FEATURE: Later…with Jools Holland at Twenty-Five

FEATURE:

 Later…with Jools Holland at Twenty-Five

________

AN established and legendary music show is on its fifty-first series….

and will take to the stage of the Royal Albert Hall in a few days. If one goes to the website of the Royal Albert Hall they can find out how to get a ticket and the acts that are involved that night. If you are a bit lazy, or want a general overview; they bottle it down to this:

“Jools Holland brings his iconic music television show to the Royal Albert Hall to celebrate 25 years, 50 series and over 360 programmes on BBC Two.

Featuring a typically eclectic blend of signature artists including major stars, legends, artists of the moment and brand new talents across genres from rock ‘n’ roll to jazz and all points in between, this multi-artist show will be filmed in the round, filling the Hall’s main stage and floor with artists in the style of the Later… studio as seen on TV.

IN THIS PHOTO: The artists who will perform at the twenty-fifth anniversary of the show

See the Later… experience as normally enjoyed only by a few in the television studio now laid bare in the bowl of the Royal Albert Hall. For one night only, this magical musical mystery tour, with a special line-up, will celebrate Later… with Jools Hollands’ commitment to all manner of musicians and musics that matter!

The show will feature old friends of the show and some new ones – Foo Fighters, Paul Weller, Van Morrison, Dizzee Rascal, KT Tunstall, Gregory Porter, Kali Uchis, Camille, Songhoy Blues and Jorja Smith”.

IN THIS PHOTO: Jorja Smith, who will be among the musicians celebrating Later...with Jools Holland at the Royal Albert Hall

The xx and Royal Blood were among the artists that helped bring the fiftieth series to a rousing conclusion. Two days ago, there was an A-Z of Later…with Jools Holland on BBC 2 - and it was a wonderful chance to see musicians brought together to provide their views on the long-lasting series. Many compared Jools Holland’s show to a cordial battle-of-the-bands. There is no competition or rivalry: more a group (of) of-the-moment musicians performing at the top of their game. Before I come to my views and what makes the show so special; a look (via Wikipedia) at the show’s origins and development:

“Later... with Jools Holland (previously known as ...Later with Jools Holland) is a contemporary British music television show hosted by Jools Holland. A spin-off of The Late Show, it has been running in short series since 1992 and is a part of BBC Two's late-night line-up, usually at around 11 pm to 12 midnight. The day of transmission has varied, but currently it is usually recorded on a Tuesday for Friday broadcast[1] and features a mixture of both established and new musical artists, from solo performers to bands and larger ensembles.

  The show is considered an institution, having notched up millions of fans around the world.[2] It is currently broadcast in America on MTV Live (formerly known as Palladia); previously it had been shown on Ovation, BBC America, Fuse, and Dave. The Ovation and Fuse broadcasts leave out several performances (and usually one or two performers entirely) to air commercials within a one-hour timeslot. It is also shown in Australia on the UKTV channel and ABC2, in Canada on HIFI and AUX TV, in Germany on ZDFkultur, in Spain on Canal+ Xtra, in Croatia on HRT 2, in Latin America on Film&Arts and in Belgium, France, Portugal, Switzerland, and the United Arab Emirates on iConcerts HD.

The 200th programme was broadcast on 1 February 2008.[3] The 250th edition was broadcast in September 2010.

In 2008, the head rock and pop critic of The Guardian, Alexis Petridis, claimed the programme featured a "distinct lack of spontaneity" and was failing to showcase enough dance music, pop, hip-hop, experimental music or present R&B artists. He also argued "all the artists it breaks are essentially the same: MOR singer-songwriters".[6]

In 2010, Joe Elliott, lead singer of rock band Def Leppard, criticised the programme for excluding the band from appearing on it, claiming "Jools Holland won't have us on his show because we're not cool enough."[7] Executive producer Mark Cooper responded to this comment in 2013, claiming: "The aim is to put together the best mix from various genres. We’re not thinking, 'Oh no, we’ve never had Def Leppard on, we owe them one'." Cooper acknowledged that the series had "not had much metal" but denied accusations that it was "snobby" about pop acts”.[8]

It is easy to argue against critics who say Later… is an elitist and snobbish format. It does not exclude artists and is one of the most all-inclusive and varied shows I know. There is a camp that says it does not feature enough Dance and Pop artists but is designed to feature the best and brightest acts. Not many ‘classic’ artists are featured if they do not have new material out. Maybe there is a sense of ‘cool’ and contemporary about the show but it does not shut its door to music’s variegated and broad spectrum. On 26th of this month; Liam Gallagher, Benjamin Clementine and Nadia Reid will join LCD Soundsystem, Jorja Smith and Jimmy Webb. That line-up is of-the-moment and cool but there is no difference to the ethos and structure of Later… and stations like BBC Radio 6 Music. Nobody criticises the station for not including a lot of Thrash and mainstream Pop. Each show or station has its own dynamic and breakdown. Later… has featured Pop in the past and is a broad-church that is not keen to exclude. There are limits and cut-offs but looking at the series fifty-one opener and there is a range of genres and tastes among the cut. The show’s helm and frontman has been interviewing to promote the big anniversary. Some of the most-recent series have brought together everyone from Kano and Paul Simon through to Ed Sheeran and Haley Bonar.

I cannot understand anyone who claims the show is snobbish and restricted. It takes from music of the moment but casts its net over a huge range of sounds. I agree there are very few mainstream Pop artists and Country acts but the show has always been keen to focus on quality and currency – if it opens the doors to anyone then it loses appeal and the quality goes down.  Older, established bands/artists have been on Later… so the likes of, say, Def Leppard making complaints, is a little strange – the fact a band like that would not be included is down to a lack of quality and potency rather than them being prejudiced. The same goes for a lot of Pop in the charts. That music has its audience but it lacks the allure and pull that warrants a place on Later… The show is a not a drop-off for any artist promoting a song: it is for the best artists around who can get the audiences hooked and make a real impact. There is no sense of pushing people away or limiting the type of artists that are featured. Later… is intended to put the best music on the screen and that, in an age where there are so few music shows, is why it continues to thrive. Consider past years when we have had the likes of Top of the Pops on our screens. Music is because more digitalised and insular – in terms of promotion – and the wealth of music T.V. is down to this one show.

The reason Jools Holland’s show has survived so long is for a number of reasons. The magnitude, passion and likeability of the host, yes, is why so many people tune in. Holland is an enthusiast who has the desire to put all kinds of musicians into the studio. It is rare and almost alien-like finding a T.V. show with a live audience that has no gimmicks – it is musicians performing tracks and that, is essentially, it. Little chat and brainless promotion; you do not get the drawn-out interviews you might hear on radio. It is all about the music and keeps things pure and simple. That battle-of-the-bands-style format is a tried and true thing. The fact Top of the Pops died is because it lost an edge and sense of purpose. It seemed dated and was a bit old and creaky as we moved into the streaming-age. Later…with Jools Holland has never relied on bright lights, chart acts and anything cheap. It is a pure and unchanged show that continues to bring us the best music around. One of the reasons I love it is because there is that mixture of cultures, styles and ages. One can find an older/established act like Robert Plant or PJ Harvey. You have the newcomers and underground acts on the same bill as legends and titans. There are no egos and reservations at all: any musician who can put in a great performance is welcomed on the show. Each episode has a great blend of sounds and never relies solely on Rock, Alternative or Soul.

IN THIS PHOTO: M83 and Mai Lan performing on Later...

These days; survival and durability is a dying pleasure. So few people can maintain successful and evolving careers; T.V. shows never last that long and the only way music-lovers can hear true and quality musicians is through the radio. I am a devotee of stations like BBC Radio 6 Music but want the chance to see their kind of musician perform on stage. The live music scene is dwindling and threatened so it is always good finding a show that puts the prominence and focus on the live performance. One can argue shows like Later…with Jools Holland is responsible for inspiring people to go to gigs and embrace venues. It is always great seeing Holland join a guest and play piano: he gets involved and loves to be a part of the mix. He is a great interviewer and has that charming and down-to-earth conversational style. Seeing musicians relax and causally chat to Holland is contrasted by their electric and stunning performances. Over the years, and through the series, we have witnessed amazing performances that stay in the mind.

It is great to see a show that has seven-eight guests and does not feel the need to adapt and evolve to fit with the digital age. Imagine if it booked its guests on the strength of Spotify figures and what was trending. That would be ghastly and galling! Later… is all about quality and the true spirit of music. Anyone who dares strike against such ethics and morals has no right to call themselves music fans. Take a look at the fifty series of Later… and one will find so many genres and artists on the list. That will continue for many years to come and remain the sole source of T.V. music. The twenty-fifth-anniversary show at the Royal Albert Hall is a worthy celebration of a show that continues to amaze, compel and inspire. Jools Holland is the ever-enthusiastic curator and amazes me with that constant verve and energy. Long may the show continue and bring the people the best and boldest musicians from around the world. I have found so many artists and new discoveries through later. Jools Holland’s show is a tastemaker in the same way John Peel was at his peak. The formats are different but one is allowed the chance to unearth brilliant new acts on Later… It is not only about the mainstream and what is hot at the moment. Who knows how far the show can go but, in an age of disposability, seeing something survive and grow is truly inspiring and rewarding. If you cannot get to the Royal Albert Hall on Wednesday; make sure you tune into the opening edition of the fifty-first series and see some awesome musicians captivate and enthral. Raise a glass to Jools Holland and an amazing BBC dynasty. It is Later… but there are plenty more great years…

 IN THIS PHOTO: Sonnghoy Blues, who are among the musicians who kick-start the next series

IN this incredible show (sorry for the poor time-related/’later’ pun!)

FEATURE: Festifeel 2017

FEATURE:

 Festifeel 2017

________

HOSTED by CoppaFeel!; the annual...

IN THIS PHOTO: Anna Jones (@we_are_food)

Festifeel festival is a unique event that puts boobs at the forefront – in the sense that it encourages young women to check their breasts. It is a way of making breast cancer more visible and less frightening/lonely – a way of taking any hesitation and stigma out of it and raising awareness. The event is not only a change for women to come together. Co-founder Kristin Hallenga, when talking about the ethos of the festival, explained it in these terms:

"I want everyone to know that cancer doesn’t conform to the over-40s rule we try to impose on it; and that getting to know your boobs from a young age, and making checking them regularly a habit of a lifetime you could save your life one day."

IN THIS PHOTO: CoppaFeel! founders, Maren and Kristin Hallenga

CoppaFeel! was founded in 2009 and twin sisters Kristin and Maren Hallenga started the movement following Kristin’s breast cancer diagnosis at twenty-three. Due to her late diagnosis; CoppaFeel! C.E.O. Kristin lives with stage-four breast cancer. Last year; she explained why she was stepping down from helming CoppaFeel!

“In fact, at the moment I am not just looking at the more recent months, but my past eight years running CoppaFeel! Why? Because I have decided to step down as CEO of the charity.

This is in no way linked to my health – in fact, I feel better than ever. And I’d rather step away when I am well than on my last legs.

IN THIS PHOTO: Kristin Hallenga

I never wanted to be in a panic about the future of the charity. I feel so very lucky then, to be in the position to step away when both me AND the charity are feeling strong.

CoppaFeel! is at its peak, it is saving lives and has a kick-ass team leading it to even greater things.

Honestly, I never wanted to be a CEO. I am not a natural leader, just very passionate, and my passion has got us to this stage.

Now it’s time for a new pair of eyes and fresher leadership to take it even further.

I recently read an article about Founder’s Syndrome, and how founders of charities often don’t know when to relinquish their powers – to the detriment of the charity. I never want to be in that position”.

The fact doctors, when she was concerned she had breast cancer, dismissed her concerns as irrational and hormonal – it shows, as recently as a few years ago, how much ignorance there was. It seems insane there would be such cavalier disregard and dismissal of anyone fearful of their health. The fact Kristin was right – and faced the most devastating news possible – does not make her (correct) instinct satisfying. Out of the horrible and bleak situation came the desire and dream to make breast cancer a less misunderstood and overlooked illness. The aim is to reduce the rates of death and ensure there is more early-stage detection and greater conversation. There is a stigma and sense of trepidation when it comes to men and checking for testicular cancer. The fact they are reluctant to check themselves is one barrier: going to a doctor and revealing something embarrassing is another hurdle. The fact is, like breast cancer, it is serious and should not be seen as embarrassing.

CoppaFeel! has the mandate that urges women to check their breasts and notice any abnormalities or changes. The Ambassadors of CoppaFeel! are called ‘the Boobettes’ – women who were diagnosed at a young age. I shall mention this year’s Festifeel but, before then, a little Wikipedia overview of CoppaFeel! and how it has grown:

“In summer 2014 they launched their ‘What Normal Feels Like’ campaign, which seeks to reclaim the language and imagery associated with breasts.[13] Hundreds of women have submitted pictures of their breasts, along with a descriptive word such as “wibbly” or “springy”, which have been used in a series of advertisements designed to normalise and desexualise female breasts.[14] According to The Daily Mail, the ‘What Normal Feels Like’ billboards had to be placed away from roadsides for fear of distracting drivers with images of naked breasts.[15]

In the same year The Sun newspaper started working with CoppaFeel! on ‘Check ‘Em Tuesday’, a bold campaign that features Page 3 models encouraging readers to check their breasts for signs of cancer every Tuesday.[16] CoppaFeel! founder Kristin Hallenga presently works as a columnist for The Sun, expanding on the important of ‘Check ‘Em Tuesday’ by regularly writing about her own experiences with cancer.[16] The campaign has been criticized by No More Page 3, who feel that the promotion “sexualised images of young women to highlight breast cancer”.[17] CoppaFeel! responded to the criticism by highlighting the importance of early stage diagnoses for the disease.[18] ‘Check ‘Em Tuesday’ has received support from several celebrities including motorcycle racer Maria Costello,[19] and actress Helen Flanagan.[20]

CoppaFeel! have also run a ‘Cheknominate’ campaign, which was their “healthier” take on the Neknominate craze.[21] Cheknominate encouraged people to record themselves checking their breasts before nominating a friend to do the same. The Huffington Post were supportive of the campaign, and encouraged their readers to try to get the hashtag #Cheknominate trending on social media”.[22]

IN THIS PHOTO: Russell Howard

CoppaFeel! and Festifeel have gained celebrity support from the likes of Fearne Cotton, Russell Howard and Danni Minogue. Radio presenters such as Dermot O’ Leary have thrown their support behind it – O’Leary and Greg James run the Bath Half-Marathon in 2013 – and raised a lot of awareness/funds. It is important, as Chris O’Dowd stated in a vital video, men check themselves too. There is this assumption men cannot get breast cancer because they do not have breasts. Everyone has breasts in the same everyone has an Adam’s apple (a misnomer and confusion) – unlike an Adam’s apple: breasts are less prominent in males.

IN THIS PHOTO: Fearne Cotton

We need to check ourselves and ensure we perform regular inspection and maintenance of our bodies. The same way it is important for women to get men to check their testicles for cancer: men should - and have - urge young women to check their breasts for possible irregularities. Make sure you go to this year’s Festifeel and check Facebook for details. The official website provides links to tickets - and check the latest Twitter happenings here. It is a wonderful cause whose annual festival gains more traction and patronage by the year.

This year’s is going to be a huge gathering and a wonderful day – not only intended to raise awareness and support for breast cancer/detection but provide wonderful music/talent...

__________

HOUSE OF VANS

Arches 228 - 232 Station Approach Road, London SE1 8SW

Busted // Pixie Lott // Denai Moore // The Staves // Fleur East // Basement Jaxx (DJ Set) // Lauren Laverne (host) // Mystery Jets (DJ) // Goldierocks (DJ) // Abbie McCarthy (Radio1) DJ // Bear Grooves (DJ)

Welcome to Festifeel, an annual festival organised by, and raising funds for, the charity CoppaFeel!, who work tirelessly to raise awareness of breast cancer, in order to stamp out the late detection of the disease.

Heading into its eighth year, it’s known for its incredible and eclectic line up that switches from the best new bands to some of music’s biggest stars with DJs, comedy poetry hour with Laurie Bolger, graffiti workshops, boob chat, glitter, nail art and so much more, held in one of London’s most epic music venues.

IN THIS PHOTO: Festifeel host, Lauren Laverne

With a music line up curated by Fearne Cotton, you’re guaranteed to be in for a treat. Last year's line-up featured the Mercury nominated Laura Mvula, Rae Morris, Flyte, the legendary Stereophonics, + DJ sets from Goldierocks to Gok Wan and a comedy stage curated by Russell Howard.

October 14th is set to be a special day, and all for a pretty brilliant cause.

Presented by Festifeel.

Under 16s must be accompanied by an adult.

IN THIS PHOTO: The Staves

LINE UP

1pm Doors open

- Busted

- Pixie Lott

- Denai Moore

- The Staves

- Fleur East

IN THIS PHOTO: Basement Jaxx

- Basement Jaxx (DJ Set)

- Lauren Laverne (host)

- Mystery Jets (DJ)

- Goldierocks (DJ)

- Abbie McCarthy (Radio1)

- DJ Bear Grooves (DJ)

IN THIS PHOTO: Pixie Lott

FEATURE: It Ain’t Over Until the Fat Lady Sings: The Best Album-Closing Songs

FEATURE:

 

It Ain’t Over Until the Fat Lady Sings: 

PHOTO CREDIT: Unsplash 

The Best Album-Closing Songs

_________

AN album can succeed or fail simply because of the order…

IN THIS PHOTO: Nirvana in 1993

the tracks are placed. I have heard great records top-loaded and too eager to please: others end with their best songs and rely on a lot of patience for the listener to get that far. Programming and correct assortment is a vital – and very difficult – discipline to conquer. Of course, if you have an album with great material throughout, there is a golden rule: end with the best track and start with one of the better ones – sprinkle the rest in an order that will keep the listener hooked and guessing.

I take a look at albums that end with a real bang: those unexpected treasures that give you that last-gasp burst of brilliance.

_________

The Beatles – A Day in the Life

Album: Sgt. Pepper’s Lonely Hearts Club Band

Year of Release: 1967

Muse – Knights of Cydonia

Album: Black Holes and Revelations

Year of Release: 2004

Björk – Play Dead

Album: Debut

Year of Release: 1993 (Reissued Version)

Joni Mitchell – The Last Time I Saw Richard

Album: Blue

Year of Release: 1971

The Jimi Hendrix Experience – Voodoo Child (Slight Return)

Album: Electric Ladyland

Year of Release: 1968

Glassjaw – Convectuoso

Album: Everything You Ever Wanted to Know About Silence

Year of Release: 2009 (Remastered Version)

Radiohead – Street Spirit (Fade Out)

Album: The Bends

Year of Release: 1995

The Jam – Down in the Tube Station at Midnight

Album: All Mod Cons

Year of Release: 1978

Kate Bush – A Sea of Honey

Album: Aerial

Year of Release: 2005 (Re-release)

Oasis – Champagne Supernova

Album: (What’s the Story) Morning Glory?

Year of Release: 1995

Dire Straits – Brothers in Arms

Album: Brothers in Arms

Year of Release: 1985

Beyoncé – Formation

Album: Lemonade

Year of Release: 2016

David Bowie – Rock ‘n’ Roll Suicide

Album: The Rise and Fall of Ziggy Stardust and the Spiders from Mars

Year of Release: 1972

Bob Dylan – Desolation Row

Album: Highway 61 Revisited

Year of Release: 1965

Pink Floyd – Eclipse

Album: The Dark Side of the Moon

Year of Release: 1973

PJ Harvey – We Float

Album: Stories from the City, Stories from the Sea

Year of Release: 2000

Nirvana – All Apologies

Album: In Utero

Year of Release: 1993

Fiona Apple – Hot Knife

Album: The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do

Year of Release: 2012

Sufjan Stevens – Impossible Soul

Album: The Age of Adz 

Year of Release: 2010

Joy Division – Decades

Album: Closer 

Year of Release: 1980

Fleetwood Mac – Gold Dust Woman

Album: Rumours

Year of Release: 1977

Prince and The Revolution – Purple Rain

Album: Purple Rain

Year of Release: 1984

FEATURE: Sticks and Stones: Incredible Drum Performances

FEATURE:

 

Sticks and Stones:

PHOTO CREDIT: Unsplash

Incredible Drum Performances

________

THE drummer is a part of the band…

IN THIS PHOTO: Led Zeppelin's John Bonham

that often gets overlooked. The focus is on the singer and it is not often the percussionists get a chance to stand in the spotlight! Often, a meaty or energetic piece of sticks-work can elevate a track to transcendent levels. I am seeing a greater number of people take up drumming: a lot more women are playing with fellow women/men and showing they can mix it with the very best of them. It is encouraging seeing more female musician taking up drums – I am hearing so many fantastic drummers who will be future stars. I have been urged to seek out some of the finest drumming performances of all time - to show why an epic piece of percussion can raise a track to the heavens.

__________

Queens of the Stone Age – No One Knows

Drummer: Dave Grohl

Album: Songs for the Deaf

The Beatles – The End

Drummer: Ringo Starr

Album: Abbey Road

Led Zeppelin – Moby Dick

Drummer: John Bonham

Album: Led Zeppelin II

Fleetwood Mac – The Chain

Drummer: Mick Fleetwood

Album: Rumours

Blondie – Atomic

Drummer: Clem Burke

Album: Eat to the Beat

Steely Dan – Aja

Drummer: Steve Gadd

Album: Aja

The Velvet Underground – Heroin

Drummer: Moe Tucker

Album: The Velvet Underground & Nico

The Who – My Generation

Drummer: Keith Moon

Album: My Generation

King Crimson – 21st Century Schizoid Man

Drummer: Michael Giles

Album: In the Court of the Crimson King

The White Stripes – Seven Nation Army

Drummer: Meg White

Album: Elephant

The Beatles – Ticket to Ride

Drummer: Ringo Starr

Album: Single Release/Help!

Led Zeppelin – When the Levee Breaks

Drummer: John Bonham

Album: Led Zeppelin IV

The Jimi Hendrix Experience – Fire

Drummer: Mitch Mitchell

Album: Are You Experienced

The Who – A Quick One, While He’s Away

Drummer: Keith Moon

Album: The Kids Are Alright

Soundgarden – Jesus Christ Pose

Drummer: Matt Cameron

Album: Badmotorfinger

Benny Goodman and His Orchestra – Sing, Sing Sing (With a Swing) (Pt. 1 & 2)

Drummer: Gene Krupa

Album: Single Release

Slipknot – Psychosocial

Drummers: Joey Jordison/Chris Fehn/Shawn Crahan

Album: All Hope Is Gone

Cream – I Feel Free

Drummer: Ginger Baker

Album: Fresh Cream (U.S. Version)

Miles Davis – Miles Runs the Voodoo Down

Drummers: Don Alias/Jack DeJohnette

Album: Bitches Brew

The Who – Won’t Get Fooled Again

Drummers: Keith Moon

Album: Who’s Next

FEATURE: Freddie Mercury: Why His Magic and Magnetism Lives On

FEATURE:

 

Freddie Mercury:

 Why His Magic and Magnetism Lives On

________

A certain legend is back in the news…

PHOTO CREDIT: Getty Images

and with good reason. On 5th September, it would have been Freddie Mercury’s seventy-first birthday. I get it still IS but it makes me wonder, were he still with us, what he would make of music. I guess he would have got involved with the talent shows. I don’t think he would have objected and, if anything, might have been keen to be a judge. He would have been great cutting bad singers to size and inspiring the genuinely promising. Something bigger would play on Mercury’s mind: the tepid barometer and lukewarm temperature of modern singers. There are a few big voices on the scene but they come along so rarely. We have just seen a new single from Björk and, although it is not a hugely bombastic song – it shows what an intricate and nuanced voice she has. In terms of those dramatic and semi-operatic singers – one wonders where they are these days. Florence Welch, I understand is preparing new Florence and the Machine material.

