chance to battle it out on the singles charts. Artists should not be making the news because of their gender: they should be doing so because of the quality of their music. Dua Lipa is a woman and an exceptional artist but, one wonders, why it took the buying public so long to get her to number-one. She is not the only British female artist who has warranted a number-one. The fact artists like Billie Marten see Spotify alone as more relevant than the charts might stem from a lack of confidence – the fact she would not get a high chart position and many of her fans would not follow the charts. That is sad to hear but, sadly, a sign of our times.

PHOTO CREDIT: Unsplash

The more we allow digital streaming services to rule our purchasing and listening habits; the less relevant and unified music will be as a whole. I dread the day we abandon albums as a physical form and get all of our music via Spotify. The singles charts is an institution that has remained for decades and can regain the importance it had decades ago. We need to take a pragmatic and progressive approach to a side of music that is fading away and being broken apart. As I said; the new generations need to be taught where music came from and the industry is eclectic, equal and fascinating. If we create a singles chart that reflects a gender and racial quality; recognises the importance of all genres and artists. Dua Lipa’s news-making number-one single has opened a lot of eyes but sparked debates. Many will see this achievement as an argument the charts are outdated and irrelevant – rather than the fact she takes heart from that number-one and many artists like her value it hugely. With some thought and activation, the charts can get back on an even footing. Let’s ensure the singles chart makes history for…

THE right reasons!

FEATURE: Originality in Contemporary Music

FEATURE: 

PHOTO CREDIT: Unsplash  

Originality in Contemporary Music

________

THE Go-Between says the past "is a foreign country"…

PHOTO CREDIT: Pinterest

but, with our nation keen to separate itself from other lands; it seems ironic there is a greater internationalism in music. I will drop the analogy as it seems to be leading us in the wrong direction but my point concerns originality and pushing music forward. One of the reasons I am bringing this up is because there seems to be a lot of new artists coming in who seem unconcerned distinguishing themselves from the pack. That has always been the case but I have found, when listening to various singers/bands; I often confuse them for another. That is not me being old needing to un-wax my ears: there are so many artists that are indistinguishable from one another. I listen to new artists like Phoebe Bridgers and, whilst her lyrics are unique, the vocals can be compared with our very-own – she is American – Lucy Rose and Billie Marten. Other musicians tread too carefully and closely to familiar sounds.

IN THIS PHOTO: Phoebe Bridgers/PHOTO CREDIT: Morgan Martinez of Hooligan Mag

I wonder whether the sheer number of artists out there means it is becoming harder to forge something unique? There is an argument that certain genres are culpable. Modern Pop music is split between those primed for the charts and the ‘outsiders’ who have mainstream potential but not need confine themselves to the generic and commercial. A couple of articles – published back in 2015 – raised reasons why a lot of modern music, especially Pop, lacks distinction and originality. The first looked at generic pitfalls and why music is being dumbed-down:

“A new study, surveying more than 500,000 albums, shows simplicity sells best across all music genres. As something becomes popular, it necessarily dumbs down and becomes more formulaic. So if you're wondering why the top 10 features two Meghan Trainor songs that sound exactly the same and two Taylor Swift songs that sound exactly the same, scientists think they finally have the answer.

The study: In a recent study, researchers from the Medical University of Vienna in Austria studied 15 genres and 374 subgenres. They rated the genre's complexity over time — measured by researchers in purely quantitative aspects, such as timbre and acoustical variations — and compared that to the genre's sales. They found that in nearly every case, as genres increase in popularity, they also become more generic.

 PHOTO CREDIT: Unsplash  

"This can be interpreted," the researchers write, "as music becoming increasingly formulaic in terms of instrumentation under increasing sales numbers due to a tendency to popularize music styles with low variety and musicians with similar skills."

So music all starts simplifying and sounding similar. Not only that, but complexity actually starts turning people off of musical styles. Alternative rock, experimental and hip-hop music are all more complex now than when they began, and each has seen their sales plummet. Startlingly few genres have retained high levels of musical complexity over their histories, according to the researchers. And ones that have — folk, folk rock and experimental music — aren't exactly big earners. Unless, of course, they fit into the Mumford & Sons/Lumineers pop-folk mold”.

Another piece examined how cheap recording devices and the increase of electronic influence resulted in a rather homogenised and stale scene:

“Ever wonder why you find yourself constantly asking “why do all these songs sound the same?” Because they do. The emphasis is no longer on music theory or the ability to read and comprehend music, but to lazily rely on the same programmed machines that inevitably see each of its users repurposing the same sounds over and over and over. This is best exemplified by a recent Facebook post from indie-electronic rock project, RAC, who explains “the proliferation of cheaper recording devices and marketing tools has blown off the doors to the music industry.” The post continues, “Any kid with a laptop can build an empire with an internet connection. More artists means more competition, which means the product has less value.”