She is someone who always brings a sense of theatre and captivation to her tracks. In terms of male examples, the mind does struggle for answers. I guess Freddie Mercury remains that unique and unbeatable performer. That is why I love him so much: he is a performer above all else. You get the sense, with so many singers, they are going through the motions and unable to fully articulate the complexities and heights music can provide. Their songs are relatively simplistic and, if they demand an extended histrionic range, many struggle to come up to the mark. Mercury, when faced with any material, would kick the hell out of it! Before I come to look at Mercury’s singularity and influence; we have all been hearing about the upcoming Queen biopic, Bohemian Rhapsody. Named for their best-known song, it features Rami Malek stepping into Mercury’s shoes. Many might recognise the actor from the series, Mr. Robot but, for the most part, he remains unknown to many.

IN THIS PHOTO: Rami Malek/PHOTO CREDIT: Mark Mann

Pictures and clips are capturing the actor immersing himself in the guise of the departed legend. It seems he is a natural adopter of Mercury’s tics, mannerisms and movements - able to project the same gusto, imagination and electricity. This is pleasing because, as we know too, there have been problems with the production. Sasha Baron Cohen was due to play Mercury – and is perfect in appearance and stature – but was not happy with the way the script looked (such diva-like behaviour hardly befitting of Freddie Mercury film!). Maybe they were concentrating too much on various areas and aspects of Mercury’s life – Baron Cohen feeling uneasy with the concept and representation. There wasn’t complete faith from the other members of Queen so it might not have been the most conducive and harmonious set. Malek seems like a better fit and prepared to castigate any doubts and artistic differences and embrace Mercury’s spirit. I am not sure whether Malek is tackling vocals himself but it will be interesting to see what he does in the role.

I am a bit sceptical about biopics because they fail to truly and authentically represent an artist – and can seem rather glossy and fake. I know many have been hankering for a Freddie Mercury biopic but there will be nerves seeing where the focus is and whether Malek fully embodies the complexities and physicality of Freddie Mercury. The best thing about the film is it revives some classic Queen songs and puts the spotlight on an artist who, nearly twenty-six years after his death, still enthrals and captivates. His AIDS-related death shocked the world and many were surprised he deteriorated so rapidly. The fact he announced the disease a few hours before his death was always going to create a shock. He would not have wanted speculation and tabloids surrounding his bed. He was sick and knew he was going to die. Exposing the intimate and upsetting details to the public was not right and, rightfully, Mercury did not mention his disease to the world. Maybe the ignorance and lack of AIDS awareness means Mercury’s death was not wholly unexpected.

There is more awareness now and, whereas AIDS is not a death sentence; it does still exist and it can be argued Mercury’s case put the disease into the forefront – more people aware of its dangers because of his death. It is tragic what happened and how Mercury’s life ended. That said; he was living each day as fully as possible and promiscuity, a sense of recklessness and abandon was part of his personality. It is interesting – as interviews show – Mercury was quite a reserved and shy figure away from the stage. His extravagance and flair was part of his stage personality: away from that, he was grounded, private and enigmatic. There was a sharpness and catchiness at time but plenty of cheekiness, fun and quotability. His humour and honesty was refreshing back then: today, it would be the subject of daily tabloid scrutiny. It is rare finding a true personality anywhere in music right now. Mercury seemed less of a nonpareil back then and would be alien in today’s climate.

Assuming he would be making music in his seventies; how would the world react to a creature as beguiling and counterculture as Mercury?! His voice, one speculates, would be more mature and calm; powerful and extraordinary but less broad and powerful as once was. There are so many memories that stick in my mind when thinking of Freddie Mercury. My earliest, when I was very small, would have been his set at Live Aid in 1985. When Queen took to the stage; they were in front of thousands – televised to a T.V. audience of millions. That kind of event would be unlikely in today to have such a huge-scale concert take place but, back then, the sense of expectation and nerves would have been immense. Not that one would notice from Mercury who, in typical fashion, provided a dazzling, audience-uniting set.

PHOTO CREDIT: Richard E. Aaron/Redferns

Listening to him singing Radio Gaga - when he got the crowd to engage in a mass call-and-response – shows what a hugely innovative and towering performer he was. No fear or nerves that day: a man taking to the stage and holding the world in his palms. The set was so huge and memorable it threatened to undermine and overshadow every other performer that day. The fact Live Aid was the chance to bring the biggest stars together and raise awareness of poverty in the Third World. It was not about one act but, such was the gravitas and immensity of Freddie Mercury’s performance, it remains in the memory longer than anything else. That set was typical of a man who was born to take to the stage. Most artists like Mercury – a free-flowing bird who was at his finest in front of an audience – would feel caged and constrained when in the confines of the studio.

Even though there were disciplinary restrictions in that environment; Mercury was able to extol some control and theatricality in the room. I remember watching a video when the band was recording One Vision. The lyrics went through various machinations and the overriding takeaway was Mercury being involved in every stage of the process. Each take had different nuances and qualities and the lyrics, whilst a little trite and faux-philosophical, allowed Mercury to indulge his full range. It would be good to see every Queen song filmed and documented as it would have provided historians and music-lovers the chance to unveil a superb talent and how his performances assembled themselves. A few magazines have run features that isolated Mercury’s vocal on Under Pressure. The fact he was going toe-to-toe with David Bowie – and HIS is the vocal celebrated and elevated – shows what an artist he was. He was not trying to outshine Bowie (nor was he given more time and lines) but he attacked the song in such a manner it stunned people.

PHOTO CREDIT: George Wilkes/Hulton Archive/Getty Images

I have always found it hard to bond with Queen songs because they are not the sort you come back to time again. There is campiness to them but that is never an issue. To me, the lyrics lacked depth and there was not a lot of real substance. Many people are off-put by Queen because they got all the attention they did and, to many, did not warrant it – magazines like Rolling Stone, for instance, hated the band for long periods. Some see them as throwaway but one cannot deny the fact the reason for their success is down to Mercury. Not only did he pen some of their biggest hits – including Bohemian Rhapsody – but he brought a new sensation to every song. So many singers repeat themselves and seem rushed when releasing music. Even the titanic voices of today get into the habit of repeating themselves. Amy Winehouse was the last truly big voice who could bring something fresh to every song she delivered. Adele, one of our biggest stars, seems to be treading water and leaves me rather cold.

IN THIS PHOTO: Freddie Mercury with Montserrat Caballé

How many modern singers could/or would tackle a song like Barcelona and make it stick?! Montserrat Caballé and Mercury traded vocals and created a rapturous and spellbinding duet. The fact Mercury could legitimately and bravely perform an operatic song – and make it sound real and easy – shows what a talent he was. It is the variation and daring of Freddie Mercury that means his legacy endures and he enjoyed such a varied career. Every Queen album provided something different and, whether on his solo album or performing with other artists, showed he was a singer that could handle anything. Mercury is an anomaly in music that has seen nobody get close to his talent. Every world-class singer sees a host of artists try and match their grandeur and majesty. From Aretha Franklin and Robert Plant to Kate Bush – they all have contemporaries who infuse some of their colours into their music. I hear some big-voiced singers but none who remind me of Freddie Mercury.

Maybe there are no bands like Queen who have that same pomp, camp and originality. The modern music press would not take too well to a modern-day Queen. They were a bit of an oddity in their day but did have a career that spanned three decades. From their eponymous debut in 1973 to their finale in 1995 – Innuendo, in 1991, was the last album that featured Mercury (Made in Heaven, in 1995, was released after Mercury’s death). There were some truly great albums – Sheer Heart Attack A Night at the Opera – in the early-mid-1970s and an ill-fated embrace of Disco. The band’s greatest hits collections show they made some truly excellent music but they were very much of their time. Music has changed so much that we cannot have another Queen in our midst. A ‘new Freddie Mercury’ would need a band support and, one feels, they would need to be Glam-Rock.

That genre is not exactly thriving so one wonders whether we can ever breed someone like him? I think the reason we will not see another Freddie Mercury is a lot simpler: he was a one-of-a-kind that left a huge mark on music. Go watch Bohemian Rhapsody when it is out because it will show where Mercury came from and what he was like behind the scenes – and how he brought people to life when he was in his element (on the stage). I hope the flick does Mercury justice and has been worth the wait. My greatest hope is the film rekindles an interest in his music and tremendous voice.

PHOTO CREDIT: Getty Images

Freddie Mercury is one of those brave, incredible and mysterious figures the music industry desperately needs. Perhaps we have come too far to have unique characters and titans in our midst. Everything is marketed, rushed and meticulously planned. Imagine Freddie Mercury being made to go on Spotify or see his songs tortured and drip-fed to the point of exsanguination?! He would have rebelled against that and been ostracised from critical approval. The fact he died in the early-1990s is a tragedy but his legacy and music will never die. Who knows, though? Maybe, when people see the film and hear Mercury’s name back in the media; that will compel them to overcome fears and follow in his footsteps. Music requires that and, if we do see a singer compelled to reach Mercury’s heights, that would be…

TRULY wonderful.

TRACK REVIEW: MissDefiant - You Can’t Sit with Us

TRACK REVIEW:

 

MissDefiant

 You Can’t Sit with Us

9.4/10

You Can’t Sit with Us is available via:

https://itunes.apple.com/gb/album/missdefiant/id1273159288

GENRES:

Pop; Electro

ORIGIN:

London, U.K.

The album, Missdefiant, is available at:

https://open.spotify.com/album/5pqRehKPl33Bq1HUUwVnUN

____________

I suppose I am breaking some of my reviewing…

PHOTO CREDIT: Michaela Efford Photography 

cardinal rules because, in a brief side-step, I am looking at a duo I have assessed before. I will look at their new album – and a song from it – but I wanted to explain why I follow certain acts and come back to ones I reviewed. After that, I will have a peek into Pop and variations on the market; putting fun and energy back into music; artists who dig deeper and defy expectations – a bit about artists who have exceptional social media links and make it very easy to discover their music. I am pleased to be back with MissDefiant as I have been following their career for a little while now. When I last reviewed them, it would have been for their latest single release and, before that, the single that preceded that. It is interesting charting an act and how they can develop over the months/years. In terms of MissDefiant; I am pleased they have continued to grow and develop. That may sound condescending but a lot of artists in these times do not ensure and impress as much as they have. It is a tough industry and can be very hard when performing Pop/Electro. There is such a proliferation and promotion of the mainstream: artists who perform outside of that have to struggle a lot and work that much harder to get recognition. For Jordan Cather and Emily Rose Adams, there is a sisterly bond that touches me. They have a deep connection and understanding of one another. A lot of times; duos are together to sell records and because of some marketing plan. You can tell when they are together to make music – there is no personal connection and understanding. I find duos, actually, are more solid than bands. You can get a lot of unpredictablness with bands because there are often four/five members and tensions can arise through the years. Because of that, one finds some groups – you thought were brilliant and solid – that break-up without warning.

PHOTO CREDIT: Michaela Efford Photography

Duos are usually comprised of great friends or those in relationships. MissDefiant spend a lot of time together so can’t exist as a distant and detached unit. The songwriting, performing and promotion is the two of them – if they did not get along then you would notice and they would not survive long. Cather and Adams have a great friendship and have a lot in common. I do not get the same feel from other acts as I do from them. One can tell they are meant to be together and have a great compassion for one another. It is not only their relationship that impresses me: the music they produce continues to evolve and improve. Their earliest songs are brilliant but I find, with every new release, they get stronger and more confident. I think the touring they do – and the people they meet – has pushed that. Each gig pushes love their way and they, in turn, have the confidence to grow their music. It is encouraging seeing the girls grow as a duo. Their debut album – semi-eponymous (‘Missdefiant’ rather than ‘MissDefiant’) is a collection of all their past material; combined with their new songs in a fourteen-track bonanza. I can follow their career and periods through each song. Those earliest numbers – Robot, Venus & Mars, for example – seem effortless against newer tracks like Robot and You Can’t Sit with Us. Another reason MissDefiant have made me stick with them is the way they continue to put their music to new crowds. They do not sit back and let marketing people do all the work for them. Keen to play to crowds and ensure their songs get to as many hearts as possible – a fantastic duo that persevere and campaign harder than most. Who knows how far MissDefiant can go but, the fact they have been together for years suggests they are in no mood to quit anytime soon. In fact; I feel they could go on for many more years and record a few more albums at least. I will talk about touring later but, for now, a time to move on.

PHOTO CREDIT: Michaela Efford Photography

I wrote a piece yesterday – after a very stressful and fraught day – about how much has been split between North and South. It seems there is a division between the areas and the media puts too much emphasis on London. The fact I am reviewing a London duo does not undercut my point but I am keen to focus on acts outside the capital going forward. I think London will always have its place and is vital in regards modern music. I feel there are too few media sources looking further north and the great acts emerging there. I will do my best but what I wanted to talk about is the snobbery still afforded Pop music. We often get the idea all Pop formations and sounds will be commercial and off-putting. I agree there are so many unappealing and weak examples performing in music right now. I am not a huge Pop fan because, a lot of my exposure to it, consists chart performers and something rather hollow. When it comes to acts like MissDefiant; they have a fantastic sound that matches intelligent and wise lyrics with deep and nuanced sounds. They do not go for the marketable looks and sounds so many artists do. They have their own identities and songwriting – they do not have a huge team controlling everything and telling them what to do. Naturally, like most artists of the moment, there are people helping produce and write but, in the most part, it is the girls’ personalities that come through. That sense of personality is what brings the music to life. One gets a real identity to their music. A lot of performers sing and release music but you never get a sense of who is behind the music and what they are about. Every track reveals a bit about MissDefiant’s twosome. Each member has their own dynamic so it is never a case of Adams and Cather blending together and an indistinguishable whole.

PHOTO CREDIT: Michaela Efford Photography

There are many things that impress me about MissDefiant but it is the way they evolve and subvert that sticks. They do not perform the same style of music that everyone else does or want to be celebrated in the mainstream. By that, the duo does not compromise and write music that sacrifices substance and distinction. Their music has a populist edge – in so much as it can be taken to heart by the masses – but it does not rely on gimmicks, cheapness and aimlessness. What we get are songs that have spirits, physicality and memorability; tied to lyrics that make you think and ponder – vocals that have so many different aspects and colours. The girls have worked hard to craft that sound and are always developing what they do. I know they will release new material next year but, for now, their debut album is out and turning heads. It would be a risk compiling an album that has songs from the start of their career to now. Some do it but there can be a sense of incompatibility. Some of the tracks sound older and they struggle to gel with the new songs. Also; many people have already heard (most of the) singles and it creates a familiar-yet-unexpected listening experience. Most new artists release albums and then put out four or five singles before the record gets to us. It gives us a chance to discover what’s on the record but it can get quite tiring – do we need THAT many tracks out beforehand?! MissDefiant are different because they released their singles not sure whether they would release an album. The demand came in and reception received. The fans want to hear their older songs but some new ones from MissDefiant. We get a nice and easy mix of the heard and fresh from the London duo – it all sounds perfect together and flows as a whole. It is the way MissDefiant add something new into Pop and Electro that means their music is timeless and always warranted.

One other reason I love MissDefiant is, because, they inject fun and energy into music. I find the industry is becoming too serious. You either have artists that are too po-faced and emotive or the acts that try to be loose and fun but sound very forced and limited. Of course, there are artists that can lift the spirits and body but, for the most part, we are being fed those artists that could do with a bit of a kick. I am all for musicians that document something serious but I always look to detach once in a while and have my mood elevated. MissDefiant are not your average and fluffy Pop act that throw all the beats, electronics and production layers into the mix and bamboozle the listener with force and intensity. It can create a hypoxia and weariness that one looks to remedy. MissDefiant are different in the sense they write music that gets into the head but makes the body move with it. I know Cather and Adams have been working together for a while and they have researched the market. When I look at duos, I always investigate why they formed and how they differ from the rest of the music out there. In a way; being in a duo can be tough and easy. The relationship is solid and there are few extra bodies but they do not have the options of a band – to make something fuller – or the chance to be as intimate as a solo act. It is tricky so, for that reason, duos tend to play in particular genres. You get few Rock/Alternative options: more Pop, Electro and Folk brands. MissDefiant know this but do not limit their imaginations because of their restrictions. From their very first single, the girls struck away from their contemporaries and ensured they would do something original. Fun and involvement is at the forefront of everything they do. They want people to move and bond with the music.

The U.S.P. of MissDefiant is their lyrics: addressing themes and subjects that many of us can relate to but are not often spoken about by the more popular artists. By this, I mean we hear about the dangers of clubbing – drinks being spiked – and gender inequality; the differences in love and problems in society. MissDefiant do not merely talk of love and all the problems one has in relationships. That is common stock and, because of that, they are more concerned with talking about things that many of their peers do not. Their music appeals to everyone but they do not feel the need to talk down to anyone. We get the impression Pop artists are going to focus on narrow themes and denigrate music by presenting immature and shallow lyrics. That is not the case with every act and, if one looks around, you can find acts that put intelligence and wisdom into their words. I have heard songs from MissDefiant and been made aware of areas of society I was foreign to. It is good when music educates you and, in the case of MissDefiant, I am more aware of things they face in their everyday lives. Music should be about educating and informing people. So few artists take the time to write about what is around them and stronger issues in society. There would be some that assume, because Adams and Cather and beautiful and stylish, they would sing about love and relationships in a very ordinary way. This stereotype, in fact, does not apply to most Pop/Electro acts but the girls do address relationships in their music – they would alienate listeners were they to neglect that vital commodity. It is hard pleasing everyone but I am impressed with artists that do not follow everyone else and decide to talk about something important and serious. MissDefiant never abandon their sense of physicality and fun and have that intoxicating brew.

PHOTO CREDIT: Rob Gardner

I will move on and come to the music soon but, before then, a look at social media and how important that is when it comes to new artists. There are so many who still labour under the assumption they can ignore imagery and information and let the music do all the work. This is ground I tread commonly but I still see too many artists committing ignorance and naivety with little embarrassment. MissDefiant, I challenge, would not be as popular as they are if they were to overlook social media and be as prolific. Their music is solid and excellent but the way it gets to people is through social media. I see so many acts that have great songs but put very few photos out there. They might provide status updates once in a while but forget to keep the pressure on and do anything proactive. MissDefiant are keen to get in front of the camera and produce various shoots. They have a great look and sense of fashion and that comes out in their images. Music is not a fashion show, I know, but one needs to see the artist and have images available. For people like me, it can be rather depressing if there are a few half-decent photos and nothing else. It makes articles look bare and shows laziness on behalf of the musician. These days, anyone can take a photo of themselves and there is no point being ‘mysterious’. Music has power but not so much it can elevate an artist that chooses not to put their face out there. This kind of arrogance is leading journalists and fans to look elsewhere. Music and social media are visual mediums and, as such, this is a side of the industry many need to think about. MissDefiant are prolific with their photos and always update fans about goings-on and gigs. This means they feel more connected to their follows and, in turn, bring people in.

Consider looking at an artist’s Facebook page and seeing a few scratchy images and very little information. They might have a new track out but, psychologically, one is less likely to investigate because the rest of the profile is unattractive and sparse. It is a worrying trend but I am concerned few artists are doing anything to counteract this. I would not have bonded so hard with MissDefiant is they ignored photos and information because it would be hard to know where they came from and what they are about. The songs are the personality of an artist but it is good having visibility and something aesthetic to tie together. Music is a marketing tool as much as anything and a business. Success is down to talent but one cannot underestimate how pivotal social media is. Streaming figures and exposure arrives when artists put themselves out there and promote their work. People only pick up on an act when they think there is something intrigue and appealing about them. It is vital having a full package and profile. I bring back the dating analogy when one sees a profile that has great photos but the profile consists of a single line – normally asking someone to email them to find out more. If it is the other way – no images but lots of information – then you are not going to be enticed. The way to attract relies on revelation and visibility. One cannot be guarded in one area and expect people to be allured and hooked. The same goes for music. Those who succeed have every aspect of their music figured and active. MissDefiant are always busy and ensure they keep their profile fresh and mobile. It is a reason I remain with them and I can say that about many other people. What Adams and Cather do is engage with their followers and bring them into their world. There is no sense of the listener being a separate and intangible entity – they are drawn into the music and an integral part of MissDefiant.

PHOTO CREDIT: @robgardnerphotography 

There is a sense of the 1980s when one gets the first whiff of You Can’t Sit with Us. I was thinking about an early-career Madonna. Wordless vocals come in and the song gets off to a rushing and effusive start. A smooth and rushing horn sit with funky beats in a carnival-style jam where anything is possible. When the vocals come in we hear about club-life and being excluded. Our heroine approaches a group of girls and, when asking if she can sit with them, they turn their noses. I feel it is a situation many are familiar with. That desire to be communal and sociable is rejected by those who feel enjoying their company is a privilege. I am not sure whether MissDefiant are addressing the seedy and salacious girls that try and hang with them – the type that exposes themselves and bring a sense of shame to proceedings. I feel it is the former and that snotty kind who gives rudeness to everyone they met. “Hey girl/what’s that look for?” and “Hey girl/don’t start a catwalk” suggests a group of women who stare and glower at those who try and approach them. Maybe there is that vanity and exclusivity that means only the most fashionable and hip are allowed into the club. Social life should be about connecting with everyone and, listening to the song, you get a sense of division and oppression. How much MissDefiant have experience is hard to say but I imagine they have encountered that kind of hostility. Maybe it refers to a balance of clubs and cafes. Throughout London, there is a split between the everyday and common and the cliques. The posher areas are filled with the types who refute and criticise anyone they believe is not to their level. I guess this extends to all areas of the world but it seems pronounced in the capital.

PHOTO CREDIT: Anna Urik 

The song’s intoxicating and alluring combinations contrast the seriousness and strictness one finds in the lyrics. Even though the lyrics profess a sense of exclusion; the wording is conversational, fun and loose. You feel like you are alongside them in the club and the jabber and nonsense these snobby girls project. MissDefiant have always been great at talking about serious matters but providing an accessible narrative for the listener. The chorus repeats the song’s title and is punctuated by vocals of “Hey, hey!”. One feels like they are in the setting and following the course of events. Like all MissDefiant choruses; they are big and bright and will lodge in the head for a while. You Can’t Sit with Us is a Pop song that is not reserved for those who are fans of the genre. It has an amenable and flexible manner that means anyone can hear it and bond. I have heard it a few times and every listen reveals something new. Aside from the big chorus, it is the production that shines through. It has gloss and polished but is never too shiny and gleaming. There is room for a rawer club sensibility to come through so you get a mix of 1980s Pop and modern-day Dance. The resultant brew attracts the senses and makes the head swim. Our heroines ask whether it is their lack of Prada that means they are being shunned. The vacuous and air-headed clan have their expensive clothes and taking endless snaps of themselves. Our girls are not bothered they are being shunned but kind of glad they do not have to stoop to that level. Giggles, sarcasm and cutting jabs mean the song is always vivid, candid and real. It makes you smile and side with MissDefiant as they navigate a labyrinth of conversational nonsense, arrogance and cheap values.

The girls are not with their honies and not draped in diamonds. The fact they are not bejewelled and blinged-up mean they are not worthy of time with the ‘cool’ crowd. Many MissDefiant songs look inside the clubs and the social scenes they encounter. Adams and Cather, in various guises, have been around these types of people. Working in modelling, acting and fashion would have given them an insight into the rather regrettable sort they have to be around – radio reporting and interviewing does that too. One can call MissDefiant fashionable and cool but they bring people into their world. They never exclude and thing they are above other people. It is difficult knowing whether the duo want to be part of that inner-circle but one feels the song is a dismissal of those who shut themselves away and think they are better than anyone else. One feels this song, ironically, might be played during an episode of Made in Chelsea. You can, if you have the inclination, encounter the kind of scenes and snobbery (on the show) one hears in the song – they do it without irony. Maybe there are certain areas that have such a mass of bitchy and arrogant people but you can encounter it wherever you go. You Can’t Sit with Us is the second track from Missdefiant and a blast of energy and attack. The girls are cheeky throughout and expert when it comes to cutting the lesser sort down. A brilliant track that could get the clubs bouncing and, let’s hope, shame those who are being addressed throughout You Can’t Sit with Us.

IN THIS PHOTO: MissDefiant a Thousand Island

I will finish things very soon but wanted to talk about MissDefiant’s touring, future and album. They launched the album at Thousand Island in London and gained a huge reaction. The girls are bonded to London and have played in many different venues. They are comfortable at a place like Thousand Island (Highbury) as they are in Hoxton. They have a sound that is as fresh, colourful and varied as the city. This year is the biggest one for MissDefiant and this month especially. They have released the album and will want to get Missdefiant to the people. Because of that; I hope they have more London gigs coming up. There is a lot of love for them in the city and people are reacting to their unique brand. I know they have had a whirlwind last few months and will want a time to relax before the end of 2017. It has been great seeing them play at various venues this year and get a big reception. The people of London love them and the girls and getting more fans flocking their way. I wonder how much of the U.K. they have seen. I talked about the North-South divide in music there is a reciprocal issue arising. Many artists outside of London stay where they are because they cannot afford to come down here. The media does not often feature them and assume they are being distant – the fact is they are not allowed a fanbase because they get little attention. Those in London who have a fanbase here do not often travel further afield – either to secure their popularity in the capital or think all the great venues and crowds are down here. I can see MissDefiant going down a storm in other parts of the U.K. They could stamp a real impression further north and get some fans up there. I know they have an international following but there is a chance for them to make an impact further up the country. Manchester is a city that spring to mind and they could easily get dates here.

I would like to see them, in 2018, think about the country and where they would like to form. Their music is terrific and it is being consumed by so many people. Many are waiting out there so I hope the girls get a chance to explore more options. The same goes for international areas. I think MissDefiant could go down well in the U.S. and North America. I am not hearing many like them in America and feel there is a desire for their music and what they provide. One can say the same of parts of Asia and Australia. I know Australia would be hospitable and there are cities MissDefiant could conquer. Perhaps finance and budget are factors that will limit their horizons but their popularity is worldwide. They are keen to get London talking about their music but I hope they think larger next year. I know there is a lot of love for them in other parts of the world so it would be great to see that exploited. MissDefiant are fans of acts like Lady Gaga and Little Mix but, in a way, they surpass them. I find those artists – Little Mix for certain – to be too mainstream and not as engaging as one would hope. They are concerned with getting fans in and the way to do that is repeat what other artists say – appealing to the pre-teen market with lyrics that are easy to understand and common to them. Lady Gaga is not as limited but still does not dig as deep as MissDefiant. It is great seeing the London-duo rise and succeed. I feel they will be in the mainstream in due time and able to exert influence. They will bring their compelling and engaging music to the masses and be able to make some real changes.

The girls, through their social media strengths and awareness, have secured a contract with MAC Cosmetics and, between them, have enjoyed careers in acting, radio and modelling. They have played at some great venues in London and worked with amazing producers. Missdefiant is an album that has already gained some great reviews. It unites all their music and their earliest moment to some new songs. The songs are not chronological so there is that nice and unexpected mix. One might hear something from a year back and a song you have not encountered before. For new fans; it is a chance to see how the duo has evolved and the range of their music. I know Emily Rose Adams and Jordan Cather will be pleased to see the positivity flowing and will want to increase that. I feel their music will reach even more people and they have the potential to take their album worldwide. I am looking at their social media feed and seeing the reaction people have afforded the album. It is wonderfully produced and the running order is perfect. The songs all fit together and it is equally weighted so the best tracks are either end of the album. Every song is strong but you are never bored or feel the need to skip tracks. They do not throw all the bangers near the top or keep them for the end. It is evenly distributed so the listener gets a great hit of energy right through the album. By the end, you want more and will go back and repeat certain songs. I wanted to look at You Can’t Sit with Us because it is a new song and one the duo are keen to promote. It is one of their most confident and bold songs and is destined to be a big radio hit. I know many stations have played their music but they are not an act that are resigned and confined to London stations. I shall end this but would urge everyone to have a listen to Missdefiant and check out You Can’t Sit with Us. I have followed the duo since 2015 and am impressed by the fact they grow stronger by the year. They are at their peak but one feels they can actually improve and grow from here. It is an exciting time for MissDefiant and proof they are…

AMONG the finest duos out there.

_______

Follow MissDefiant

PHOTO CREDIT: Amy Spanos Photography 

Official:

http://www.missdefiant.com/

Twitter:

https://twitter.com/MissDefiant

Facebook:

https://www.facebook.com/MissDefiant/?ref=br_rs

Instagram:

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

YouTube:

https://www.youtube.com/MissDefiant

SoundCloud:

https://soundcloud.com/missdefiant

Spotify:

https://open.spotify.com/artist/7GD76wBSA6X3hLwMNKTKhN

INTERVIEW: Speak, Brother

INTERVIEW:

 Speak, Brother

________

THEY boast a powerful Indie-Folk sound…

and differ to any other band out there. Imbued with subtle Gospel tomes and hymnal strands – their storytelling abilities have been compared to the likes of Fleet Foxes. I catch up with Speak, Brother about their new single, Magnificent, and what it is all about. The guys have played throughout the U.K. and been featured on BBC Radio 2. The Midlands band are preparing for a U.K. tour in November that will see them build hype and tease ahead of the album, Young & Brave – expected sometime in spring of next year.

The boys talk about their formation and who their idols are; what they get up to in their spare time – and how it feels knowing their music is being championed and applauded around the country.

________

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

Hi. Cracking, thank you!

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

We're a group of five friends based in the Midlands.

Can I ask why the band is called ‘Speak, Brother’? Is there a special meaning/story behind that?

Many of our songs are story-based with an inclusive message that communicates value. The name, I guess, comes from desire to connect and share these stories (and hear yours).

Magnificent is the new single. What is the tale behind the song? How did the track come about?

Have you seen the recent film, Fences, with Denzel Washington? 

Well, without giving away too many spoilers, right at the end of the film – it shows the main character's daughter whose birth came in a dark place. You couldn't help but feel compassion, hope and love for that girl. That, even though three generations of pain, hurt and mistrust came before her - there was a beauty and innocence in her eyes.

It's like looking at the pure unadulterated beauty of a new-born baby. So small and fragile, yet so full of potential and purpose - and completely unaware of its own Magnificence.

There are Gospel and harmonic touches that recall Fleet Foxes. Are bands like that – Kodaline and Of Monsters, too – important to you?

For sure.

Others (also) like Elbow, Bon Iver; Kate Rusby and Peter Gabriel inspire us consistently too.

Young & Brave, your upcoming album, is out next year. What can you tell us about the L.P. and the kind of songs we will see?

It's our debut-album for which we've worked a long, long time on. It's stretched us creatively, musically and how we work as a band together - and for that, I'm really proud.

The album will feature a wide range of styles and dynamics: from Gospel/Soul vibes to Rock energy to stripped-back Folk storytelling.

It explores themes like the innocence and wild tendencies of childhood that are beaten out of us - along with stories of love; value, brotherhood and togetherness.

Are you excited knowing the album will be out in a few months? Has it been quite tough recording or was it quite a learning-curve?

We can't wait!

It's been a MASSIVE learning-curve. It all felt like a process of letting go of what felt comfortable; to just exploring new things and jumping in with two-feet-first. At times, it was so hard leaving the safe and familiar of where we were before.

From the off, we knew we didn't want it to sound like any other Indie-Folk band: we wanted it to be us. Gavin Monaghan, who produced it along with his partner-in-crime Joe Murray, helped us leave…or rather, pushed us off the edge! 

Are there going to be more singles from the album – before the official release?

Yep.

We have another single in November and another in February - just before its release in April.

Stations like BBC Radio 2 are fans of your work. Is that kind of backing encouraging to the band? Does that give you the drive to keep recording and pushing high?

We're so honoured for our music to have reached national airplay.

It’s the purpose of any song to be heard, so we're thrilled. Although, regardless of who plays our songs, it'd be our hope to never stop writing music.

What tour dates do you have coming up? Where can we come and see you play?

We have a tour coming up in November for which tickets are now available:

03/11 - Big Comfy Bookshop, Coventry

04/11 - The Globe, Hay-on-Wye

05/11 - Costa Coffee, Barrow-in-Furness

08/11 - Hare and Hounds, Birmingham

09/11 - The Cavendish Arms, London

Can you explain what touring is like for you guys? How much of a kick do you get seeing the fans react to your music? How important is it taking music to the people?

We all seek to connect, right? It's in our D.N.A.

When we achieve a real connection at gigs with people, it really sticks with us for a while. It's so fun and you learn a little more about the world and the people within it.

How do all of you spend time away from music? Do you all have hobbies or spend your downtime taking it easy?

We all have jobs still so most spare time goes to music! Other than that, it's reading, walking; seeing family and friends. 

IN THIS PHOTO: Wildwood Kin

Who are new acts you recommend we check out?

We'd certainly recommend our friends Wildwood Kin.

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

I don't think there is a single album, but....

Awkward Annie - Kate Rusby

Enema of the State – Blink-182

Bon Iver - Bon Iver

Joy of Nothing - Foy Vance

To Pimp a Butterfly - Kendrick Lamar

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

Try your best to not compare yourself to another - it really doesn't help. 

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).

Ah brilliant! Any song? How about:

Matt: Strangest Thing - The War on Drugs

James: Lost Worker Bee – Elbow

Dan: Kids - OneRepublic

Sam: Burden - Foy Vance

Nath: Lionhearted - Billie Marten

__________

Follow Speak, Brother

 Official:

http://speakbrother.co.uk/home

Twitter:

https://twitter.com/SpeakBrotheruk/

Facebook:

https://www.facebook.com/speakbrotheruk/

Instagram:

https://www.instagram.com/speakbrotheruk/

SoundCloud:

https://soundcloud.com/speakbrotheruk

YouTube:

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

Spotify:

https://open.spotify.com/artist/02QfPhgyWLcACC2DoAyjZh

FEATURE: London Ruling: The North-South Divide in Music

FEATURE:

London Ruling:

 The North-South Divide in Music

________

I am buzzing Sampha walked away with the Mercury Music Prize…

IN THIS PHOTO: Sampha

on Thursday – as it showed the faith and love people have for his debut album, Process. It is encouraging seeing the panel recognise a work that stems from painful memories and exudes such emotion – the effort and work that goes into Process deserves an award, for sure. I listened to Sampha’s acceptance speech and, whilst I was thrilled he as honoured, it got me thinking about the Shortlist. Five of the twelve acts nominated were from South London. It is a fertile bed of innovation right now. Kate Tempest, who I thought would win the Mercury Music Prize, is from there and proves there is diversity in the area. Sampha’s soulful and hugely evocative songs contrast Tempest’s direct and to-the-brain missiles – a songwriter articulating the reality of modern life and the struggles we are going through. It is important London gets recognition but I wonder whether there is a send of ‘trend’ and ‘cool’ nominating artists from this part of the world. Of the dozen assorted Mercury names, something startling revealed itself: so few are from the North. Ed Sheeran was born in Halifax, Yorkshire (but lives in London) alt-J are from Leeds (another Yorkshire act) whilst Blossoms come from Greater Manchester.

IN THIS IMAGE: The album cover for Ed Sheeran's %

One would imagine, when representing the spread and best of British music, one would expect greater northern representation. Maybe one can look at the critics’ favourites from 2017 (and later in 2016) and claim most of the British best are from the South. That might be true but one can also claim little attention is paid to the North. Music still has a London-centric attitude and mindset. This is not a shock but I worry too much of the focus is put on London and what is happening here. I cannot remember the last time there was an equal distribution when it came to our musicians. Most of the new artists I see proffered seem to hail from these parts.

IN THIS PHOTO: King Street, Townhouse (Manchester)

I know for a fact there are so many greater bands/artists from north of London. Scotland and Wales (the former especially) is a wonderful area for music – Glasgow among the finest cities for new music. I have a lot of love for Yorkshire and was pleased to see some of the county’s artists included in the Shortlist on Thursday. Manchester, and the explosion of talent stemming from there, was distilled to Blossoms. The Stockport-based band was the only act from the North West - and that is something that worries me a lot. There are few parts of the U.K. as hip and happening as the capital. This is where most of the record labels are: the majority of the big newspapers are here and some of the most-established studios. Although a lot of the big businesses and organisations are rooted in London; this does not mean anything north of London is worth ignoring. It is easy to say the reason why events like the Mercury Music Prize featured so many Londoners on the Shortlist was the faith and backing their music was given.

Jane Weaver, born in Liverpool, was expected to get a nomination at the Mercury Music Prize. Her album, Modern Kosmology, deserved a nod. The same could be said of Bristol’s IDLES. Brutalism is one of the most intense and addictive records from any new bands. I know Bristol is hardly northern but it is outside London and another part of the U.K. that warrants acclaim. The only way we are going to gain a full appreciation and knowledge of Britain’s best is when the media gets out of its London mindset. The last time there was a real wave and exposure of northern band was during the 1990s. When Britpop was in full-swing; bands like The Stone Roses, Oasis and Pulp were at the forefront. The rivalry with southern groups like Blur and Suede not only showed the contrasts but it provided a platform for both halves of the U.K. to shine. That was true in the 1980s when northern bands like The Smiths - famed for their observations of everyday life and unique lyrical bent - were favourites with critics.

IN THIS PHOTO: Manchester legends, The Smiths

There was not the same division as we have today. Back then, there were the great working-class bands that voiced the forgotten and overlooked – penning songs about the country and what was happening. Although we have some wonderful artists now; there are so few talking about anything real and relevant. Many would argue the fact, back in the 1990s when Britpop saw North and South tussle, that highlighted rivalry and divisions. I disagree because it was never a case of showing the differences and splits between the two regions: it was about promoting the distinct sounds of North and South; the quality one could find throughout the U.K. Now, there is so much profiling and love given to London – other parts of Britain do not get a good look-in. I will carry on but, before then, an article from a few years back showed, back then, the issue was as evident and troublesome.

“The last high-profile north-south musical tussle took place in the mid-90s when Oasis and Blur went head-to-head in the singles charts during the highly orchestrated, "Battle of Britpop". But nearly 20 years later, relations between regions remain strained.

IN THIS PHOTO: Bristol's finest, IDLES

"Hull is great for live music, there is a really good local band scene here, lots of activity, and any band who plays this city always enjoys it," says Paul Jackson, owner of the New Adelphi Club. "The thing about Hull, though, is it gets a lot of very bad publicity."

Jackson cites the case of the Paddingtons, a Hull act who were under pressure from the industry to airbrush the city from their background when they started creating what the music business is fond of calling 'a buzz'”.

I have heard a lot of bands saying they are from London – because people are looking for artists from here. It is as though, if one says they are from any other part of the nation, they would get blank stares. Maybe this is true when it comes to international. How many people in other nations are aware of the breadth of the U.K.?! Do they know the smaller towns and other cites?!

IN THIS PHOTO: A stunning view of Hull (it was named the 2017 City of Culture and has an active music scene)

I feel the only way for people to gain awareness of these areas is for the media to stop obsessing about London. The fact musicians have to class themselves as Londoners – even when they are from other parts – is a desperate attempt to gain acknowledgement and popularity. I long for the day when we can have that competitive tussle between North and South. The nation needs a ‘new Britpop’ and chance for the working-class bands best to go toe-to-toe with the more conservative and middle-class options. Right now, there is a dominance of London and the middle-class. I know Hip-Hop/Rap stars like Kate Tempest and Loyle Carner are, despite being London-based, working-class but there are downsides celebrating certain ‘scenes’. Good news South London is hot right now: what about Manchester, Leeds or Bristol?! A few years ago, when Bastille (from the South) and Sheffield’s Arctic Monkeys were the most-popular artists in the U.K. – streaming figures showed where each act was at their peak. Rather unsurprisingly; Bastille stormed things. They dominated the South and claimed much of the Midlands. Arctic Monkey’s success came in the North – very few victories further down the country. It showed a real division and, with Bastille winning an overall majority, how preferred and celebrated southern acts are.

IN THIS PHOTO: The Sheffield band, Arctic Monkeys

In terms of quality; Arctic Monkeys are superior but, because they are from outside London, they are not seen as fashionable, glamorous and worthy. Every phase of the musical moon reveals the splits there are between the North and South of the U.K. I was listening to Idris Elba talking about the artists nominated when he made a bit of a gaffe: he was quick to acknowledge how many great ‘English’ artists are on the list. Maybe he was right to point out the lack of Scottish, Welsh and Northern Irish names on the list – I am not sure that was his attention. In addition to their being this regional divide – it seems there is a lack of recognition when it comes to non-English musicians.

PHOTO CREDIT: Unsplash

How do political and current developments exacerbate the issues right now? London was one of the few parts of Britain that voted to remain in the E.U. Maybe the fact they are more international/European conscious makes them a more attractive proposition to put out to the world. Most parts of the U.K. voted to leave the E.U. but it is more pronounced in the North. Perhaps they see northern areas as unwilling to assimilate and embrace their European counterparts. It is hard seeing a political divide in the country but, alongside it, musicians are being compartmentalised and torn apart from one another. London is still seen as the wealthy elite and the heart of everything musical. We have this expectation and ideal anything from the North is poverty-prone, grubby and unspectacular. How many people will investigate a band from Sheffield or Middlesbrough?! Those areas are not as glamorous and there’s this perception there is nothing going on there.

The poverty of expectation is scaring new artists away. Many relocate to London to make sure they are visible and conscious. So many venues further up the country and closing and, with it, their musicians are fleeing. Many are remaining but have to work harder to get their names heard. I love areas like Manchester and feel the city is no weaker than it was a couple of decades ago. The sounds and ideals might have changed but there is immense quality there right now. Perhaps this is the feeling, because most of the bigger venues are in London, artists are not willing to travel down here. Locality problems and proximity concerns mean fewer artists have the budget to traipse to London for a single gig. The media is much keener promoting the capital’s musicians because they are able to perform locally a lot more frequently. I fear class plays into this sense of separation. There are far fewer working-class bands/artists making their way into the mainstream. I have mentioned Britpop and how many great working-class acts were on the scene.

Now, maybe tied to a lack of working-class journalists, there are far fewer artists who talk about the country in a real and relatable way. Not that every southern artist is middle-class but one normally looks to the North for those proletariat prophets. I am concerned it is becoming acceptable for any artist north of London to be seen as ‘Londoners’. Just because an area is not commercial or has not produced AS MANY great artists as London: does this mean we should overlook them and assume nothing good is going on there?! There is a desperate need for Rock heroes/heroines and something real in music. Wolf Alice, whilst based down this way is a great act who will go far, there are people looking up to the North for those who can push Rock and Indie forward – that is where the best and sharpest have resided, traditionally. Even if it were the case the best Rock artists are based in the South (which it isn’t); it is giving undue and disproportionate attention to one part of the country. There are fantastic clans and sounds coming from Manchester, Leeds and Sheffield.

IN THIS PHOTO: Kate Tempest

The Mercury Music Prize showed the panel were aware of the need to include multiple genres and sounds – they forgot to include many artists north of the capital. Blossoms, alt-J and Ed Sheeran were, I think, the only northern-born acts – I know Sheeran is based in London these days. There is a definite division and it isn’t a binary conflict, either. The Midlands, Wales and Scotland are worthy and fully-stocked. In fact; take away London and you’d still have an absolute army of incredible music – this is not being covered in the media as much as it should be. There is a definite need – in the same way we want racial and gender equality – to show parity regarding geography. As much as I love the sounds coming from London: there is no denying artists based outside the capital are…

IN THIS PHOTO: Mercury Music Prize-nominated band, Blossoms

WAITING to have their voices heard!

TRACK REVIEW: Bruce Mississippi Johnson - No Good

TRACK REVIEW:

 

Bruce Mississippi Johnson

 No Good

9.3/10

No Good is available via:

https://www.youtube.com/watch?v=7azidCFktJs

GENRES:

Blues; Soul

ORIGIN:

Mississippi, U.S.A.

RELEASE DATE:

March, 2017

The album, The Deal Baby, is available at:

https://open.spotify.com/album/0vg34Cx0f8NOmLLjhC8R7m

____________

THERE is so much variation in music that….

one day, I can look at a legendary, Mississippi-based Blues artist – the next, a London-based Pop/Electro duo. I will look at the energised and vivacious girls of MissDefiant tomorrow but, right now, an artist I have not come across before. I shall look at his music but, before I do, I wanted to address a few things. For one, I shall look at Blues and the genre in general; artists in Mississippi and the range of music one finds between states; relocation and how a life can evolve and change – a nod to those artists that seem to be the ‘complete package’. Whether one puts the Mississippi part if Bruce Johnson’s name or not (there are sites and sources that do), I am going to keep him as purely Bruce Mississippi Johnson. In my blog; there are few occasions when I get to look at Blues artists and what is happening in the scene. Johnson mixes other sounds but one hears an artist who sources from legends of the past. He has some soul in the sounds and, if one imagines a blend of Jackie Wilson and Al Green – with some of the Blues legends thrown in – you’d be somewhere near hitting the mark. I shall come to address influence soon but, right now, it seems important to look at Soul and Blues in modern music. There has been a lot of talk about various genres and their dominance in music. I hear a lot of Pop music out there and certain other genres are starting to make their names heard – Hip-Hop and Rap among them. I am a little late to the joys of Bruce Mississippi Johnson’s latest track but, in a way, it provides a chance to give it a proper listen and investigate it months down the line. The track arrived a few months ago but, owing to a heavy schedule, it is only now I have been able to tackle it. I feel genres like Soul and Blues rely on a sense of tease and build-up.