This isn’t to say that great music can’t be produced using the technological advances bestowed upon today’s bedroom “musicians” but at what point do we completely and utterly lose the human element in music? The human error that highlights the beauty of artistic imperfection. With The Prodigy recently telling Rolling Stone the current EDM climate is “lazy” and “monotonous,” one has to ask: where do we go from here? Electronic artists like Porter Robinson, Disclosure, Duke Dumont and Gorgon City, among others, are spearheading the current push for a live element when performing – not only because fans are demanding it, but they too are afflicted by the scene’s growing stagnant artistry”.

PHOTO CREDIT: Macworld

As I said; there are two sides to Pop: the big-stream-hunting artists who are more rigid and less imaginative with their music. Others, like Lana Del Rey and Lorde, for example, represent a more credible and ambitious approach to Pop – if one truly classes them as ‘Pop’. I find a lot of Electronic/Pop music gets a bad reputation because there does seem to be a set formula. If a song/artist has a success with a song; others, seeing that, try to reproduce that for their own music – assuming little endeavor and going for something easy. Maybe it is a generational thing – I will return to this – but, in terms of sounds, it is not only Pop artists who come across samey. Rock and Alternative have not been in the best shape.

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

This year, hotly-tipped albums from The Amazons and Royal Blood have left many, myself included, a bit miffed. Those albums, which could have been groundbreaking releases, did not really live up to the hype. Royal Blood’s How Did We Get So Dark? was a rehash of their debut album – albeit, with one or two additions. The Amazons’ eponymous debut seems to be a by-the-numbers approach to Rock – one that left me wondering where the originators and pioneers were. Maybe there was, in those cases, a desire to fit into a particular mindset – knowing other bands have had success and done well. I am seeing more and more Rock bands, in the mainstream, disappoint and not really show any originality. A fair few underground acts seem promising but, if they look at the current ‘best’ and see how they are doing things – are they inclined to abandon their own dynamic and go with what seems ‘popular’ and established. There is ample evidence to suggest the new breed might produce a few treasures but, when it comes to the mainstream Rock acts; why is there a surfeit of excitement?

IN THIS PHOTO: Lana Del Rey

A recent article by Forbes shed some light:

“There’s tangible proof of what people are listening to right now, and rock 'n' roll ain’t it. I make this evaluation based on the Billboard Hot 100 and Spotify Global charts as both commercial evaluations of songs and indicators of cultural impact.

Let's look at 2016 for example. According to the Nielsen year-end report, Drake's Views set an all-time record for most streams from an album, with over 245 million streams; there were 12 occurrences where an album’s songs had over 100 million audio streams in a week, led by Drake, J. Cole, The Weeknd and Beyoncé; Chance the Rapper had the first album to surpass 500,000 with streaming-only availability. Rock still does well in digital sales, but digital sales are declining.

PHOTO CREDIT: Unsplash

"Top 40 radio, which has always been for teenagers, is mostly devoted to post-rock pop and hip-hop. In 2016, rock is not teenage music," writes Bill Flanagan. "Rock is now where jazz was in the early 1980s. Its form is mostly fixed."

Those of us who grew up in the mold of rock are in a tough position, not just because the style we learned has become out of fashion, but because the skill set needed for pop music in 2017 has transformed into something radically different:

Songwriting is no longer words and music—but words, music and digital production.

Gone are the days of changing the world with three chords and the truth. Now you’ll need three chords, the truth, and an engineer’s ability to make your song sound like the radio. The most successful songwriter of our era, Max Martin, goes to work every day doing a very different job than Lennon-McCartney did”.

Maybe the proliferation of streaming sites and radio stations means we often hear the same songs repeatedly – ingraining it into the mind and not providing a true overview of music’s diversity and depth. When a new song is released and being promoted; we do get a lot of exposure to it. Does this repeated assault approach to marketing negatively impact and mean it is harder for musicians to follow their own course? I feel digital promotion and the easy accessibility of recording devices (and sounds) mean a lot more musicians are coming through.

IN THIS PHOTO: Brooke Baili

When one only got to the studio because they had a record label behind them; it meant quality control was tighter. Now, anyone can get a record made so it is harder to determine what is good and worthwhile. I feel the general oversaturation is flooding music. The more artists who come in the more likely we are to see repetition. One should never discourage artists from coming into music but we need to celebrate those who are truly worthy and impassioned. Artists like Brooke Baili and her new track, Louder, embrace infatuated but, in her lyrics and visuals – goes the extra-mile and provides originality and potential. There are artists in all genres that show nimbleness and new aspects. They can subvert the clichés and stereotypes to produce music of the highest caliber. In terms of the artists one needs to keep their eyes out for; in my mind, there are a couple of genres adding freshness to music – and the odd band that is worth attention. If one wants to intellectualise why there are restrictions of movement and expression in music – there is an article that explains things better than me:

“This is important because when one breaks down music to its most basic components, it becomes clear that originality is more limited than might be supposed. Steel comments that “the use of prescribed scales, keys and structures to fashion melodic lines gave rise to a listener’s dependency on Western tonality in order to make auditory sense of the sounds.” The result is a set of rhythms and melodies that can be often found across several songs in a genre or time, as audiences become used to specific combinations that are in fashion at the time. Steel argues that cultural experiences affect both the creative process and the consumption of music, and universal themes emerge during certain periods.