They do not need you to absorb it all at once and sit back and enjoy – come back and experience various parts of a song when you wish. That is the case with Johnson’s latest song. It is a piece that has romance and contrasts but has a depth and beauty that requires proper appreciation and involvement. Right now, there are not many known Soul and Blues artists playing in the U.K. One might bring in names like Sam Smith but he is an exception. Even he mixes in Pop and does not play it pure and unfettered. If you want to encounter an artist who keeps Blues and Soul pure then you have to dive deep into the depths of music. I feel certain genres get pushed down and not provided adequate oxygen. There is such a dependence on what we are fed and what is seen as ‘popular’. Jazz is another genre that struggles and, whilst there are few modern Jazz artists penning their own music, there are enough to intrigue and celebrate. The same can be said for Blues and Soul artists. Many feel they need to splice other sounds in so they are popularised and seen. It is a sad state when musicians feel they are excluded and overlooked. Music as we know it stems from Blues: Soul is the most passionate form of experience and has produced legends like Sam Cooke and Otis Redding. These artists, alongside Aretha Franklin and Marvin Gaye, could blend the ethics and stories of 1930s/1940s Blues with the raw and exhilarating rush of Soul. Bruce Mississippi Johnson would have heard these kind of musicians and been struck by their vivacity, electricity and passion. It is hard describing his sound but it does seem to sprinkle the Soul and Blues genres – bringing them into the modern age but not abandoning their roots. That authenticity and appreciation for older music is a gamble in a culture where we want modern and of-the-moment sounds. An otherworldly, older-days beauty can be heard in his music. I am concerned we neglect various genres because they are not seen as cool and happening.

There are some wonderful Blues artists who are modern and captivating and current. They bring the style to the current day but retain the beating heart of the genre. The same is true of Soul: a lot of wonderful artists that deserve attention. Check out artists like (American) Leon Bridges to get an idea of what is happening in Soul right now. It is interesting looking at how our current examples do not abandon the past and unite that with a contemporary and personal aspect. Many other genres seem to lose sight of where they came from and the musicians that brought it to their ears. Bruce Mississippi Johnson hails, unsurprisingly, from Mississippi and would have learned a lot from the state. Mississippi, one might assume, would be restricted to older sounds and Blues, perhaps. We often project that image but, in reality, it is a fulsome and eclectic part of the world. From Punk and Pop to Rock – artists like Dead Gaze and The Jag have connections to the state. Maybe areas such as New York and L.A. gain more press but American music cannot be refined to and defined by the big cities/states. If you want a better impression of the country and what makes it such a strong and fascinating musical nation then you need to travel further afield. Mississippi has always played a relevant role in American music and, from past decades to the present time, produced some stunning musicians. Robert Johnson, the legendary Blues pioneer, hailed from Mississippi. Cities like Jackson are revealing some hot young bands and it seems a shame the U.S. media seems to limit its imagination to more obvious parts of the nation. Perhaps it is not a shock Bruce Mississippi Johnson has come to London – where there are more chances – but I have been doing some research into Mississippi music and there is a great mix. There are a lot of cover bands but, of the original artists, there are some terrific modern/mainstream hopes and those who retain the spirit of the state.

Holy Springs’ Cedric Burnside is the grandson of the Delta juke-joint Blues legends R.L. Burnside. His music incorporates Rap and Pop but there is something pure and dedicated about Burnside. He retains the purity of his grandfather and keeps his spirit alive through sensationally immersive tracks. Dead Gaze (with ties to Oxford) have released a series of Psychedelic/lo-fi songs through the years and have that D.I.Y. ethic. They contrast artists like R.L. Burnside and are among the most exciting and promising acts from Mississippi. The Jag, like Burnside, is keen to preserve the old styles and ways of Mississippi. They formed in 2002 and, since then, the Jackson group have gone through various line-ups and stages. Restarting in 2011; their music has a retro Southern sound that brings in Psychedelia and experimentation together with good ol’ shades of the state. One looks at the biggest current artists of Mississippi and, looks-wise, there are few that contradict the stereotypes we have. Perhaps that is a good thing but Rosco Bandana are a septet that started their life in a tobacco store – when Jason Sanford went in to buy cigarettes (defying his Christian upbringing). The clerk there mentioned names like Iron and Wire and, when Sanford started jamming with Barry Pribyl – things got kicking and the project started its life. It is a very old-school, Southern vibe of America but one that has created a fantastic band. From that Gulfport collective to a stripped duo from Jackson. Spacewolf, as we might perceive certain folk from Mississippi, are not decked in finery and sartorial elegance. The boys prefer a T-shirt and recorded their 2010 eponymous debut to modest acclaim. The guys have, in the past, recorded through a homemade microphone – built from an N.Y.C. payphone receiver and beer can – and have that rustic, rural charm. Jackson’s The Weeks came together in 2006 are an Indie-Rock band that unite Southern Rock and Grunge. They signed to Kings of Leon’s Serpent and Snake Records and have been making an impression in the state since then. It appears there is a culture and scene worth digging – Bruce Mississippi Johnson would have learned a lot whilst there.

He is in London now and, far from assimilating too wholly and abandoning where he came from, he is adding his unique voice to a city that lacks proficient knowledge of Soul and Blues. London seems to current and limited. That seems strange for a massive city but it is still the case that minor genres are pushed to the outside. The record labels and big radio stations spend very little time uncovering the finest artists in Blues and Soul. I am disappointed this is the case but I suppose areas like New York would be the same - I imagine they are more concerned with the cool and current. Johnson has featured in magazines such as Soul Bag and has a loyal following here, He has appeared on BBC radio and received a lot of love from the people here. I worry we are too beholden to what is heard in the charts and not making inroads to other styles of music. It is a shame we consider Blues and Soul to be part of the past – with very little contemporary importance. Music has only come this far because of those genres so we should not be ignorant of their place and history. London is a great place for Johnson to play because he has more opportunity to shine. Great venues, various radio stations and big crowds can be found in the capital. If one wants to experience music that has more depth and meaning than most of the mainstream’s ‘best’ – they could do far worse than spend some time with Bruce Mississippi Johnson. He has brought a lot from Mississippi and learned a great deal when there. It would not have been practical to remain there. Fewer opportunities for him to get his music to the masses. I guess the same is true of the U.K. and U.S. to an extent: media and the influential will allows gravitate to the city. Perhaps areas like New York were not a good fit and did not give the same excitement and comfort as London. I know for a fact there are many wonderful musicians in London who have a real connection with Blues and Soul.

IN THIS PHOTO: Johnson alongside Gaby Roslin

Although quite a few integrate them into other genres – Johnson is someone who is capable of adapting and camouflaging other genres into his sound. I love how Johnson keeps his music pure and uncompromising. He would have been raised on a diet of those Blues legends and the Soul kings and queens. He has his ear to the ground and aware of the modern best and biggest – a concoction of the classic and current. Bruce Mississippi Johnson has been speaking to London stations and ensuring songs like No Good – and his album, The Deal Baby – have struck new ears. One need only look at him to know there are few contemporaries. He cuts an imposing figure but is lovable and down-to-earth. He is easy to chat to but, at the same time, I would not pick a fight with him. As I will talk about; he has a marine background and is someone who has had a vivid time of things. That is not to say he is a brawler and fighter: the man was in the forces and had ia past that differs to where he is now. I am not explaining that well but the fact is Johnson is a fascinating figure that stands out from the boring and blend alternatives. There is a lot about him that fits into the ethos and history of Blues. A lot of the genre’s key figures has unconventional and interesting pasts. A sense of history, legacy and richness stems from the blood and bones of Johnson. He has a natural home here and a lot more room to manoeuvre and campaign. I know he will go from strength-to-strength because there is a rarity and need for his music. London still focuses too much on mainstream tastes: acts like Bruce Mississippi Johnson are needed n order to add colour and contrast to the masses. We do not have many like him and there is a distinct need for his music. I am a fan of Blues and Soul and feel there is a need to assimilate it into the London scene. What is fascinating about Johnson’s role in London is his humanity and Southern manners.

That might seem like a strange suggestion but there is something compassionate and dignified about Johnson. Few London artists have such a courage, heart and sense of humanity. That could be perceived as cruel and stereotyping but Johnson has been involved raising awareness and compassion for the victims of Grenfell. When the fire hit – and lives were lost – he was among many who spoke up and took action. With fellow artist, Omar, he raised money for the victims and was eager to have his say. That is admiral because, in my view, more musicians needed to get involved. The fact he is American – and has not been in London THAT many years – means he could have sat back and has a rather casual attitude to things. That is not how he is raised and one can trace his upbringing and sense of community to the fact he was deeply involved and passionate – raising funds and speaking out against the atrocities. I know there are many compassionate artists in London but few that have the same qualities as Johnson. A rare specimen that brings together his experiences and various travels into a fascinating and enigmatic personality. London is doing him a lot of good and he is injecting U.S. Blues and Soul into a scene that desperately needs it. From his early years in the Deep South; Johnson began life singing at his grandfather’s church. He gained a love and knowledge of Soul and Gospel music and found a sense of purity and love in the songs he experienced there. The rouse, spirit and togetherness in the church resonated and enforced his following years. Complimented with exposure to Al Green, Jackie Wilson and Gil Scott-Heron – Johnson was introduced to a world of wonderful and classic Soul/Blues greats. The stocky and tall U.S. Marine cuts a dashing figure but, with that tenderness and soulfulness, mixed it into the blend and became a rounded and tantalising personality. Not many have the same contrast and attributes. After Johnson left the Marines; he travelled to Paris and involved himself in the Parisian Jazz scene. There, he would have learnt new crafts and disciplines.

It opened his eyes to the history and range of Jazz. I am not sure whether America has a strong Jazz tradition but I know France has a thriving and textured scene. One can look at Johnson and hear such a rich and varied voice and know Paris played a big part. Hearing the great Jazz artists there – fusing that with his church education and Soul upbringing – and there are so many dynamics to his music. We have U.S. Blues and Soul with Paris Jazz; London contemporaries artists and all the styles the capital boasts. Whilst in Paris; Johnson collaborated with the likes of Big Joe Turner’s Blues Caravan and helped solidify is music; cut his teeth with new acts and imbue more shades into his melting pot. All of these experiences and hook-ups can be detected in his album, The Deal Baby. It has been quite a background and upbringing for Bruce Mississippi Johnson. He carries his past with him but is involved in London and getting his music to the people here. The thing that amazes me about him – among many – is the way he has blending into London life and connected with musicians/D.J.s here. He has spoken with Rabin Goslin and performed on some of our local stations. Johnson seems to have a connection with the city and one imagines a raft of dates will come – the chance to bring his music to the people. I shall move on but feel there is a lot to recommend and love about Johnson. He brings that fame and exposure he found in Paris and is ensuring our modern scene is no stranger to the joys and pleasures of Blues – Soul power and the ecumenical elements of the church. I was excited featuring Johnson because he is someone that can genuinely change mainstream music and ensure genres like Soul and Blues are not seen as niche and minor. The sheer wonder and gravitas one discovers in his voice has already made an impact here. That is likely to strengthen and augment as he makes his name know in London. Britain needs talent like him so, because of that, a song such as No Good is essential.

No Good’s introduction brings in romantic and swirling organs to give the song a real kick and sense of imagination. In terms of sounds; I am reminded of Al Green’s Love and Happiness. It has that sense of drama and captivation about it. Johnson’s coda is a little calmer but it seems to carry a weight of sadness and contemplation. The song, when I see the first few seconds of its video, seems to look at romantic break-up and reckoning after the wreckage. Johnson has a ring in his hand – whether an engagement ring or wedding – and mournfully looks into the distance. Perhaps the song’s title refers to a love that has gone sour of the fact he is no good – maybe a bit dishonest or not the right person for the girl. The sweetheart took what he had and took advantage of his schoolboy crush. There was a sense of instant infatuation and trust. The hero wanted the romance to work and gave his heart to it. There was no expectation and rules: a man who was keen to give his soul and not play any games. It sees the girl has taken him for a fool and now, rather vividly, the hero is hanging out to dry. His teeth dangle from a tree – as Johnson sings with regret – and love has run cold. Adding a new dynamic and lyrical perspective to shattered love – many would forgive him for painting such bold and stark pictures. He was in a relationship and did not think anything would go wrong. There is “Too many damn confusion” and our hero has thrown everything away. He took reason out of the rhyme and was rather struck by an unexpected torrent. Our man is assessing everything and wondering what happened. Maybe there was too much trust from him and these of being caught up in the rush of passion. I am not sure who broke off the relationship but it seems like, from the start, things might have been on an uneven footing. Now, he looks at the emptiness of the bed and where things started to take a bad turn.

The band, backing Johnson, offering rushing keys and sympathetic support. There is a teasing, hissing beat and a sense of funkiness that provides relief against lyrics of solemnness and blame. The hero lets his voice soothe and rise: he has a wonderful chocolate-like vocal that gets into the heart and makes it skip a beat. Johnson has a great authority of the Blues and Soul so it is no surprise his vocal has a connection to past masters. I am not sure whether he directly sources from any particular singer but I hear Al Green and Gil Scott-Hero in the blend. It is whiskey-sharp but has that caramel warmth running through its marrow. Few artists are able to project such a curious combination. It gives, of course, the words that extra dynamic and authority. Our boy feels he is no good for anyone but himself. That might seem rash considering, maybe, the girl is partly to blame. He cannot be judged for giving his all to the relationship and trusting her implicitly. Maybe he rushed ahead and, the fact he has a wedding ring in his palm, he was eager to tie the knot and set up a home. She might have said ‘yes’ but was caught up in the moment. This might be a part for a Johnson: perhaps a particular love that was hot and special. It is worrying hearing Jonson look at the broken shards and put the blame on himself. Few artists cast the accusation inwards – this is something many could learn from. There is contrition and maturity but he might be putting too much weight on his own shoulders. The song’s video sees our hero caress and kiss a blonde woman whilst, in other scenes, reduce a dark-haired woman to tears. The lyrics say how Johnson’s past life was tough – maybe this is an excuse for the catting about and cheating. Revelations come in and maybe there is that inability to find joy and completion with one woman.

IN THIS PHOTO: Bruce, in Paris, around 1984/1985

He may have got into one relationship and found he was not fulfilled. A sexual desire and eagerness to sow his wild oats mean a mess has landed at his feet. Confusion reigned and, as he confused about his wife and children, he ruined a relationship. I am not sure whether he was unhappy in a relationship and should have got out – the marriage I assume – and been honest from the start. If he has; he may have been able to find time and transition into a new love. Instead, he rushed in and overlapped. It caught up with him and that need to confess and unburden – going back to his church upbringing – means he has damaged what he has. He looks around and wonders where all that confusion stemmed from. Perhaps he was bored in a marriage but was not brave enough to admit that. I feel Johnson is better on his own and cannot balance the realities and demands of a relationship. That need to find time away and assess what he wants means there is an opportunity for introspection and evaluation. I know it can be challenging staying in a committed relationship but Johnson has made a mistake and is up-front about it. It seems things are not as they appeared. The beats continue and the keys drive and create an infectious spirit. When Johnson changes to a speaking section – transition from sung to narrating – things become clearer. When he was having dinner with his girl across town; she started to mumble words and, eventually, admitted she was seeing someone else. Johnson’s low and deep voice means the words hit harder. To be fair; the break-up was his own making. As he was eating his dinner, he could see his wife enter the restaurant. The girl left and he was left with the bill – along with a lot of heartache and regret. He cannot blame anyone else for the results as he has been selfish and tried to have his cake and eat it. The rarity of finding an artist that is honest and admits they have made a mistake – that is quite humbling. I am not sure why the infidelity occurred but one feels Johnson was in a tough place and looking for as much affection and company as possible. He went about it the wrong way but would have learned a tough and valuable lesson. It is one he will move on from and grow wiser from it. I am not sure whether he is in a happy love not but is clear No Good documents a time when things were hard for him. Let’s not judge the man and the story but commend and celebrate a song that is a fine and wondrous mix of old-style Soul and Blues. An intoxicating brew that demands the listener offers their full and frank attention to it.

I would usually kick an artist arse who does not provide that many good and recent photos – I feel Johnson could kick my arse fairly readily! – but I have let it slide when it comes to the Mississippi-born artist. He is someone whose music is required in 2017 and, because of that, he gained a spot on the blog. That is not saying I have a strict code of conduct but I am so visually-minded I am turning people away at the door. Bruce Mississippi Johnson is a person who has such a sense of compassion and awareness. He has already lent his voice to the fundraising for Grenfell victims. Seeing as London as experienced another terrorist attack; one wonders whether Johnson felt that hard and how he reacted to that. The man puts his heart to the people and, wherever he is based, connects with the people. Maybe that is to his church raising and the way a Mississippi child would have been brought up. The sounds of Soul greats would have given the songwriter a sense of pride, compassion and community. Based in London; not only does Johnson have a great city where he can assimilate different sounds and genres – there is a rare opportunity to bring his brand of humanity and love to the people here. I know there are some kind-hearted London artists – it sounds like they are all cold and heartless – but it is rare finding someone like Bruce Mississippi Johnson. I am keen to see where he goes from here and what dates he has coming up. He has recently played the 606 Club in London and will be looking for new gigs. I am not sure whether he has played spots like Ronnie Scott’s and that esteemed space. London has quite a few great Jazz bars and venues for Johnson to get his music heard – wonderful small spaces where he can connect with his kind of crowd. To be fair; it is not only Jazz clubs where Johnson is celebrated.

I know 2018 will be a big year for him because, not only does he have a great group of fans behind him, but is starting to get his name more out there. He has played on and chatted to London D.J.s and seeing his fanbase build. I know Soul and Blues are genres are not popularised and prolific in the mainstream but that, I hope, will change. He has played at The Blues Kitchen (Shoreditch) and making his name known across the capital. When his album was released a few months back; Johnson performed at a range of different venues and excited the crowds. That has died down a bit but he is still performing across London. I wonder if there are dates coming that take in venues wider afield. I know Manchester is a city Johnson could seduce and find many opportunities in. There are so many great spots and spaces he could bring his music to. One cannot listen to Bruce Mississippi Johnson’s The Deal Baby and assume it is going to be a replica of Robert Johnson, Al Green – and the artists he was raised on. There is modernity and contemporary relevance to his music. One gets a great blast of modern production that unifies with the embers of Soul/Blues greats. Johnson’s rich and commanding voice means every song gets into the head and strikes the heart. Let us end things shortly but I am fascinated when American artists base themselves here and come from unfamiliar background. The fact Johnson has spent time in Paris and gained a name there – will he keep moving and go to other parts of the world?! I think Europe is the best place for him as there is a lot of affection and knowledge. In terms of historiy; artists have always been able to find themselves celebrated and acknowledged when playing genres like Jazz, Soul and Blues. American does have a connection with that type of music but is more concerned with other areas of music.

London is a vibrant and ever-changing city that is open to suggestions and progression. The capital is too hooked on the mainstream and media-pushed artists. The eyes and ears are never that wide when it comes to other parts of the music landscape. Let’s leave things here but I wanted to end by suggesting everyone familiarises themselves with Bruce Mississippi Johnson and his music. He has had a wonderfully interesting past and changed since his early recordings. He carries his idols and upbringing but he integrates sounds and artists he heard on the road into his fantastic songs. No Good is his recent single and one I was eager to get down to. It has an addictiveness that means you keep coming back to it and discovering new joys every time. I know Johnson will go a long way and there is plenty more to come from here. Whether there are more tour dates in 2017 – or is planning a new assault next year – I am not sure. It is a great time for the U.S. songwriter and The Deal Baby. Get your ears around a unique artist that brings something fresh to the London scene. He has the potential to hook and enthral large areas of the U.K. and get people turned onto classic Soul, Blues and Jazz. A terrific artist with many more years ahead; ensure you make Bruce Mississippi Johnson part of…

YOUR regular rotation.

_______

Follow Bruce Mississippi Johnson

Official:

https://www.brucemississippijohnson.com/

Twitter:

https://twitter.com/bmissippij

Facebook:

https://www.facebook.com/brucemississippijohnsonmusic

Instagram:

https://www.instagram.com/bmissippij/

YouTube:

https://www.youtube.com/channel/UCHk3AU9hLWBvsgfsSNQJCqw

BandCamp:

https://brucemississippijohnson.bandcamp.com/

SoundCloud:

https://soundcloud.com/brucemississippijohnson

INTERVIEW: Jamie Mathias

INTERVIEW:

 Jamie Mathias

________

WHILST reading Jamie Mathias’ answers…

it occurred to me he must be among the hungriest artists around. He has announced the release of his album, The Great Escape LP, and has been working hard since his E.P. back in 2015. Songs are compelled by the good and bad aspects of love: the capricious nature of life and the experience common to us all. Started a Fire is the album's lead-off single and one I was keen to know more about. Mathias talks about that and his creative inner-workings; which of the album’s thirteen tracks stick hardest in the mind – and what we can expect from the L.P. in general.

He chats about the rest of 2017 and what he is up to; the artists/albums that impacted him hardest – and the reason music arrived in his life.

________

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

Hey! I’m great, thank you…how are you?

This week has been busy as ever: meetings in London, studio-work and promo for the album!

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

Of course!

So…I am a mid-twenties (teenager at heart) singer-songwriter. If you had to put me into a genre I’d say 'Pop' - but it’s a lot more diverse than that. I like to touch upon a few different styles and I rap a bit, too. 

The Great Escape LP is your forthcoming release. What can you tell me about the themes that compelled the songs?

So...the album was initially intended to be an E.P. - that comprised songs that I had written about my girlfriend at the time which covered various stages in the relationship (not just the good ones). It transformed as time went on and includes tracks about my struggles as an artist and other relationships.

Apart from If Only, they are all written from personal experience. Each track tells a story about exactly where I was or how I was feeling at the particular moment it was written. I feel that’s quite important for myself personally because, once I've got something off my chest through writing, I feel much better about it - and I like to be able to look back and be reminded of where I used to be and how things have changed.

Was it quite a hard process recording or a lot of fun? How long did it take to record the album?

I wouldn’t necessarily say recording was a "hard process" - It was a long process though, for sure.

I recorded the bulk of the album with a producer/friend who has other commitments - so it wasn’t just something I could spend three or four-weeks-solid in the studio with him. We had the odd day here and there and then I’d sit on a track for ages and go back with ideas and things that needed changing. I would say my producers did most of the hard work. Once the songs were written; it was down to them to make them come alive.

We did have a load of fun, for sure, and I’d say it probably took around a year to make in total - but that was on-and-off.

There are thirteen tracks on the album. Which ones, would you say, are most personal and stand out in your mind?

The majority of them are personal...however; I'd say Great Escape and Started a Fire are probably the most personal - as they were written when I was not in a good place, mentally, and I poured a lot of my heart out (in those two tracks).

If Only is a very emotional song but I had actually written that for someone – who, very sadly, lost their significant other to brain-cancer at a young age. The plan for that is to release it separately as a single - and split the proceeds between Cancer Research (UK) and the hospice that treated him.

Started a Fire, the lead single, is out in the ether. What was it about the song that made you release it first? What inspired you to write that track?

I think Started a Fire needed to be released first as it’s the song that detaches me from the relationship I was in - and what I needed to get out before I could move on from there. The next single (putting aside the charity one) will be much happier.

The song is about feeling like I had bitten off more than I could chew with the lady I was with; feeling powerless and defeated.

It boasts a memorable and impressive video. Do you like filming videos and how important is the visual aspect of music to you?

Thank you! I’m sure the director will be thrilled to hear that.

I absolutely love being part of the video process: the visual aspect is vital to me. We like to create something that’s thought-provoking and something with an actual story to follow. The videos don’t necessarily follow the exact meaning of the song - but it’s usually an extension of this and a visual representation of my director Jessie’s interpretation.

Who are the artists you grew up listening to? Was music a big part of your childhood?

I was born in the 1990s and Oasis were always on in my house. They’re still an absolutely huge part of my life and there’s never a party where they’re not played at. Michael Jackson, in terms of artistry, is an absolute idol of mine - and gutted I never got to see him live. I’ve always loved listening to music but I can’t say it was a big part of my childhood from a playing perspective. I was a late bloomer into music - as I didn’t start singing, or even know I could, until I was sixteen.

There is richness and seduction in your vocals.  Do you work hard on your voice or is it a result of the musicians that have influenced you along the way?

Thank you very much. I don’t think anyone has ever said that to me before.

I work hard in terms of singing A LOT…but I've never been technically trained or even studied techniques - I’ve just found my own way and developed it.

Other musicians, I’m sure, have subconsciously influenced the way that I sing.

How does music come together for you? Do you set time aside to write or do songs strike when you least expect?

Writing songs, for me, is usually something that comes very naturall - especially lyrics. That being said; it’s always best when I’m in the mood for it and there’s something I need to get off my chest. (Not always negative lyrics). Sometimes, when something or someone makes me feel a particular emotion so strongly, I can’t make sense of it properly until I have it written down in a song.

I prefer that kind of songwriting to going in the studio with a blank canvas - and trying to think of something whilst uninspired.

After the album is released, what plans do you have? Will you get a chance to rest before the end of the year?!

I plan to promote it as much as possible and then gear things up towards a tour in January. I have a lot of meetings and a lot of demands from other people to take care of - so rest isn’t really going to be an option.

I’m doing something I love, though, so I can’t complain!

What tour dates do you have coming up?

The only confirmed show is my album-launch on the 29th September at Patterns (in Brighton). I just wanted to throw something to say thank you and to give people the opportunity to hear the new songs live for the first time. There will be a tour planned for January - but I can’t announce anything until it’s confirmed…

IN THIS PHOTO: Ren

Who are new acts you recommend we check out?

My favourite artists at the moment are two friends of mine…

The first is called Ren. He’s had a career plagued by illness - but he looks to be on the mend now and he is incredible. He’s a multi-instrumentalist, singer; songwriter, producer and rapper. His wordplay is ridiculous and his first album he did completely on his own - so make sure you check out Freckled Angels.

The other is Dom Kent. He is an exceptional songwriter and guitarist and I've watched him develop from a thirteen-year-old up until now. He’s not the best with social media but his music is amazing - and I’m really looking forward to seeing him bring out a proper release.

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

Definitely, Maybe, The Marshall Mathers LP and Whatever People Say I Am, That’s What I’m Not

They’re three absolutely massive records I know front-to-back and they make you feel something - which is exactly what music should do.

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

I’m not sure I'm the most qualified person to be answering this question, to be honest, but the main thing I would say is to keep writing and constantly promote yourself. Once you put yourself in everyone’s eye-line; you don’t want to drop out of it.

In an ideal world; great music would speak for itself - but it’s what you do after the records have been made that is equally, or perhaps even more, important.

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). 

Oasis – Rock ‘N’ Roll Star

__________

Follow Jamie Mathias

Twitter:

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

Facebook:

https://www.facebook.com/jamiemathiasmusicc/

Instagram:

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

SoundCloud:

https://soundcloud.com/jamiemathiasmusic

YouTube:

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

Spotify:

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

INTERVIEW: Hill

INTERVIEW:

 Hill

________

MY detox and time away from Canadian music…

has lasted all but a few days. I have fallen off the wagon and diving right into the colourful and warm waters of Hill. I speak with the fantastic Edmonton songwriter about the local scene and how music came into her life. She talks about her new song, On Camera – and what it was like working with Caitlin Cronenberg on it. I get a real insight into her songwriting and creative process; what the future has in store and the music that inspires (Hill).

Hill has an album approaching so she discusses that and whether a U.K. stop-off is a possibility; how the rest of the year is looking – and those great local artists we need to affiliate our ears with!

________

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

Hi! It's been good: it's been full of music.

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

I'm a Canadian writer, producer and multi-instrumentalist who loves Mexican beers and making dark, moody; intense Electronic music with thick vocals.

Talk to me about the song, On Camera. What is the song about and can you remember how it came together?

The song is about B.D.S.M., essentially.

I was in Toronto working with my buddy Mike Schlosser (my co-producer) and I was like: "Ok, I wanna go here. I wanna go this far. Are you uncomfortable?" (and he's not that type). He just makes sh*t work and gives the writer, space and helpful ideas.

I like that it ended up poetic and yet still conversational enough that, to me, it feels personal.

Its video was directed by Caitlin Cronenberg. How did you come to meet her and what was it like working on the video?

I met her through my manager at GLASSLOVES.

Caitlin is the kind of cool where she has no idea how much of a badass she is. She was so relaxed to work with and her little dude (her son) was there hanging with us. Some friends came by and brought their dog...it was easily the most relaxed, and yet, simultaneously productive set I've been on.

She's very open-minded and insanely talented.

PHOTO CREDIT: XoVideo

Was it as fun to shoot the video and who came up with the concept?

Arthouse and Caitlin came up with the details of the treatment. It was very fun and pretty quick. The treatment is meant to be a subtle nod to the lyric.

I believe you have an album due next year. Can you tell me anything about its songs and themes you explore?

Yes. It's an assortment of songs I've made over the last couple of years - because so much has changed in my life and taste and career that I've needed to re-evaluate my sound a lot. It's ended up being a lot more intimate and intense than it was originally bound to be, and I like that. Most of the content is very personal, actually: a lot of it came out of a bad breakup I experienced in the summer of 2016. I was a bit of a mess.

It turned out to be a real metamorphosis for me - dealing with it while being surrounded by very select co-creatives and songwriting my way to the other side.

Give It a Rest is the title-track and was picked up for rotation on KCRW (in Los Angeles). Was that quite humbling and does the fact your music is played on big stations give you a lot of drive and encouragement?

Yes! Chris at KCRW has been amazing. He is very responsive and supportive. That was very inspiring to me as an artist - who's in for the long-haul of building a career.

I believe you have experience as a top-line writer. How did you get into that side of music and is it something you enjoy?

My work as a top-line writer came about randomly, through a few people I didn't even know, passing my music around.

I do enjoy it and it has made me a much stronger writer in a very short time.

Edmonton, Canada is your base. What is the music scene like there and are there a lot of great new artists coming through?

So many.

I can't begin to express my love for the Edmonton music scene. It is so positive and inclusive. There is unbelievable talent in my hometown. I’m excited to be working with some of them.

PHOTO CREDIT: XoVideo

Can you tell me how music came into your life and was it a big part of your young life?

I began singing when I was eight and spent a lot of time in the small world of vocalists coming up in Edmonton. I later discovered the band-scene and then moved to Toronto for college where I really dug up what it meant for me to participate in a music scene - and what kind of role I wanted.

All my growth from the time I started has been through my peers.

Who were the artists that made the biggest impression when you were growing up?

That's hard to say because I mostly listened to top-40 radio. I just grew up singing along to the greats – Whitney (Houston) and Christina (Aguilera); Mariah (Carey) and Céline (Dion). I feel like I didn’t discover my personal musical taste until my last year in college.

I just absorbed everything.

What tour dates do you guys have coming up? Any plans on coming to the U.K.?

I would love to come to the U.K. as it's where most of my current favourite artists are out of (James Blake and FKA Twigs, for example).

How does the rest of 2017 look? How will you be spending the next few months?

I'm spending a lot of time Stateside and releasing one or two more singles in preparation for the album drop. I've got a show in my hometown (on Oct 6th) with Tei Shi, ggoolldd - and U.S. girls that I'm stoked for.

 IN THIS PHOTO: Lyra Brown/PHOTO CREDIT: @meaghan.baxter

Who are new acts you recommend we check out?

(See above…)

…as well as Daniel Caesar and Kendal Thompson (both from Toronto); Darren Frank, Lyra Brown and Scenic Route to Alaska (from Edmonton).

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

This is a big question….ok.

1. James Blake - Overgrown

2. Frank Ocean - Channel Orange

3. BANKS' London E.P.

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

Pay attention to two things: being great at your craft and being a good human. Do the work from a place of joy or passion - and be committed to making dope sh*t.

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).

So Am I - Ty Dolla $ign (ft. Damian Marley & Skrillex)

This is my jam right now.

__________

Follow Hill

 Official:

http://www.iamhill.com/

Twitter:

https://twitter.com/i_am_hill

Facebook:

https://www.facebook.com/iam.hill.official/

Instagram:

https://www.instagram.com/i_am_hill/

SoundCloud:

https://soundcloud.com/i_am_hill

YouTube:

https://www.youtube.com/channel/UCCT3uQWSJ4Ct5ETdx-bYT6g

Spotify:

https://open.spotify.com/artist/0viCAOrL8Oxc1CCdphJFrI

INTERVIEW: The Dharma Jerks

INTERVIEW:

 The Dharma Jerks

________

I cannot remember the last time I interviewed…

a French artist but, thinking back, it must have been Jazz songwriter, Ellene Masri. She resides in Las Vegas, now, so there are no French-based artists on my site. The Dharma Jerks have arrived and proves what a sense of the exciting, eccentric and wonderful music is coming out of Paris – the boys are based in the capital and revelling in its opportunities.

I speak with the chaps about the video for their song, Mary Anna; whether there is any more material coming up and how The Dharma Jerks came to be. They look ahead and state whether they are coming to the U.K. – and how their week has been.

________

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

Physically? Well! Psychologically…?

As an Englishman...you may not know there’s a season before fall: here, it’s never a good time to change season.

But, our E.P. release is coming and we are pretty excited!

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

We are four guys living in Paris – we have played together for more than a year. We play Garage and Psychedelic Rock: music to jump around and being fuc*ed up (to).

Nothing particular…

Talk to me about your new single, Mary Anna. Is it inspired by a particular girl? What is the story behind the song?

We prefer not to smear a lady in public (B.T.W…was she a lady?)

Mary Anna, I know, is taken from a forthcoming E.P. What can you reveal about that and the type of songs that will be included?

It’s our first E.P.; recorded in excellent conditions - which is rare for a first shot.

We recorded it live - which means we actually play together in the record. It’s tough but it’s the best way we found to communicate the energy we wanted to share. There are six tracks.

They represent most parts of us: naive Pop, obsessive psychedelism (sic) and violence.

I want to know about the band-name, The Dharma Jerks. Does it have a Jack Kerouac link (and The Dharma Bums)?

Well done for the reference - people don’t always catch it! It’s exactly about The Dharma Bums: we just replaced ‘Jerks’ for ‘Bums’.  

The band is based in Paris. What is the city like for new music? What is the scene like there?

There’s huge energy in Paris in term of gigs and music. Every night, a lot of great people and venues organise events.

The city, and France, has faced a lot of threats and terrorism this year. How has that affected The Dharma Jerks and do you react to politics and how the country is struck?

We don’t really put a politic meaning in what we do...

You may answer that question and say playing music is, of course, somehow politic - but we are just four Jerks playing music very loud.

Can you remember how you all got together? What was it about you guys that meant you set up a band together?

Imagine going on a Tinder date and she becomes your girlfriend…

The drummer answered an ad from Bastien and Aurelien - who were already playing together at home in an early version of The Dharma Jerks. He then came with a friend playing guitar.

There no doubt it has worked - because we were drunk the first time we played a gig together.

You say, on your website, you play music loud so you don’t need to talk to one another. Do you guys hang a lot outside of music? What is the bond like in the band?

Relationships are simple between us.

When we need to discuss any subject; everyone brings his own knife. So, we mostly play together and hang out when we tour.

Your music can be described as Garage-Rock. Who are the artists that inspired all of you? Did you all grow up around heavy and intense music – or was it quite a diverse education?

The band almost split discussing this question...

Next, please!

What tour dates do you guys have coming up?

We’ll be touring in December, January (2018) and February in France: Paris, Bordeaux; Poitiers (and more T.B.C. soon).

Follow our Facebook page!

Is there any chance the band will come to the U.K.?!

We are definitely looking for it!

Glad you are ok for us to use your flat when we arrive - that’s so great of you, Sam!

Who are new acts you recommend we check out?

Nope.

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

Louis (Drums): The Who - Who’s Next

I’ve learned to play drums in order to play these drums parts.

Matthieu (Guitar/Clavier): Rival Sons - EP

Because I can’t get tired of this.

Bastien (Vocals/Guitar): Foxygen - We Are the 21st Century Ambassadors of Peace & Magic

Maybe not the one that means the most (there are too many); not the biggest sound, either, but definitely one of the most recent slaps in my face. A summary of the ’70s, carefully applied.

Aurélien (Bass): The Velvet Underground - Loaded

Raw, simple - but so brilliant.

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

Never listen to the advice of a band who hasn’t yet released their first E.P.

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).

Take on Me - a-ha

Drugs Drugs Drugs – Tonetta

You Shouldn’t Stick Around - Foggy Tapes

Oh! Sweet Nuthin’ - The Velvet Underground 

__________

Follow The Dharma Jerks

 Facebook:

https://www.facebook.com/thedharmajerks/

Pictaram:

http://www.thepicta.com/user/thedharmajerks/3644987012

SoundCloud:

https://soundcloud.com/the-dharma-jerks

YouTube:

https://www.youtube.com/channel/UC59aBbcGNbliukSQ7l3mSZg

BandCamp:

https://thedharmajerks.bandcamp.com/

Spotify:

https://open.spotify.com/artist/755wPulO5CeQWhAEdXEEXH

INTERVIEW: Josephine Oniyama

INTERVIEW:

 Josephine Oniyama

________

A soulful chanteuse from Manchester…

Josephine Oniyama has released the lead-off single, 'Til You – it will appear on her as-yet-untitled new album. I speak with her about the song and how it all came together; what the music scene is like in Manchester – and how Oniyama got into music in the first place. She talks about appearing on Jools Holland’s Later… and how her music has developed since her album, Portrait.

I find out more about the twelve-year-old songwriter who first connected with the art and kindled that passion; picking up the guitar her mum bought her and immersing herself in music. Oniyama talks about some of the musicians who have helped bring her songs to life and plans for the future.

________

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

Hi, I’m fine thanks. Been a nice week

The new song, 'Til You, has had some wonderful feedback - and the weather’s not too shabby.

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

I’m from Manchester. I did lots of touring with my album, Portrait, throughout 2013/'14. The album was the culmination of many years of writing and performing (have a listen).

It’s great, now, to be releasing some new music though - and gearing up towards a new album.

I believe an album will follow. Do you have a title yet and ideas for songs – or is it coming together gradually?

I’ve been writing steadily - pretty much since finishing touring Portrait - so the songs are just waiting to be produced, finished off etc. Not sure what songs will be on there yet though but, as soon as that’s narrowed-down, I’m sure a title will suggest itself...

I like to let it depend on how the collection of songs works as a series.

'Til You follows your critically-lauded album, Portrait. There were some big collaborators on that record. How did you come to meet them all and what was it like having so many unique artists on your record?

Well. Most came about through suggestions from management etc. as I didn’t really know anyone in the industry before making Portrait - I was just a gigging musician, so I needed introductions. I met some great people, producers; songwriters etc. like Ed Harcourt, Leo Abrahams and Crispin Hunt.

They all helped to make the album what it was.

Following the album’s release; you played at some great festivals and performed on Jools Holland’s Later… What was your most-cherished memory from that time?

It was all a bit of a blur really - but it had taken many years to get Portrait out and I was just really proud of the release and the way it turned out. So, I suppose the highlight was just having the album in my hands - and seeing it on the shelves and online as a finished thing.

Nothing can really top that...

What is inspiring your songwriting right now and how would you say your work has changed since your debut-album stage?

I’ve learned a lot since the last album and, with songs, I’m just trying to keep it simple and deliver a straightforward sentiment. I understand the importance of melody much more than I used to (also) - so I’m always listening out for great melodies and thinking ‘I wish I wrote that’.

But, hopefully, those things inspire something new in me.

I understand your music passion began at the age of twelve. Was there a single moment that began that love for music?

Hmm…not really.

I think that music was always something that was there, from Day One. I got my first guitar around that age - so I had some means of channelling what was probably already there.

Manchester is your home. How important is the city and do the people give you strength and confidence to play and dream?

I think home is important no matter what you do: it’s a place that’s always familiar no matter how much things change when you’re away. The more I travel, the more I realise how unique Manchester is for nurturing dreams – and not judging people who dream. You’re very much allowed to have ideas above your station in Manchester - it’s not always the case in other places.

What else do you do outside of music? Do you have time to explore other avenues and passions?

Luckily, the collaborations and projects I’ve been involved in over the past three years have been really incredible - so they have allowed me to explore some of my other passions. I wrote two live film-scores; collaborated with Travis on their last album - and wrote and toured with Matthew Halsall and his Gondwana Orchestra.

Are there any tour dates approaching? We can we come see you play?

Nothing to announce right now but I’m in the process of working out the schedule for the next few months…so keep an eye on my website for announcements.

PHOTO CREDIT: Natalie McCool

Who are new acts you recommend we check out?

Check out Shunya and Natalie McCool.

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

Van Morrison - Astral Weeks

Real Synch-Folk full of weird moments. I love it because it’s full of performances never to be repeated.

Fela Kuti - No Agreement

It (just) reminds me of my family; about being young and not really knowing what music was about - but knowing that it was powerful.

Arcade Fire - The Suburbs

When I heard this album, I just couldn’t believe it. The production, performances and songs are exceptional. It’s an album that really stays with you and you can’t forget.

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

Hmm…advice? Same as I’d give anybody really, musical or not: have a plan. 

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

If you have 17:31 mins (I found a 'shorter' version) to spare; play Fela Kuti - Go Slow (from Music is the Weapon of the Future)…

…If not; maybe you can play Travis – Paralysed

__________

Follow Josephine Oniyama

 Official:

http://www.josephineoniyama.com/

Twitter:

https://twitter.com/thisisjosephine

Facebook:

https://www.facebook.com/thisisjosephine/

Instagram:

https://www.instagram.com/josephineoniyama/

SoundCloud:

https://soundcloud.com/thisisjosephine

YouTube:

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

Spotify:

https://open.spotify.com/artist/00HXdZ3u5T2JTtdGER4xVe

FEATURE: A Desire to Challenge the YouTube Hierarchy: The Music Vlog Vacuum in 2017

FEATURE:

 

A Desire to Challenge the YouTube Hierarchy:

PHOTO CREDIT: Unsplash 

The Music Vlog Vacuum in 2017

________

ONE way to make my prolific writing less tiresome on the fingers would be…

to visualise and video my ‘musings’. I feel the music industry is in an odd place where there is unparalleled growth in terms of artists and sounds: the nature and dominance of the media are going through troubled times. The printed music media is struggling a lot right now. There are established music magazines like MOJO but publications such as NME have been through a problematic last few years – declining sales and the need to be free to the reading public. It still puts out great articles and interviews but found it was unable to generate sales figures as lofty as once was. I look around newsagents and find far fewer music magazines than once was. As I said; there are established survivors who still have a loyal clientele. One of the issues seems to be the digitisation of the music press. I have raised concerns around the lack of working-class journalists at broadsheets and at music magazines – things seem to run deeper! The sheer viability and profitability of the music press are compromised. One sees a lot of blogs and music sites but these are run as inexpensively as possible. I worked for one, The Metropolist, a while ago and that had to close because it could not afford to run – offering tickets to reviewers but unable to make money back; struggling against the competition with those who worked there unable to balance it with their paid jobs. It seems music journalism, as with music itself, is being streamlined to blogs to writers who have to subsidise their passion with a full-time job – spending their free hours producing as much as possible. I feel the music media is having to adapt to the modern world and the lack of monetisation chances and profitability. We are buying fewer magazines and newspapers; we can get our content online but, those who run sites, can hardly justify charging people to read content.

IN THIS PHOTO: The popular YouTube vlogger/musician, Emma Blackery

I struggle to write enthusiastically because I know, deep down, I want to go to gigs and go more into live reviews. Travel, trains and gigs cost money – it is very hard attending gigs regularly and being able to afford that sort of pursuit. I, and many others, run blogs and sites with no overheads and as modestly as we can – relying on the written word for the most part. It seems there is a natural gap in the market for music media/journalism to move sideways. I look on YouTube, and their most-popular channels, and there is a dominance of very narrow markets. By that, I mean a few specific industries and sectors are dominating the channel. Usually, when seeing vlogs/YouTube channels they are split into three/four areas: beauty blogs; lifestyle writers and pranksters - video game vloggers are popular. Even popular YouTube talents like Emma Blackery – who is a successful musician in her own right - fills her channel with personal videos and content that is not exactly substantial. She talks about her music in the minority and posts performances here and there – that is outweighed by insignificant and common day-to-day videos; pieces that appeal to her pre-teen/teenage audience (mainly girls). Do a search of the best/most-popular vlogs and there is really nothing about music – in a practical and inspiring sense. We have a lot of music journalists working on radio stations – providing music news and content – but very few assimilate and integrate that talent/desire into YouTube/Vevo. I wonder why there are few/no music journalists and channels combining all elements of journalism into a channel. Look at the mass of beauty bloggers and few are offering anything distinct and different! One can get a similar flavour from most of them – one or two do stick out but they are in a heavily-saturated market. The same is true of pranksters/lifestyle vlogs which are filled with immature stunts, pointless commentary and insignificant crap – hooking viewers in and offering them very little in the way of meaningful material.