Given the extensive similarity of musical composition across an era, the originality requirement in copyright law becomes difficult to satisfy in musical works. Copyright protects the expression of an idea, not that idea. The problem is that many common elements in musical creation could be considered ideas if they are widely shared across compositions of a similar genre. To the untrained ear, all music of one genre sounds much the same, so it becomes the task of the trier of fact to try to draw the line of where a work has passed from using the ideas of a genre into the infringement of the expression of the ideas. Blurred lines, if you may. But drawing these lines is not the only challenge because judges and juries must also determine if the copying has been substantial, and therefore worthy of being declared copyright infringement”.

PHOTO CREDIT: Grovemade

How important is originality and is it – in the age where digital music and accessible music-making is suffocating – a possibility? Mainstream music is becoming more predictable than ever be there are a few bands at the moment, such as Glass Animals and Everything Everything that is able to convey unique sounds and keep their music likeable, if odd at times. Restrictions when it comes to sampling – and the stringent laws being imposed – is limiting the scope and possibility in genres like Hip-Hop and Rap. These are, to my mind, the natural leaders of the modern world and are providing truth and guidance. Maybe it is truth and plain-speaking missing in modern music. In an industry where there is too much reliance on love songs and marketable themes: those that address what is happening outside their own bedrooms are, oddly, a rarity.

IN THIS PHOTO: Kendrick Lamar

Of course, not all members of the Hip-Hop community are inspiring and pioneering. Over the last couple of years, it is hardly a surprise albums by Beyoncé and Kendrick Lamar have been ranked highest by critics – the former topped end-of-year lists with Lemonade (2016); Lamar amazed and ruled with 2015’s To Pimp a Butterfly. It seems Lamar’s current album, DAMN., might well scoop honours when the year’s best is revealed. Not only do these artists – and their finest peers – have attitude, passion and incredible songwriting ability: voices that resonate and strike; backed by compositions that mix in so many genres. To me, it is the lyrics and compositions that make genres like Hip-Hop and R&B so refreshing. Kendrick Lamar, in To Pimp a Butterfly, employed Jazz samples and the building blocks of an inspiring genre – something the likes of Loyle Carner are doing too. Soul, Rock and Alternative shades go into the albums (Beyoncé, Lamar etc.) and it seems there is a lot more flexibility and maneuver. Less concerned with instant three-minute hits or that processed sounds – the artists here are more bothered about texture, nuance and quality.

IN THIS PHOTO: Beyoncé

Perhaps it is too deep an issue to simplify in a single article but I worry there is a problem with originality and surprise. It has been a while since I have truly bonded with a new band. Often, I hear a debut album and am impressed but find, further down the line, things get regular and conformist. There is that modern-day pressure to be marketable and commercial – you can get the stream and big YouTube figures; only if you provide something fit for chart consumption. It is no surprise the genres that promote depth and directness are making a bigger impact than any other. It is not a binary thing to say Rap/Hip-Hop/R&B is right and everyone else is wrong – there are wonderful artists in Folk, Pop and Rock that deserve more respect. Perhaps there needs to be less concern with streaming counts and following the pack.

The flip-side is the comparative lack of monetary value and commercial appeal – a risk that many should take. The underground is proffering artists capable of kick-starting a mini-revolution but, looking at the current state of the mainstream, is it going to be easy to overhaul and sanitise? That is not for me to decide but, the fact so many artists are lasting only a short time means there is fear music is not a viable long-term career. The industry hasn’t changed radically in the sense those best and brightest have to fight harder – the sheer mass and proliferation of new artists make it tougher to easily discover the strongest artists. Maybe there is a long-term solution but we need to stop giving the mainstream such regard and cut those artists out that go for something easy and cynical. The ones that are only concerned with figures and profit; those who chase fame and something quite shallow. From there; highlight and celebrate the artists/genres that go out their way to be original and inspiring – I still feel Hip-Hop is seen as a niche and uncommercial brand. If we can make small changes it means the approaching generations think differently and have different aspirations. Driving away that need to be ‘successful’ – the wrong type – and go for respectability and true talent is what needs to happen first off. If we can get the ball rolling, and start to cut away at the fat, it means future-music will be…

PHOTO CREDIT: Pixabay

SOMETHING to be truly proud of.