Elsewhere; there are more intelligent and inspiring vlogs/channels that talk about film and the arts – I am seeing more film vlogs and T.V. channels. This gives me a lot of encouragement but, again, where are the music commentators?! I hesitated entering that sphere because, I assumed, the field would be packed with aspiring D.J.s, journalists and musicians talking about everything in the music industry. Unless I am going blind…I cannot see that many out there. Buying filming equipment and shooting videos would not cost THAT much – it is a static cost and not prone to depreciation, taxation and inflation. I guess, for many, there is that initial fear of poverty. The reason so many beauty bloggers succeed is that they already have sponsors and marketable assets - enough money and supporters to ensure they can fund their ambitions and get an impressive revenues stream. Journalists, unless you work for a newspaper or magazine, are unpaid (or low-paid) so, when they try this sort of thing, they have to use their own monies – working full-time and finding whatever time they can to put together videos. I feel there is a gap and, if we want the music press to inspire and connect with the next generation, move laterally/unilaterally into places like YouTube. I am a traditionalist and prefer my music in print form but am not naive enough to ignore websites and blogs – they provide me with content, musicians and inspiration on a daily basis. So few journalists are innovating a drive of music-based vlogs. There is so much possibility and scope to start a new trend and add a kick and fresh impetus into music journalism. A channel – not sure what it would be called – could do weekly interviews with new artists (a one-on-one series that is a mix of Desert Island Discs and a traditional radio interview). It would put a face to the artist and be a chance for them to perform live and talk about music.

IN THIS PHOTO: The immensely popular fashion/lifestyle/beauty vlogger, Zoella/PHOTO CREDIT: Zoella

We could have a series dissecting classic albums and how they made an impact on music – playing videos/tracks from the album and interviewing people regarding their love of said record. There could be a weekly review segment and a daily news section – keeping people abreast on all the music happenings from the mainstream and underground. Uniting the unsigned and famous is something few blogs/sites do so that would be a niche – featuring new and under-the-radar musicians but blending that with the elite and best from the charts/mainstream. I worry journalists and music writers are overlooking the financial and creative possibilities of YouTube and Vevo. The only reason beauty blogs and lifestyle vlogs have taken over is that they saw a market desire and got themselves out there. Music is more popular and widespread than beauty and food, for instance – the huge number of food vlogs is troubling and utterly baffling! Music is this universal language, I feel, would benefit from more exposure. There are a few music vloggers but nothing that comprehensive and all-under-the-same-roof. I have suggested a few possible ideas and regular features but there is so much more that could come in. That lofty platform deserves depth and serious content. Talking about issues musicians face would attract people in - addressing anxiety and small venues closing; the struggle to make money from music and the issues of sexism and racism in the industry; the lack of working-class journalists and other imbalances. This, paired with lighter content, would broaden the demographic of subscribers and offer something real and inspiring. Before you know it; there is a stocked and varied channel/vlog that would draw punters in! The fact the channel would start on modest foundations might put people off – the risk that, unless they are trending and noticed right away, they cannot afford (in terms of money, effort and time) to maintain a channel.

IMAGE CREDIT: NME

It seems like such an obvious idea but makes me wonder why so few are doing this?! If they are then it is rather quiet and needs supporting channels – to challenge the prolificacy and dominance of beauty, lifestyle and food vlogs. Those channels offer useful advice and inspiration to many but, when you look closely, there are so many doing very similar things. It is hard knowing who to follow and what to believe. The biggest stars command absurd sponsorship backing and rake-in millions a year. The biggest YouTube stars – two more nauseating words have not been put together! – make bucket-loads and get huge brands following them. If they have a talent and are changing the world then you would not begrudge this success and richness. The truth is very few – who get big money and are stars – actually warrant that kind of pseudo-celebrity. Music journalists do not want to be famous themselves: they are more concerned with music and the artists they feature. Perhaps that is an issue: where do they get sponsorship and finance from?! Their channels, given an adequate promotion drive, would get people in but how do you monetise that?! Subscription fees might be unreasonable because people can get music content for free. It seems there is a chance for tech. giants and record labels to get involved – those with a lot of money to put funds into something worthwhile! The new iPhone has just been launched - it whipped up the usual circus of technology-obsessed zombies and appeals to those who want something shiny and new – but they used a few musicians (Blackery included) in their marketing and promotional video. The link between technology/Smartphones and music can be linked to platforms like Spotify and Apple Music – where many musicians are featured and are integral to iPhone/Smartphones. A music vlogger could pair with Apple or another giant and, in exchange for financial backing; the commentator/vlogger could promote the brand or find a way of incorporating iPhones/technology into their features.

IN THIS PHOTO: Chilean YouTuber Germán Garmendia (with Lenay Olsen) is one of YouTube's biggest stars - but is more noted because of his video game videos (even though he is a musician)/PHOTO CREDIT: Getty/Frazer Harrison

The same goes for the big record labels – they would pay the ‘star’ money for featuring their artists and running a bit of advertising on their behalf. That may sound unethical and a bit corporate but, for a site like this to expand and succeed, one must make moral compromises. It would not be too questionable: simply a bit of business so a music vlog could strengthen and rival the biggest vloggers out there. More importantly; music is there to inspire and compel the generations – journalists are, with musicians, the arbiters and spokespeople responsible for getting the messages to the people. I think a comprehensive and fun vlog could, in time, draw millions in and get international recognition. It could work with mainstream stars and huge acts; build popular features and provide every sensible music-lover everything they need under one roof! I will end this but have spotted a market and opportunity that has not been filled. Now, more than any time, music journalism (and music itself) has a big voice to play and has so much to say! There is so much going on and wonderful music in all corners: issues that need tackling and the desire to preserve legendary/classic music and ensure it is bequeathed carefully to new generations – a lot of it is in danger of being overlooked as streaming platforms put more emphasis on what is trendy and new. I have merely scratched the surface but there is a chance to build something new, inspiration and, yes, profitable! I would like to see not one but several music vlogs and journalists challenging the biggest fashion/beauty/food vloggers - that provide YouTube/Vevo’s ‘most-popular’ lists a rather homogenised and samey feel. Music is much more powerful, worthy and fascinating so, my hope is someone – I will do it if I can – fills a gaping void and makes a difference. The fact is the music press is struggling in printed form. A lot of blogs and websites are not getting people hooked and are there is a consensus to conserve the sacred form without compromising ethics. A YouTube channel would not need to make many modifications in order to provide a more financially-lucrative and multimedia channel for music fans. I predict it would start a mini-revolution but it requires that originator and pioneer. So, with that said…

PHOTO CREDIT: Unsplash

WHO is it going to be?!

FEATURE: Chills, Thrills and Goosebumps: How Music Evokes Different Reactions

FEATURE:

 

Chills, Thrills and Goosebumps:

ART CREDIT: Sam Chirnside

 How Music Evokes Different Reactions

________

I am fascinated the way music hits and how our mind and body…

PHOTO CREDIT: Unsplash

interacts with sounds. I often wonder whether memories, and music that evokes such powerful ones, unlock a bigger rush and hit than new music – those songs you need time to attach to. The reason for going into this area is a recent study that showed, if you get goosebumps when listening to music – your brain might be wired a bit different. I will quote from Tone Deaf -   who explain things a little better:

“It’s a feeling many of us know well: that shiver down the back of your spine as your favourite song hits its crescendo, the hair standing on end on your arms as your breath shortens. It seems a simple thing, but apparently this visceral reaction to music may tell us something about the way our brains work.

The reaction described above isn’t something that happens to everyone, but as Consequence of Sound reports, a new study published by the Oxford Academic finds that people who experience strong physical reactions to music may be wired differently to those who only react to music internally, and may be open to experiencing a wider range of emotions.

Conducted by USC PhD student and musician Matthew Sachs, the study finds that people who are impacted by music in this way “have a higher volume of fibers that connect their auditory cortex to the areas associated with emotional processing, which means the two areas communicate better.”

 The study was only quite small, working with two groups of 10 students, one of which reported feeling chills when listening to meaningful music, and the other which claimed it did not. By utilising brain scans of the two segments, researchers found that not only did the ‘shivers’ group experience more neural connections in the auditory cortex, responsible for processing our hearing, but they also experienced an increase in the emotional processing centers and the prefrontal cortex – the latter of which would be involved in thinking about the meaning behind the song, the former concerned with the emotional side.

For Sachs, the small study was only a first step in finding out more about if and how the phenomenon is linked to differences in emotional capacity, and “individual differences in sensory access”, with plans to continue the studies in the hopes of using the findings to treat depression”.

This is not a new study but it does show how powerful music is: the way it impacts different brain-types and personalities is fascinating. This is not the only study – I shall introduce a couple more later – but, when it comes to lifting the mood and tackling depression, should we be harnessing music more emphatically? I was intrigued when reading the new study as few of us think about the neurological connection with music – how our neurons and the temporal dynamic build-up develops over time.

That intravenous flow of music, once in the bloodstream, works its way to the brain and, once there, squirts into all the crevices, avenues and side-streets of the mind.  When one gets shivers and goosebumps listening to music, obviously, it causes us to calm and relax. Any anxiety and stress, at that moment, dissipate and demure. That might return but it seems, to me, music has a potent part to play when tackling psychological and neurological illnesses. Maybe the illnesses are too complex to be adequately targeted but music can allay and calm some of the worst symptoms. Music is such a vast and deep subject: deciding which pieces elicit certain triggers can be discovered through extensive experimentation and trials. Many have been run but, in a nation where mental illness is taking off at an uncontrollable level, it seems now, more than ever, more time and money needs to be directed towards such a scheme. I will share my experiences and thoughts but, before I do, an article for your delectation - that was published last year:

“We predicted that if a person were more cognitively immersed in a piece of music, then he or she might be more likely to experience frisson as a result of paying closer attention to the stimuli. And we suspected that whether or not someone would become cognitively immersed in a piece of music in the first place would be a result of his or her personality type.

PHOTO CREDIT: Unsplash 

To test this hypothesis, participants were brought into the lab and wired up to an instrument that measures galvanic skin response, a measure of how the electrical resistance of people’s skin changes when they become physiologically aroused. Participants were then invited to listen to several pieces of music as lab assistants monitored their responses to the music in real time.

Examples of pieces used in the study include:

·         The first two minutes and 11 seconds of J.S. Bach’s “St. John’s Passion: Part 1—Herr, unser Herrscher”

·         The first two minutes and 18 seconds of “Chopin’s Piano Concerto No. 1: II”

·         The first 53 seconds of Air Supply’s “Making Love Out of Nothing at All”

·         The first three minutes and 21 seconds of Vangelis’ “Mythodea: Movement 6”

·         The first two minutes of Hans Zimmer’s “Oogway Ascends”

Each of these pieces contains at least one thrilling moment known to cause frisson in listeners (several have been used in previous studies). For example, in the Bach piece, the tension built up by the orchestra during the first 80 seconds is finally released by the entrance of the choir—a particularly charged moment that’s likely to elicit frisson.

As participants listened to these pieces of music, lab assistants asked them to report their experiences of frisson by pressing a small button, which created a temporal log of each listening session.

 PHOTO CREDIT: Unsplash

By comparing this data to the physiological measures, and to a personality test the participants had completed, we were—for the first time—able to draw some unique conclusions about why frisson might be happening more often for some listeners than others.

Results from the personality test showed that the listeners who experienced frisson also scored high for a personality trait called “openness to experience.”

It seems, in all these studies, Classical music is used as reliable samples. I can understand why these pieces evoke an instant and tangible reaction: sweeping strings and delicate piano motifs; scores that provoke all manner of deep emotions and violent scenes. Without a word being sung; a fantastic Classical articulation can mobilise shivers, goosebumps and tease in an orgasm of biblical proportions. The same, actually, can be said of Jazz. A terrifically sensual and primal blast of horns can get right into the heart and make the head spin. Is it, then, the instrumental passages that are responsible for those vivid reactions? I am surprised as many as a-third of people do not possess the ability to be that moved by music. I guess there is no D.N.A. coding imprinted from birth – we all react differently to music. Some suggest a deeper immersing into music – people who intellectually bond with artists – means one gets greater nourishment and connection. That makes sense: if you properly listen and conspire with music; you are going to be more immune to its full beauty and potency.

There have been few songs, in the past few years, that has moved me to such a heart-stopping and hair-raising reaction. A few Folk numbers make me smile, sigh and shiver; a couple of great vocal performances create goosebumps and near-tears exposure. It is hard to predict what song will cause me to lose my senses and surrender to its majesty. It does not have to be something as obvious as Classical music. I can listen to a new track on a BBC station and, whether a sublime vocal or great guitar riff, I will have that candid response. I can definitely reveal I am among those who are moved to the point of shivers and goosebumps. It is a wonderful thing to experience but I feel, adding my opinion to the debate, there is a childhood dynamic. The same way we can be taught morals and a certain talent: we can learn to respond to music in such a way we have physiological side-effects. I am sure my passionate exposure to music, when a child, is why I can produce goosebumps with ease. I am sure that inherited neurology and a predetermined propensity to these responses means, in some way, certain people are hardwired and encoded from birth. It is not the case those who are now immune cannot, with a little change of diet and commitment, reach the same ‘heights’ as people like me. Many will say what is the big deal about experiencing goosebumps?!

I know they are temporary and cannot transform a human in radical ways. What is the biology and science behind these ‘frissons’ and shivers? NME, in an article in 2013, shed some light:

“The researchers (Valarie Salimpoor and her colleagues from McGill (Canada)
found activation in an ancient, centrally based brain system called the dopaminergic reward pathway; structures associated with pathway, such as the striatum and nucleus accumbens, were flushed with the brain-pleasing neurotransmitter ‘dopamine’ just before and during musical chills. This reward brain response is associated with motivation and addiction.

We typically experience this type of brain response to biologically rewarding stimuli; things that help us survive, like sex and high fat foods. Modern music does not really help us survive so it is effectively piggy-backing on this reward brain system. This system can also get hijacked by chemicals that modify mood. On the face of it therefore, this part of your brain reacts to sex, drugs and rock ‘n’ roll”.

It seems we have a primordial and caveman like lust to experience the rush and sexiness of music. Those who get shivers from Classical music, one feels, are having a different part of the brain stimulating than, say, a great riff or epic Rock song. There is that clash of beauty and passion that appeals to separate parts – each as powerful and important as one another. To me, the songs that get me shivering and goosebump-y are those that connect me with early memories. The first artists and albums I was exposed to were instrumental and formative.

From a sweeping and gorgeous Kate Bush song to the opening notes of The Beatles’ I Feel Fine – these notes and sounds connect me to my first encounter with the artists responsible. Hearing a song so many years down the line can instantly connect us with that first encounter. A song can cause shivers because of the memories it produces – that same song might not create the same reaction if it did not have that same importance. It is interesting taking that point and seeing whether memories are a more powerful tool than quality. What I mean is, when people hear certain songs/genres; do they get that stunned reaction because it unlocks something in their memory? I wonder whether I get shivers hearing I Feel Fine because I heard it as a child. Were I to hear it fresh today; I am not sure I would get the same response and effect as I do. That means it is the actual remembrance and connection with the past that causes shivers – not something inherently embeded in the song itself.

The introduction to Tears for Fears’ Everybody Wants to Rule the World makes me shiver because it is my first memory of life. I do not think I’d have that intense response if it was a new track. I think there is a lot of potential to be mined from music’s power and unique gift – when shivers and goosebumps form and calm the senses. Whether that materialises in cognitive therapy and some form of anxiety remedy or not – I feel we should not read studies and leave it at that. The fact we are getting new findings each year – the latest one dates back merely a few days – means people are interesting discovering why music can cause someone to shiver and stop dead. It is clear music, in various forms, genres and configuration, has an incredible ability and magic…

SO many people are fascinated by.

INTERVIEW: Maya Wolff

INTERVIEW:

 Maya Wolff

________

WE are lucky enough to have artists like Maya Wolff in this country…

creating some amazing music. She is German-born but has been in the U.K. since the age of nineteen. Moving away from Pop in 2006; she has taken her music in new directions and, in the process, amassed a giant fanbase on social media. I ask whether we can expect any new material soon and what the differences are between the British and German music scenes.

Maya Wolff is a hungry and multi-talented artist who is well worth watching as we head in 2018. I learn more about her background and the way her music has evolved; how songs come together for her – and whether music struck her at a very young age

________

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

I’m a singer/songwriter based in the U.K. I work with producer all across the Electronic genres and all across the world. The piano is another one of my huge passions - which is my go-to for songwriting and, sometimes, I even compose piano pieces-only.

Music has always been part of my life and quickly transformed from a hobby to a profession during my teen years.

Can we expect to see new music in the pipeline? What does the remainder of the year have in store in that sense?

There is an E.P. in-the-making and it’ll be an E.P. with just my name on it: not a collaboration this time - even though I’m still working on collabs., too. Hopefully, I’ll be able to reveal a release date soon - for some time in 2018!

You are based in the U.K. but hail from Germany. What provoked the move and do you see yourself returning to Germany at any point?

This is an interesting question and I feel a degree of discomfort answering this question in the light of the political madness over the last year-and-a-half...

Being German, but having lived in the U.K. since the age of nineteen, the U.K. has become my musical home - and the U.K., being such an important musical hub for music, it certainly is a massive factor why I haven’t moved back to Germany yet (apart from that special someone keeping me here too).

I’ve always been excited about British artists and the styles that have come out of the U.K. 

What is the music scene like in Germany at the moment? How do the music scenes differ between the two nations?

I have also noticed a massive shift in the music industry in Germany - so I don’t feel quite like such an odd artist anymore - on home-ground - and more and more people find their outlets for creativity there, too. Techno has made a huge come back recently and I associate Techno with a big scene in Germany.

Both my homes have had a big influence in my music in their own ways.

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

There are a few different ways of working for me...

Sometimes, I just sit down on my piano and it all just comes to me like a magic wand has been waved. Other times, I write for someone else’s track and I imagine a story or a picture-  if I don’t feel any strong emotions going on in my life at that time, I make them up. 

What made you want to take up music? Was it a big part of your childhood?

I’ve always wanted to make the music I love listening to and, in my teen years, a huge part of my listening was Pop.

As I grew out of that, and started listening to D'n’B, House; Trance etc., I started aspiring moving into these styles. 

​​​​​​​

I know you teach music too. What is that experience like and how rewarding is it?

Teaching, to me, is highly rewarding.

I love passing on my passions and seeing my students grow and get excited about their talents. It’s not something I planned on doing: life just kind of went that way. It’s great and also reminds me that life will always bring changes about. 

How important is the fans’ support to what you do and how far you have come?

Fans/people supporting my music are what makes it all worth it.

I can write and sing in my studio all-day-long by myself - but that gets empty after a while. If no one witnesses it…did it even happen?

What are your most treasured and fondest memories from your time in music?

Ironically, some of my most treasured memories are me by myself on the piano, especially when I was younger, because it was those moments that sparked my dreams – and put me on the journey I’m still on..

Do you have any tour dates coming in the next few months? Where can we see you play?

I’ve taken a break from performing this year. I’m especially excited about my E.P. - coming out next year.

I’m hoping to be back on stage (lots) again!

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

Due to the change in technology; I haven’t listened much to albums as a whole in the last few years - so my three albums go way back and might not be what you expect…

Eminem - The Eminem Show 

Linkin Park – Meteora

Backstreet Boys - Millennium 

What advice would you give to new songwriters coming through?

Never stop improving yourself - and you’ve just got to want your dream enough to realise it!

Finally, and for being a good sport, you can name any song you like and I’ll play it here.

In the light of recent events, maybe my choice should be Linkin Park’s Numb - since it was one of my album choices

__________

Follow Maya Wolff

 Official:

http://www.mayawolff.com/

Twitter:

https://twitter.com/missmayawolff

Facebook:

https://www.facebook.com/mayawolffmusic/

Instagram:

https://www.instagram.com/missmayawolff/

SoundCloud:

https://soundcloud.com/mayawolff

YouTube:

https://www.youtube.com/channel/UCcMFuC7Mza0W4sd7o5ifCgQ

Spotify:

https://open.spotify.com/artist/2UsjG8xH0YKPLKxOJyORc3

INTERVIEW: Sloan Peterson

INTERVIEW:

 Sloan Peterson

________

THE incredible Sloan Peterson is the latest project from Sydney-based…

songwriter Joe Jackson. She steps out from the Sydney South Coast D.I.Y. scene and, rustling through vinyl and lost gems, brings an incredible concoction of 1950s guitar-based Pop and staggering jive. After arriving in Sydney (as a teenager); Jackson spent endless hours recording through a laptop and filming homemade videos. She is now twenty-four and, on 22nd September, the Sloan Peterson E.P. will be among us. I ask about the record and how she came together with her band; what themes are addressed – and whether there will be touring of the work.

Rats and 105 are already out there – I Want You has just sneaked out – and it shows Joe Jackson, and her boys, are exceptional at blending vintage Rock ‘n’ Roll with modern flair and production. The inciting and quixotic lead talks about her music past and what the scene is like in L.A. – she has spent time in the U.S. – and whether Australian music greatly differs; who her idols are and, taking a big step in music, what advice she would give any upcoming songwriters.

_________

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

Hi, hey; hellooo.

My week has been dandy - incredibly busy but great - thanks for asking!

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

I’m Sloan Peterson aaaannnnnnddd, I like to pardy…haha no, but, seriously…I’m Sloan Peterson and I write, play and perform music.

How did you come to form the band? How did you meet the guys you play with?

My bass player was the bass player for my old band and, basically, (just) put the feelers out that I needed some reliable groovers to join my gang - and Oscar and Ben fell into my lap.

It was great.

The music, as you say, is a mix of 1950s’ guitar-Pop and Garage-Rock. There are elements of David Bowie, Buddy Holly and Elvis Presley. Are these artists a big influence and how important do you think icons like Presley are to modern music?

Well. Elvis was not only the King of Rock’n’Roll but made it mainstream - he was one of the most influential musicians of the twentieth century. I listen to so many different styles of music.

I try not to limit myself as it’s where I get most of my influence while writing. It probably shows in my songs - how much they vary in sound.

The six-track Sloan Peterson E.P. is out on 22nd September. What can you reveal about the songs, sounds and themes explored throughout?

All the songs are very different - but they all tie in together somehow.

They were mostly written about love or heartbreak - with just the right amount of upbeat songs to slower, cruiser tunes.

Joe. You moved from Los Angeles as a teen and spent hours/days/weeks sifting through old records and recording on your laptop. It seems like you blend the classic and modern when it comes to music. How important is technology and vinyl in regards your unique sound?

Well. I think the reason the past is so hypnotic to me is probably because everything wasn't as accessible as it is now. I loved that people could still be original: now nothing's original as everyone is influenced by something or someone. Technology, to me, isn't terribly important: I’d love to give away my phone; delete all my socials and go off the grid – but, unfortunately, it's such an essential part of what I do.

There is something so magical about putting on a record in the lounge-room while doing things around the house - I think everybody would agree.

I am a big crate-digger and vinyl enthusiast, myself. Either in L.A. or Sydney; is there a place you go to when you hunt for vinyl? What has been your best discovery when sifting through dusty records?

I generally love looking through op-shops - so many hidden gems and soo much cheaper. There is a great place in Newtown, Sydney called Repressed Records - who always have bargain-bins for records, too.

So much gold there, also.

How does the music scene of Sydney differ from that of L.A.? Are there a lot of great venues and fellow bands around you?

Australia has incredible music/bands happening right now. It’s funny how distinctive the sounds differ between each city, I find. Melbourne and Byron seem to have a lot of D.I.Y. Punk music scenes; LOTS of mullet hairstyles (ha). Brisbane bands have a kinda British Pop vibe, to me, and Sydney seems to be very into Electro-laptop music.

Venue-wise, there are only a couple of standard places that people play - but I generally find L.A. quite similar to Australia…except there are a million more people in that rat race.

105 was the debut single - and made in collaboration with The Strand Arcade. What was it like filming in the same location David Bowie’s Let’s Dance was filmed in? How influential was Bowie’s aura and spirit to the video’s conception?

It was such an incredible experience to film in The Strand Arcade. There was such a great team that I worked with as well. We shot from 6 P.M and I didn't get home till 8.A.M. (the next morning).  It was insane!

I actually didn't realise David Bowie had actually shot in there for Let’s Dance but was informed while we were filming - which was pretty amazing, really.  

The black-and-white video for the follow-up single, Rats, was directed by Luke Stephenson. What was it like working with him and do you think the concept best captures your love of stars like Brigitte Bardot - and musicians such as Buddy Holly?

Rats was a very quick home-done video. We were kinda running out of time and had thrown a bunch of ideas around - but we were influenced by ’90s Grunge film clips like PJ Harvey’s Man-Size. Rats is a song about hyperactive teenagers who feel kinda lost - while trying to find their way to adulthood. I unintentionally based my performance around that: it was very different to the film a clip to 105 as I wanted it to come across relatable and natural - so no hair stylist or makeup – and, the reason for the ’60s fashion, was because I dressed myself. Haha.

That was also an unintentional fusion of eras.

Basically, I wanted to display the behaviour of an anxiety-ridden, hyperactive teen – so, hopefully, it came across that way.

How is the tour diary looking? Are plans on coming to the U.K. sometime?

For the end of the year, we are playing a lot of low-key festivals around Australia but, hopefully, (we’ll) get some international tour planned out for next year.

PHOTO CREDIT: @mrjeremydylan

What is it like playing with the boys and do you have to keep them in line?! Is there a member of the band who’s a bit of a trouble-maker or a bit of a diva?

I love playing with boys: they are so amazing and usually listen to what I say, straight-up – although, when I asked Jesse to wear a dress recently, he was pretty reluctant at first…but I told him that sex sells and we have to make him at least ten-times sexier on stage. Haha. I think he bought it.

Oscar, our drummer, is pretty young and definitely likes to party; Jesse, our bass player, probably gives me the most grief. He talks back a bit and changes things when playing sometimes - but such a great bass player. He reminds me of the bass player from the band The Jam - ’cause he kinda plays bass like a guitar. It’s incredible.

Ben, my lead guitarist, is just the (most) sweetest thing…

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

The Beatles – (every album)

Because they are timeless.

The Lemon Twigs - Do Hollywood

Because they are incredible performers and musicians. We supported them in Sydney - it blew my haircut clean off.

Laure Briard - Sur la piste de danse

It’s a dream of mine to sing a song in French! Laure Briard has an incredible album and videos that coincide. She's very talented!

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

Have fun but work hard: marketing is key...and look busy always.

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

Jesse Redwing - Turn Away

__________

Follow Sloan Peterson

 Official:

http://www.sloanpeterson.com.au/

Twitter:

https://twitter.com/sloanpeterson_

Facebook:

https://www.facebook.com/sloanpetersonmusic/

Instagram:

https://www.instagram.com/sloanpeterson/

SoundCloud:

https://soundcloud.com/user-256599845

YouTube:

https://www.youtube.com/watch?v=GydxpxuRqw4

Spotify:

https://open.spotify.com/artist/6opB1rIN0KzlWbK5ZlHz61

INTERVIEW: Panski

INTERVIEW:

 Panski

________

IT is back to America and an Atlanta (Georgia) resident whose latest…

E.P. is released in two days. A Road Less Traveled sees Panski reinvent established songs and provide them unique revision. I learn why Panski decided to release an E.P. of covers and whether there is a standout in the pack. He discusses platforms like SoundCloud and limitation for artists; what the music scene is like where he is – and working with stunning vocalists like Ellena Soule.

The American songwriter/producer talks to me about his love of music and the artists that helped shape who he is; the new talent he recommends to us – and whether we can see him in the U.K. soon.

_________

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

I’m doing pretty well.

Just finished breakfast, so I started filling this out. My week’s been alright so far - I worked from home yesterday because of Irma.

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

My name is Michael Kopanski. I’m a twenty-six-year-old artist/D.J./producer from Atlanta, GA. Over the last two years or so, my sound has evolved into a fusion of Country and Folk (with Electronic).

A Road Less Traveled, your E.P. out on 15th September, features reinvented cover versions. What was the reason for doing an E.P. or covers and which song is your favourite from the pack?

The main reason for doing covers is because SoundCloud has been flagging unofficial remixes - since the majors own a major stake in it. A way to avoid getting a strike on your profile is to not use any samples from the original - so it doesn’t get automatically detected by their system. In addition to this, nostalgia is the most important factor in the entertainment industry right now.

There are a lot of producers sampling songs from the ’70s and ’80s - or they are taking popular songs are creating their own versions. Klingande, for example, just released his cover of Pumped Up Kicks.

Where did that E.P.-title come from and what significance does it hold?

The title comes from a Robert Frost poem, The Road Not Taken.

I have been fortunate enough to come up in a producer community with a lot of folks chasing what’s popular in order to become popular. I have nothing against it but this is just not the path I’m choosing to take. I don’t want to be a carbon copy of what someone else has built: I want to build my own thing.

I am a fan of Sheryl Crow’s Soak Up the Sun. Is she someone important to you and was it quite a hard song to tackle?

I’ve always been a fan of this song...

The vibes of it are so happy and summery and, since I come from a Tropical-House background, it just made sense. The song was a little bit hard to tackle because in the original: there are two bridges which I was having a hard time fitting into my version.

I ended up scrapping them completely - and it worked out a lot better with the flow.

Talk to me about your involvement with Ellena Soule. You conspire with her on a couple of numbers. What was it like working with her and will you be working together again?

I got to know Ellena through my old collective, Tropikult (back in 2014-’15). She had done some covers and originals with other artists in my network and, since she lives in Nashville, it’s not too far of a drive.

We’ll likely be working together again on something, for sure.

Were all the songs recorded in the same studio or was there quite a lot of moving around? How many other musicians did you bring in and what were the recording sessions like?

I recorded two of the songs at the same studio in Nashville. I recorded some guitars at my home studio. I worked with a lot of musicians online and they (just) sent me stuff to work with. I always love being in the studio - whether it’s mine or someone else’s.

Will there be more genre-crossing works like this? Are you working on something for future-release right now?

There aren’t any artists who are trying to bring the Country sound to EDM.

This is what I believe makes me stand out so I’m currently happy with the lane that I’m in. But, I do plan to dive deeper into the Pop side of things. No matter how the track sounds, you’ll be able to tell that it’s a Panski track.

Atlanta, Georgia is your base. What is the music scene like there and what type of sounds can one experience if we were to visit?

The ‘turn up’ culture is very much alive in Atlanta. We book a lot of Trap and Dubstep artists - and that can make it hard for a House D.J. like myself. Local acts like Halogen, Teriyaki Noise and I are trying to make it more of a House scene.

But, in general, D.J.-ing is phasing out - so I am hoping to get my live act going sometime next year.

Who were the artists that shaped you as a musician and connected with you at a young age?

This is a hard question to answer - because I’m literally a fan of all types of music...

I got my first DAW when I was in middle-school. I wanted to make rap because Atlanta was the city of Hip-Hop in the early-2000s. I gradually became a fan of Reggae in high-school and I always thought I’d do something similar to the Dirty Heads. For Electronic, specifically, I first realized I wanted to produce when I heard Avicii’s Levels.

When I started to hone my craft, I discovered Thomas Jack, Kygo and Matoma...I knew this was the lane for me. The chill and beachy vibes fit well with my love for Reggae; Matoma was doing Tropical remixes of old Rap songs - so it just made sense. When I got a Tweet from Kaskade - praising one of my remixes - I knew this was what I wanted to do.

Are there any tour dates approaching? We can we come see you play?

I have my E.P. release-party on September 15th here in Atlanta. I have a lot of singles and remixes planned for 2018 - so I am hoping to get on some slots next year.

Any plans for you to come and do a few U.K. dates?

I was out there last summer networking and making some connections. I would absolutely love to come back.

Who are new acts you recommend we check out?

I would suggest checking out my buddies BUNT. - because they have a great sound and are making music similar to what I’m making.

IN THIS PHOTO: Youngr

I also love Youngr. I’m sure you’re familiar with him - as he’s from the U.K.

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

Slightly Stoopid’s Everything You Need

It is an album (with songs) that I will literally never get tired of hearing.

Blink-182’s I Miss You

This is the album that got me through my awkward teenager phase.

Kygo’s Cloud Nine

It serves as inspiration for me because of where he started.

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

These are in no particular order - but here are some things I have learned along my journey…

Hone your craft; open up your DAW and work on something every single day. Reach out to artists with similar followings and genres - and be supportive of them. Be as genuine as possible and don’t get bogged-down on how others’ careers may be advancing. You don’t have control of what happens to them: you only have control of what you do for yourself.

Don’t compare yourself to anyone: compare yourself to the person you were yesterday. Don’t expect anyone to help you out. Nobody owes you anything; so make things happen for yourself in a respectable fashion.

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

Here’s something obscure:

__________

Follow Panski

 Twitter:

https://twitter.com/PanskiMusic

Facebook:

https://www.facebook.com/panskimusic

Instagram:

https://www.instagram.com/panskimusic/

SoundCloud:

https://soundcloud.com/panskimusic

Spotify:

https://open.spotify.com/artist/6au2tFFIEY6IeOdw4Ulxgj

FEATURE: Mercury Rising: Dispelling the ‘Curse’ of the Mercury Music Prize

FEATURE:

 

Mercury Rising

 IN THIS PHOTO: This year's favourite, Kate Tempest (for Let Them Eat Chaos)

Dispelling the ‘Curse’ of the Mercury Music Prize

________

MANY articles have been written about the so-called ‘curse’…

of the Mercury Music Prize. For a start: curses do not exist. You’d have to be a credulous idiot to buy into such mythology and superstition. Anyone who, after receiving a nomination/prize, experiences a downfall in fortunes – that is nothing to do with the Mercury itself. Over the years, bands like Kaiser Chiefs and The Klaxon have sighed with relief having avoided the Mercury ‘curse’. I think this is nonsense and, in an age where we need to celebrate British music, pouring any scorn on an honour is disrespectful and foolish. I will look at the merits of the Mercury Music Prize but, before then, some evidence for the ‘defence’ (or the prosecution: I am not sure which side is which!). In 2006, The Independent ran an article investigating the ill fortunes artists faced – when they won or were nominated for the Mercury Music Prize.

“Because for all attention lavished upon it in the media, the Mercury Prize has acquired a well-established reputation for destroying its winners' futures. Of the previously triumphant, only 1992's inaugural winners, Primal Scream, have managed to make anything like a go of their subsequent career. Since then, the Mercury has become the Cenotaph at which is mourned the loss of a musical generation. Indeed, so deadly has the prize become, that it even managed to kill off its original sponsors. What this portends for current sponsors Nationwide, I know not”.

 IN THIS PHOTO: The Klaxons in 2006

The piece charted the event and some more-recent winners whose careers have taken a steady nosedive since winning the Prize:

“Ms Dynamite's win in 2002 instigated another example of over-exposure reaping the whirlwind of public indifference, when her follow-up album was a disastrous failure. Bookies' favourites The Streets, meanwhile, went from strength to strength. Dizzee Rascal's triumph the following year - clearly the result of the judges' desire not to reward such corporate white-boy rock types as Radiohead, Coldplay or The Darkness - was another case of prematurely raising expectations about an act of somewhat restricted appeal (what the Mercury website refers to as recognition of "brave, challenging music", now apparently a big part of its once simple remit)”.

I agree with some of the findings there. I can’t argue against sales figures and subsequent reviews. That cannot be blamed on the Mercury panel but the artists themselves. Another point raised – regarding celebrating minority artists and going against corporate acts – is contentious and something I will pick up on later. The piece mentioned M People’s bizarre and unexpected win in 1994 – in a year when Blur and Pulp released stunning, sign-of-the-times albums. That, to me, is an anomaly that was based on a rather poor casting – one cannot see that as a common recurrence and much-repeated mistake. There are other articles that bring up the curse element and how certain acts have been scarred by the honour of winning a great music prize.

The Guardian, back in 2007, highlighted The Klaxons as a particular example:

“In their acceptance speech on Tuesday at the Mercury prize, The Klaxons told a story about how we watched last year's awards while recording the album [which Ford produced] . It's true - we were thrilled that the Arctic Monkeys won it, and jokingly declared that it would be our turn the next year. When we finally finished the record we had a great sense of achievement, and knew we had captured something in those few weeks. But, as is always the case, we didn't have a clue what would actually happen.

Jamie (Reynolds, singer and bass player) mentioned to me that very few bands who have won the prize in the past have gone on to make a better album than the one which won it for them, and looking at the evidence, he certainly has a point.

Primal Scream, were the winners of the first prize in 1992 with Screamadelica, and although they've produced consistently good albums ever since, it would be fair to say that none have been era-defining like that fantastic record. Suede, the next year's winners with their eponymous debut, would be the first to admit, I'm sure, that nothing that came after was its equal.

Elegant Slumming, M People's winning effort in 1994 is hardly noteworthy enough to use as evidence, but it is worth remembering that it somehow beat, among others, Blur's Parklife and Pulp's His 'n' Hers. Blur's career certainly didn't suffer by not winning the award, and they've become one of our most enduring and important bands - but who knows what would have happened if they'd won it ...

 When you look through the rest of the roll call of winners right up to the Klaxons' win, then, there does seem to be a strange consistency to the argument: Portishead's Dummy in 1995; Gomez's Bring It On in 1998; Badly Drawn Boy's The Hour of Bewilderbeast in 2000 ... after this point in the timeline you have to be wary I think, because it's the recent past, and you wouldn't, for example, bet against Franz Ferdinand's third album being an absolute gem”.

All of the examples listed there have nothing to do with winning an award and everything to do with the act not being able to better their finest album. If, say, Ms. Dynamite, Badly Drawn Boy and M People were unable to capture the magic and peak of their Mercury-winning moment then that is their own problem. It seems ungrateful to say the Mercury Music Prize is a curse and something that will kill a musician’s career. Taking M People’s 1994 win (for Elegant Slumming) and there have been few truly shocking decisions in its history. The reason we have not heard much from Roni Size (winner in 1997), Talvin Singh (1999) and Speech Debelle (2009) is because, when they won the award that year, there were quite unknown and under-the-radar. They were not huge acts like Radiohead who, being on such a peak, faded into obscurity – these artists were not huge and exposed so it wasn’t a big shock to see they could not ascend to the dizzying heights of superstardom. All the examples journalists bring in as ‘cursed’ are artists that were never hugely popular and well-known. That brings in another question: is the Prize more about niche artists and less about popularity?!

IN THIS PHOTO: Talvin Singh/PHOTO CREDIT: @talvinsingh

One could debate whether notable omissions – from Pulp and Radiohead through to The Prodigy – were excluded from the top honour because the panel wanted to embrace a less-recognisable act. This is a contentious point but I feel there needs to be a blend of commercial acknowledgement and underground championing. If one were to celebrate all the biggest acts every year that would not give smaller acts a chance to be championed. It is a hard balance to get right but one, I think, has been struck since 1992. Since Primal Scream scooped the first Award; very few of the artists nominated have disappeared and seen a huge stutter. The artists seen as part of this ‘curse’ were never destined for future greatness and huge prosperity. I feel a couple of reasons why certain acts disappeared quicker than one would have hoped is because of the direction they took on the follow-up album – and the way a career can go under natural circumstances. Artists like Dizzee Rascal (winner in 2003 for Boy in da Corner) took a more commercial route in future years and ensured he would survive and endure longer than many would have predicted - the fact his 2017-album, Raskit, is a return to his debut shows what one needs to do to keep relevant and unexpected. A few artists – Ms. Dynamite and Talvin Singh – won the award for great albums but failed to progress their music sufficiently. That would have happened with or without the Prize. It was not as if they won on that night, went back to their hotel rooms, and set out to destroy their careers.

IN THIS PHOTO: Previous nominee Gemma Hayes

Each of them could have kept a level-head and continued to make the music they felt best represented them. Ms. Dynamite’s Judgement Days (2005) contained a lot of anger and preaching – critics off-put by the aggression and harsh tones of the album. That is not a sound/direction that comes with winning an award like the Mercury. The panel did not stipulate any winner become the self-appointed voice for disaffection and scold everyone within sight. Maybe Ms. Dynamite felt an edgier and more attacking sound would be a natural evolution – again, that is her decision and not one mandated to her victory. The same goes for Singh who, on 2001’s Ha, stepped into a more detailed, experimenting direction – irregular time-patterns and two-step beat patterns meant many did not connect with the record. Maybe he, in zeal to distance himself from his previous album and do something different, made a bad decision but, again, that is down to him. Bigger artists – who have a lot more pressure on their shoulders – made better choices and managed to survive and grow. Suede, Pulp and PJ Harvey all took the Prize in their stride and crafted many more great album. We can put to bed the nonsense that is the ‘Mercury Curse’ because, quite clearly, a few minor artists taking a fall do not warrant truth or any real shock. What I wanted to talk about is why it is a prestige and honour winning an award.

IN THIS IMAGE: Gorillaz

If Gorillaz and The Klaxons felt they avoided a curse by dodging the Mercury then that is their ingratitude – The Klaxons are all-but-done and Gorillaz have struggled to rekindle the epic quality of albums like Demon Days. I look at some modern success stories such as Benjamin Clementine and Ghostpoet – his album, Shedding Skin, was his second nomination – and the confidence they acquired after being nominated/winning. Both artists could be considered, at the time, underground and not normally named at award shows. One of the things that impressed me about the Mercury Music Prize is the recognition of different genres. I will end by looking at this year’s list but, by the year, they have steered away from the big commercial successes and tipped their hat to acts who perform in less-exposed genres. From Grime and Rap through to Experimental: artists one might not have normally known about are elevated and brought into the public sphere. That is great as it makes people aware of music’s full range and rebels against award ceremonies that celebrate Pop and Rock – offering no diversity or interest. There are some that say the Mercury Prize does not go too far. They claim genres like Metal, Trance and Folk deserve more of a say. I agree regarding Folk and one of the biggest mistakes of this year’s Mercury nominations is the exclusion of Laura Marling – surely Semper Femina is among the year’s best albums?! Folk artists have chances to claim merit – there are Folk award shows and prizes – and there Metal acts have time to shine. One cannot recognise every genre - as that would not work.

IN THIS PHOTO: Laura Marling

Maybe the Mercury Prize will assimilate heavier artists down the line but, right now, they are as inclusive and varied as I have ever seen. A reason why the Mercury Music Prize does not include many Metal and Trance albums, say, is sheer quality. We do not see these artists reviewed and played on bigger stations; they are not creating albums that are among critics’ very best – therefore, they do not warrant a place on the shortlist. If a Metal band did release a year-defining album then, yes, they deserve a Mercury nod. It is pleasing seeing a lot more black artists being included on the Mercury minds. In past years – at the start when bigger, white artists made up the shortlist – it was seen as homogenised and too beholden to the biggest bands around. Now, fewer mainstream acts are included and there is a definite embrace of minority artists – playing in genres that are ordinarily consigned to the back of music magazines. Critics argue the Mercury Music Prize is too eager to give the award to niche acts in an attempt to show they are cool, all-encompassing and outsider. That is not true as, in the past five years, we have seen everyone from James Blake (2013’s Overgrown), Benjamin Clementine (2015’s At Least for Now) and Skepta (last year’s Konnichiwa) being given the gong. PJ Harvey and The xx are all winners this decade so one can see broadness. A lot of the nominees have been minor and ‘unique’ in terms of their sound and artistry.

IN THIS PHOTO: Benjamin Clementine/PHOTO CREDIT: Steven Pan (GQ)

That is good because we get to open our minds to music we would not have otherwise of heard. In an age where music is criticised for its lack of diversity and equality: how can we choose to criticise an award that embraces musicians of different genders, races and genres?! Some of the bigger award shows still go after the famous and commercial – that is not the case with the Mercury Music Prize, you see. On the point of the ‘curse’ and the falderal that follows that; one can argue bands who have won it have been given a boost and the confidence to create bigger work. When Elbow won in 2008 (for The Seldom Seen Kid); they were given an enormous boost and transcended to arena-sized titans who were elevated to the forefront – the fact they beat away competition as stiff as Radiohead and Laura Marling that years shows what a feat it was! The twenty-grand cheque that comes with the award, some say, should not go to acts who are wealthier and bigger. They cannot make exceptions based on bank balance but, for acts like Benjamin Clementine, it is a much-needed financial boost that ensures he can put that straight back into his music. The biggest positive regarding the Mercury Music Prize is the variety of albums it nominates. Last year saw an eclectic line-up that featured Radiohead, Laura Mvula and The Comet Is Coming; Bat for Lashes and Savages were all there! A broad and exciting variety of music and artists.

IN THIS PHOTO: The Comet Is Coming

I was interested to learn about The Comet Is Coming and Savages: two bands I was not overly aware of and, since, have become fans of. The same goes for 2015 when Wolf Alice and Eska were nominated – Wolf Alice are preparing a new album and preparing for a fresh assault on the music landscape. This year, if anything, the voting panel has taken the biggest sweep of music’s spectrum yet. When Ed Sheeran was announced as a shortlisted name this year; many, myself included, were miffed. His album, % (Divide), was not a huge winner with critics and many feel it is a further leap into the beige and boring. Again, with alt-J and Blossoms being nominated – Relaxer and Blossoms are two albums that gained plenty of mixed reviews and are not records that stay in the head. If one argues a pure quality-reception argument: should we exclude these three albums in favour of something stronger and more acclaimed?! I was confused and I saw all those pieces claiming the Mercury Music Prize had lost its way and edge. I disagree with that because, as we can see from the Shortlist, Kate Tempest (Let Them Eat Chaos is favourite), Sampha (second-favourite for Process) and Loyle Carner (Yesterday’s Gone) are all in the running – and are the three frontrunners. J Hus is out there and Stormzy is included – the second year a Grime star is among the chasing pack. The fact there are two, maybe three, less-than-edgy artists among the nominated is not indicative of a dumbing-down and a lack of awareness.

The perspicacity debate could be extended to ask why Sleaford Mods, Laura Marling and Jane Weaver did not get nominations?! The fact one or two more female musicians would have provided greater gender-balance – most of the nominees are men – might have been a wider choice. I have reviewed my initial scepticism and know it is another evolution for a Prize that needs to reflect the fullness of music and recognise commercial artists are worthy of inclusion. If you keep repeating yourself and nominate the same genres/sounds; that is not a smart decision. The fact Ed Sheeran and Blossoms do not have a chance of winning it will be a relief to those who have questioned their inclusion. It is, as you’d expect, the finest and strongest selections from the shortlist that are wrestling for the Prize. In fact, it is a congenial and pleasant build-up. Kate Tempest has nodded to Sampha and Loyle Carner (and Stormzy); they have nodded back and there is no sense of competition and pressure. Kate Tempest, as the favourite, shows there is no curse and expectation when one is nominated. Her debut album, Everybody Down, was included in 2014’s Shortlist and it narrowly missed out. If she had won; things would not have been worse for her – in fact, it might have afforded her the chance to grow stronger quicker. This year’s mix, pleasingly, brings ‘truth-telling’ artists to prominence – those who are talking about what is happening in life and the realities of modern Britain.

IN THIS PHOTO: The album cover for Loyle Carner's Yesterday's Gone

Music, at the moment, lacks those essential voices unafraid to tackle the mess in which we find ourselves. Kate Tempest and Stormzy – Loyle Carner, for that matter – are bold and vital voices that have been given a boost and sense of essentialness with their nominations. Alongside the much-discussed are the outsiders, The Big Moon and Dinosaur. This year’s rundown features a pleasing blend of commercial/mainstream; popular leaders and the outside runners – just what an award show should be about. The Big Moon’s Love in the 4th Dimension is a solid and compelling work from a fantastic female band. They are an Indie-Rock band ensuring there is promise and relevance in guitar music this year – and proving female Rock/Indie is among the very best out there. Their nomination shows the Prize is not about the boys and mainstream elite. The same can be said for Dinosaur who, led by Laura Jurd, are a blazing Jazz ensemble - in many people’s minds. It is debatable how many of would have missed out on an album like Together, As One, were Jurd’s clan not nominated. It is a fantastic Jazz odyssey that features so many ideas, textures and highlights. Naturally, it is unlikely the album will win – as the outsiders usually do not – but that is beside the point. The very fact it is nominated is a big thing and will give Dinosaur the confidence to keep recording and reaching. If an artist knows they are worthy of such an honour; they will keep pushing and striving – that is not to be sniffed at and a huge thing for any act.

IN THIS PHOTO: The Big Moon

One cannot associate any curse with Dinosaur’s nomination as, were they not monitored, many would not know they existed – therefore, unaware of their relative failure/decline. The Big Moon will get much motivation from their inclusion – they are outsiders, too – but it shows the panel is thinking more about equality, diversity and progression. I agree there are some notable omissions but one needs to draw the line somewhere. Whoever wins the Prize tomorrow – I am torn between Loyle Carner and Kate Tempest – it will be exciting to hear. Nobody should question a time that celebrates the best British music in all its variations. We are divided as a nation so should not split and quarrel over something like the Mercury Music Prize. It celebrates the quality and depth of our music and, whilst it does have some odd inclusions, the panel has brought the Prize into 2017 and seen we need to acknowledge Pop/Indie artists that would not normally get an inclusion. If we are including Dinosaur then why not Ed Sheeran?! Neither will win but they have been included for the effect and impact they have made on music – and how different they both are as artists. My Mercury Music Prize playlist (below) chronicles winners and nominees from 1992 to the present-day. It shows what magnificent music our best artists have produced. Good luck to all the nominees and do not give credence to any talk of ‘curse’ and misfortune. The winner will continue to make great music and the nominees, if they do suffer any dip, have to shoulder that responsibility – most will go on to great things are afforded the exposure to grow and…

IN THIS PHOTO: Kate Tempest

CREATE incredible music for years to come.

FEATURE: Strum und Drag: Has Guitar Music Lost Its Innovation and Relevance?

FEATURE:

 

Strum und Drag:

 PHOTO CREDIT: Pinterest 

Has Guitar Music Lost Its Innovation and Relevance?

________

ONE of the biggest changes I have noted about modern music…

IN THIS PHOTO: Wolf Alice (one of the most impressive British bands of the moment)/PHOTO CREDIT: Getty

is the transition from guitar-based songs to other forms of sound – modern electronic-produced music and variations. Maybe I hark to better times like the 1990s: the last real explosion of profitable guitar-based music. I suppose bands like The Strokes and The Libertines had relevance and pull over a decade ago – the scene seems to have dwindled since then. Not only has the value and strength of the electric guitar waned: acoustic songwriters are not as impressive and prominent as once were. The excitement has gone out of this side of music. What are the reasons behind this, then? Before I look at tastes, guitar lessons and the examples set by the mainstream – a quick glance at guitar sales from the U.S. Looking at a piece from the Washington Post - and it seems fewer people are picking up the guitar:

“The numbers back him up. In the past decade, electric guitar sales have plummeted, from about 1.5 million sold annually to just over 1 million. The two biggest companies, Gibson and Fender, are in debt, and a third, PRS Guitars, had to cut staff and expand production of cheaper guitars. In April, Moody’s downgraded Guitar Center, the largest chain retailer, as it faces $1.6 billion in debt. And at Sweetwater.com, the online retailer, a brand-new, interest-free Fender can be had for as little as $8 a month.

 Over the past three years, Gibson’s annual revenue has fallen from $2.1 billion to $1.7 billion, according to data gathered by Music Trades magazine. The company’s 2014 purchase of Philips’s audio division for $135 million led to debt — how much, the company won’t say — and a Moody’s downgrading last year. Fender, which had to abandon a public offering in 2012, has fallen from $675 million in revenue to $545 million. It has cut its debt in recent years, but it remains at $100 million”.

That article was written a few months ago and provides a small glimpse into the problem we have. If one looks at the breakdowns by manufacturer and type – acoustic and electric guitar – and one notices sales figures are declining and troublesome. I suppose interest in the guitar starts at childhood: are children asking for guitars as presents? Maybe the rise of modern technology means one can simulate the guitar without having to pick one up – many youngsters are asking for tablets and various gadgets for presents; as opposed to more conventional and traditional gifts. I remember asking for an acoustic guitar when I was younger – I failed to master it within hours so, naturally, disposed of it! – and that makes me wonder why there is a bit of a dip in fortunes.

PHOTO CREDIT: Unsplash

What commentators are noticing is how, even though there is a sales-dip; the electric guitar is out-selling acoustic. I will come to look at artists who might inspire this but it is interesting fewer guitars are making their way into the hands of our potential musicians. Perhaps prices are too high and patience is low. Does one have the discipline to learn the guitar and master their craft? Every year we embrace technology more: the less time we explore instruments and handle anything physical and challenging. There are those keen to preserve the self-taught method – fewer people are going to guitar tutors in 2017. I worry fewer children are getting into the guitar: fewer are taking up piano and it seems music learning and fascination is moving in another direction. Music is in a strong state but I can see certain genres fading – other styles coming to prominence and replacing the old order. Maybe the sheer dedication and cost needed to learn the guitar is putting many off. Even a decent acoustic guitar can set one back £100 or more. You put lessons into the mix and, before you have recorded a song, your wallet is considerably lighter. A lot of our music academies and schools are promoting courses like Production and Vocals – guitar not as emphasised as previous days. Technology, as I say, makes it easy to replicate guitar sounds: musicians and the curious are producing entire songs on tablets and laptops.

IN THIS PHOTO: Goat Girl (another guitar band who have the potential to add potency and potential to the scene)

Electric guitars, in my mind, have always been featured in bands – fewer solo artists play them. The opposite is true of acoustic guitar, so, perhaps, it is easier succeeding as a solo artist? There might be some truth there but all of these debates and findings can be linked to what one can observe in modern music. I will bring in an article from Guitar Player – who go into extreme depth about the decline (or uncertainty) of guitar music. What I find is there are two types of guitar-playing musician: the acoustic-strumming solo artist and the electric guitar-fuelled band. Sure, there are solo artists who play electric guitar – fewer bands with an acoustic element; maybe Americana and Country acts – and a real split between the mainstream and underground. I am hearing a lot of promising guitar bands who are unsigned and away-from-the-mainstream. Plenty of acoustic solo artists capable of providing something deep and meaningful – tinged with energy and exciting. The reason many people take up instruments is down to their favourite artists - on the radio and in the charts. When was the last time we got really excited about guitar bands?! For every underappreciated IDLES, there is an overrated Royal Blood – there is a quality imbalance that means few people are excited about guitar music. I want to review and look at the quality of guitar sounds but, before I do, a look at the Guitar World article:

“The intense pull of that rock-star dream was probably no different than our fervent desires to be astronauts, fighter pilots, or super heroes in our pre-teen years, but acquiring the skills to play guitar was infinitely more achievable than developing x-ray vision or indestructibility. So we got our hands on typically horrendously bad guitars and often suffered our way to competence—and, hopefully, a path to technical and creative excellence. And most of us have stayed dedicated to the guitar throughout the decades, and we will likely continue this devotion until our hands can no longer manage a ragged version of “Hey Joe.”

IN THIS PHOTO: Royal Blood (whose latest album, How Did We Get So Dark? failed to add much to their debut)

But this is a story of an age gone by.

 While society—and history—can be cyclical, there is no current globally seductive force such as “The Beatles,” “Jimi-Jimmy-Jeff-and-Eric,” “The Sex Pistols,” “Stevie Ray Vaughan,” “Nirvana,” “Unplugged,” or “Green Day” to drive an explosion of young people starting bands or solo acts and buying epic numbers of guitars and guitar gear. In fact, even if there were a 2017 version of “The Beatles on The Ed Sullivan Show in 1964,” would it be compelling enough to inspire Millennials to launch a million bands?”

There are still plenty willing to play the guitar but there isn’t the same sort of freshness and interest there was when I was young. Guitar manufacturers are developing products making it easier to learn the instrument – many become frustrated they do not have an instant aptitude and affiliation. One of the most pleasing aspects of guitar music is more women coming onto the scene. Bands like Honeyblood and PINS are putting female guitar players into the spotlight and inspiring others (women) to take up the instrument.

IN THIS PHOTO: Jimi Hendrix/PHOTO CREDIT: David Redfern/Redferns

Although there is sexism and imbalance in music: the shift away from a 'men-only' attitude to guitars is fading. That is a good thing but my concern is with the quality and excitement we have with guitar sounds – are the best of the bunch really pushing guitar music forward? It is great to see women tackling the guitar with as much passion as men – responsible for keeping sales healthy, if not spectacular. One of the main reasons a lot of girls/young women are picking up the guitar is artists like Taylor Swift. Times have changed so much - people are asking whether acts like Jimi Hendrix and Jimmy Page are as significant as Taylor Swift – when it comes to young people picking up the guitar. Ed Sheeran is someone who will inspire many to take up the guitar. Female artists are promoting videos on YouTube with more and more releasing music through D.I.Y. methods – streaming them online and avoiding the studio.

IN THIS PHOTO: Taylor Swift

Any interaction with the guitar is valid and impressive. I wonder whether the status and quality of the artists getting people into guitar music are leading a problem of blandness and generic music? My fear around guitar music’s health is more aimed at electric sounds and bands – fewer electric guitars seem to be making their way onto YouTube when compared with the acoustic guitar. I am pleased, regardless of who inspires it, more people are picking up the guitar. One can quibble and debate whether sales are falling significantly and whether fewer people are taking up lessons – I would argue there is enough to be worried about – but it seems traditional music shops are not as prolific as once they were. A lot of young players who arrive on YouTube focus on cover songs – few have their own material at that stage. One of the things that concern me about surveys – young women asked why they play guitar – are names like Taylor Swift and Ed Sheeran. They both play Pop music – albeit it different sides of the spectrum – and hardly the most exhilarating and original artists out there. I wonder whether the rise in acoustic guitar sales is because of great and reputable players – or those mainstream artists who represent the worst side of the industry. Taylor Swift is hardly known for her guitar chops so I wonder whether the fact she is famous and popular is more important than the quality of her music?!

IN THIS PHOTO: Ed Sheeran/PHOTO CREDIT: Ian Gavan/Getty Images

I grew up listening to bands like Oasis and Manic Street Preachers who, during the 1990s, created some of the finest music ever. I listened to a lot of the best bands of the 1970s; legendary 1960s examples and musicians who knew how to captivate and entrance. I am glad acoustic guitar artists like Ed Sheeran have a career but there is very little to get excited about. Many would argue acoustic music has never been exciting. That is contentious but, when considering the best artists, they were interesting, inspiring and different. Consider everyone from Joni Mitchell and Bob Dylan to Nick Drake and Muriel Anderson. They could write incredibly intricate and beautiful songs that got into the heart: the acoustic guitar a pivotal guide and entrancing component! I hear a lot of great underground/unsigned artists and have hope they will inspire future generations. Thinking about the current crop of acoustic artists and the mind goes to solo performers: it does, unfortunately, draw a few blanks. I find so many solo artists are relying on electronics or placing the guitar very low in the mix. Even artists who expose the acoustic guitar – Folk, Americana and Pop, for instance – struggle to create anything truly exceptional. There are exceptions but, for the most part, I find myself unmoved and bored by a lot of acoustic guitar music. The fingerpicking can appear limited and narrow; the melodies predictable and formulaic. Tastes have changed so we will never have another big Folk movement as we did in the 1960s and 1970s. The mainstream media are hooked on what is seen as ‘cool’ and ‘fashionable’ – how likely are they to feature newcomers and unsigned guitar players?!

IN THIS PHOTO: Oasis

One of the biggest problems at the moment is low confidence in the mainstream. There is too much sugary, stale Pop: genres like Folk pushed aside and, the best artists from that side, bringing in other genres and tastes. Some of the most influential musicians have all time have wielded an acoustic guitar – able to transfix listeners and create spellbinding lines. Where are the modern legends and those doing incredible things with an acoustic guitar?! You can see parallels when it comes to band-made electric sounds.  A lot of the guitar magazines and media hark back to the times of Jimi Hendrix, Eric Clapton and Jeff Beck. I wonder why we have very few modern equivalent and struggle to name any new electric guitar geniuses? The best I can think of – Jack White, Matt Bellamy and Queens of the Stone Age (if we are naming bands) – have been around for years and have already inspired millions. Where are their replacements ready to pick up the mantle? In the same way there are few acoustic guitar innovators: it is a stretch naming a lot of great Rock bands and guitar players who can get us truly hooked and seduced. I think of the best albums of this year and, aside from Queens of the Stone Age; guitar-led music is pretty low down the list – most of my favourite albums of the year are not guitar-heavy.

That is worrying when we are looking around for modern-day Eric Claptons and Jimmy Pages. We need to showcase the best guitarists out there and ensure guitar music does not die out. I am given hope seeing a lot of great female Rock bands emerge and some terrific Indie acts coming through at the moment. Most of them will struggle to break to the mainstream soon because there is still that demand for Pop and what is considered commercial. Away from those few bands here and there; one finds very few standout guitarists. Guitar magazines hark back to the old days and the guitar boys: there are a lot of great female newcomers and artists showing what they are made of. Is the fact we have a rather indeterminate and underfed guitar mainstream stem from the lack of exposure our best talent is afforded? I want to quote from the previous article which explores how education and guitar competitions might change the mind of the mainstream and magazines:

“The time-honored way to reach new players has been through education. The publishing industry is always a big part of that endeavor, and tech-oriented manufacturers such as BOSS, Fishman, Line 6, and others have long supported their artists and product managers getting out in the field and explaining how to make sounds with their gear. Many times, of course, these seminars correspond to a particular product, but, at times, also share general information on tone creation along with power-user tips.

 PHOTO CREDIT: Unsplash

Line 6, for example, offers its Tone Made Pro seminars around its Helix multi-effects processor for guitar, but details the building blocks of some classic tones during the discussion. The nuts-and-bolts details of tone construction by guitar heroes such as The Edge, Stevie Ray Vaughan, Jimi Hendrix, and others can certainly be transferred to digital processors by other manufacturers, and even accomplished in the analog realm if a player has the time and budget to col- lect a bunch of actual amps and pedals and physically recreate the signal paths learned in the seminar.

“For 20 years, we have analyzed every nuance of the guitar amps, cabs, and effects used to create the most recognizable tones ever,” said Marcus Ryle, Line 6’s co-founder and President. “Now, we can use this expertise to help guitarists expand their knowledge and create the next generation of legendary tones.”

Another route to seduce engagement is to inspire young players to share their music. Again, music publications often run contests where guitar stars and/or editors rate audio files or YouTube videos from solo artists and bands. The idea here is to provide a thrilling “end use” for a guitarist’s creative toil and trouble, and hopefully inspire them to continue working their way towards popular acclaim. (GP recently relaunched its Guitar Player Records imprint in order to provide players a professional venue to distribute their instrumental-guitar music.)

 PHOTO CREDIT: Unsplash

In a similar vein, Ernie Ball has produced its Battle of the Bands program for a few years now, inviting unsigned acts to vie for the opportunity to perform on big stages at major music events. Other companies also have competitions from time to time where bands can win gear, perform with their heroes, or get booked on killer tours—all for simply having the ambition to create some music and share it with either the public and/or their contest judges. 

On the face of it, these initiatives are directed at people who already have some facility with their instruments, rather than beginners. But a beginner could be energized by seeing a friend’s band win a contest, or intrigued by having someone enthusiastically relate what they had learned at a seminar. The trick here would be the next step: How do we transform that interest into action, and get the novice to risk picking up a guitar and trying it out for themselves?”.

IN THIS PHOTO: The Amazons (whose eponymous debut album failed to truly ignite)/PHOTO CREDIT: SHOT BY PHOX

Interesting points are raised but the fact remains: what we have in the public gaze is not good enough. Those acoustic artists that cause chills with their finger-picking and incredible compositions are a rarity. A few Folk albums from last year stunned me; a couple of great albums this year. Not only are there few standout acoustic guitar artists sticking in the memory: the genuinely great and promising are struggling to get their music played on popular stations. It is fine being inspired by musicians, but I fear big mainstream stars like Taylor Swift are not going to produce the next generation of guitar innovators – even if, in a good way, more girls get into the guitar because of her. Ed Sheeran is one of the world’s biggest Acoustic artists but his music makes me a little bored and disconnected Few of his songs contain great chord sequences and intriguing choruses; there aren’t the big names there once were or artists you feel a true bond to. Perhaps there are a lot out there: the fact they have not come to public attention means we need to make changes and addresses this issue. It is great seeing so many types of music and genres mixing alongside one another. I yearn to discover great acoustic guitar players who are saying something interesting. If the bland and commercial are the reason so many people are picking up guitars then that is going to create a pattern we will struggle to break. A lot of the most-popular guitar bands such as Foo Fighters and Royal Blood, in my view, lack real clout and originality. We need to unearth those bands, female or male, that can push guitar music to the masses...

IN THIS PHOTO: Girl Ray (a fantastic trio who mixes 1990s Britpop and modern Alternative in a dreamy blend)

A lot of mainstream riffs have teeth but lack nuance; the playing does not have the same electricity and richness as Eric Clapton, Pete Townshend and Jimmy Page – perhaps those are lofty ideals but it is possible to get to within touching distance of their majesty. Modern guitar music is not even close to that giddy peak. Worse than that; it is boring and instantly forgettable. I wonder why there aren't more guitar solo artists – like Jack White, for example – and band-music all blends into one another. I admit it would be naïve to assume there are no great guitar bands or solo artists – I can rattle a few names, at the very least. They are in the minority and a lot of those guitar acts we are force-fed are rather tired and routine. Paul Weller, in a recent article, was interviewed about guitar music - and his thoughts on its well-being:

“The former Jam frontman struggles to think of many rock bands that have caught his attention lately and says he is more of a fan of hip-hop like Kendrick Lamar, with the exception of singer/songwriter Lucy Rose and his pals in Syd Arthur and Savoy Motel.

He admitted: "I find it insipid at the moment. I can't think of any guitar bands, English bands anyway, at the moment.

"I quite like an American band called Savoy Motel; I like their last record. And Syd Arthur I really love - they're mates as well, I really like them.

IN THIS PHOTO: Lucy Rose/PHOTO CREDIT: Harry Wade/Press  

"Lucy Rose has got a new album coming out in the next few months that's really great. There are a lot of great individual records and individuals really."

On the R&B stars he is into, he added: "I like the J Hus single 'Did You See' - that's really good. Band-wise, nothing's really moving me at the moment, but there's some good R&B things. I like the Anderson .Paak record and I liked Kendrick Lamar's album."

Lucy Rose slipped my mind - but she is someone giving guitar music a good name. Like Laura Marling, Billie Marten and This Is the Kit – great female artists added something new and beautiful to guitar music. What of the bands and the new breed of heroes? Weller, as he says, prefers Hip-Hop and finds more innovation and relevance in people like Kendrick Lamar. Jim Reid, of The Jesus and Mary Chain, added his voice when chatting with NME:

“There’s not much of guitar music left at the moment, I don’t hear many guitar bands out there,” frontman Jim Reid told NME. “It’s kinda pushed underground, guitar music seems to be limping at the moment.

“You can’t tell the difference now between a pop act and a rock band, the production makes them almost identical.”

A big problem lies with what artists are talking about – and what they are not saying. A lot of the guitar wizards of the 1960s and 1970s were articulating a desire that was hanging in the air. Many of the 1990s’ best guitar bands were part of Britpop – at a time when a lot of working-class artists were speaking about what was happening in real life. In fact, a lot of the finest acoustic artists of the past engaged their audience with something relevant and deep. I find a lot of the modern acoustic equivalent is still hooked on love. Even those who do not remain on Relationship Road are not tackling what is happening in the world. This is true of guitar bands who are unwilling to venture from territory they feel is safe and profitable. We are in a state of confusion and separation and, whilst a lot of U.S. Hip-Hop artists – and some of our emerging talent like Loyle Carner – are reflecting what is happening in their country – where are those acts documenting the trouble in which we find ourselves?! It seems, as with America, our Urban artists are the most honest and conscientious. Too few guitar bands either shy away from such areas or feel ill-suited to adequately voice the stress and uncertainty percolating. Armed with electric guitars and a Rock/Indie spirit – one would hope a raft of bands would step up to the plate and provide the kick the music industry needs. In an article published by Music Radar, today, in fact; Eric Clapton's provided his thoughts:

“I didn't realise it was that bad,” said Clapton. “My kids listen to classic rock, but that may only be because of me, because that’s what I’ve played to them. I mean, from the time of their conception, they’ve been listening to music through the womb. I played them playlists, just brainwashed my kids, and at the back of it was always the guitar or some kind of solo instrument or a singer. 

“My belief in music is it’s all good. It’s all good. Even stuff that doesn’t appear to be so, it’s all good. I don’t know. Maybe the guitar is over.”

Perhaps it is down to the next generation to deliver that punch but I feel guitar music today, whilst offering some incredible artists, is struggling to…

IN THIS PHOTO: Eric Clapton/PHOTO CREDIT: ©WARREN TODA/EPA-EFE/REX/Shutterstock

DELIVER any real meaning and inspiration.