FEATURE: Viva Las Vegas! The Highs and Lows of a Las Vegas Residency

FEATURE:

 

Viva Las Vegas!

IN THIS PHOTO: Lady Gaga/PHOTO CREDIT: Getty Images

The Highs and Lows of a Las Vegas Residency

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I was going to end the day by writing about…

IN THIS PHOTO: A view of Las Vegas/PHOTO CREDIT: Unsplash

a growing number of drug-related deaths in the music industry. Maybe it is not the most Christmas-appropriate subject to raise but it is an issue that is relevant every day of the year. I shall leave that subject for the next day or two (or longer) but, right now, a look at artists who are entering a rather hallowed, albeit glitzy, manor. From Sir Elton John, Britney Spears and Prince have enjoyed long stays at various Las Vegas locations. Whether Caesars Palace or Rio All Suite Hotel and Casino – I often wonder what the motivation behind a Vegas residency is. It is an odd thing in music and one that draws comparisons to musicians who become talent-show judges. Many feel they are not passing on their knowledge and wisdom – rather, they have passed the peak of their career and are trying to remain viable and popular. I would never be so cynical but I feel it is interesting why some artists abandon the rather fraught and changeable daily existence and immerse themselves in the glamour and tinsel of Las Vegas. From Celine Dion to Rod Stewart; some of music’s biggest names have signed deals to take their music to tourists and Nevada residents alike. I mention this point because Lady Gaga has put her signature on a contract that will see her bring her unique brand of show(wo)manship and Pop magic to the people.

PHOTO CREDIT: Steve Granitz/Wireimage

Before I raise my doubts; I want to bring in a few sources who have looked at the lucrative side of the deal. Variety explained how the deal breaks down:

“The race to lock down Las Vegas’ highest-paying residency is heating up with Lady Gagaannouncing a two-year engagement at the MGM Park Theater. According to two well-placed sources, Gaga is guaranteed just over a million dollars per show, and is committed to 74 appearances. Should all go well with ticket sales, she could extend that run, inching closer to the $100 million mark, a new — and record — threshold for the city and for even the biggest of current pop artists. Gaga stands to earn even more on merchandise sales — typically a 50/50 split with the venue — and VIP offerings”.

The Guardian argued this opportunity indicates the way Las Vegas is perceived and how Lady Gaga is part of the new breed of artists coming through the city:

“Lady Gaga, whose live shows are notoriously outlandish affairs, often featuring over 20 outfit changes, has promised that her shows will be “unlike anything Vegas has ever seen before”. Yet while she may be the face of the new generation of Las Vegas performers, Lady Gaga said it was the appeal of performing in the “land of Elvis, Tony Bennett and Frank Sinatra, the Rat Pack, Elton John, Judy Garland and Liza Minnelli” that had enticed her. “It’s been my lifelong dream to be a Las Vegas girl, I’m so overjoyed.”

 PHOTO CREDIT: Pinterest

The singer has even dangled the possibility she will use the show to debut new material. While her most recent album, Joanne, has not matched the commercial heights of previous releases, her popularity is steadfast and she has been nominated for two 2018 Grammy awards, for best pop vocal album and best pop solo performance”.

It is good to hear there may be more material but I wonder whether the opportunity Gaga has taken follows my fears regarding Britney Spears: it is a way of dodging the anxieties and demands of the music industry. There is no doubt a Vegas residency provides plenty of dollars but is it more a case of performing somewhere stable and non-exhaustive? Lady Gaga’s regular work schedule would see her fly between nations and embark on endless dates – seeing hundreds of hotel rooms and barely catching her breath. There are advantages to the sort of residency that Britney Spears is about to end. The singer has enjoyed a four-year stay in Las Vegas and thrilled fans with her Britney: Piece of Me show. The thirty-six-year-old has enjoyed success in the music industry since she was a teenager and huge critical and commercial success. Sure, she has had some turbulent times but it seems her time in Las Vegas has done her some good. I am curious whether the decision was prompted by a slight downturn in career fortunes. Britney Jean, released in 2013, was the last album she released before heading to Vegas and it was not received with huge applause of appreciation.

IN THIS PHOTO: Britney Spears (playing Planet Hollywood Las Vegas)/PHOTO CREDIT: Denise Truscello

Glory, released last year, fared a lot better and showed a resurgent and refreshed spirit. Maybe, then, a Vegas residency is a way of stepping aside from the brutal machine of music and honing one’s skills. If the likes of Rod Stewart and Celine Dion entered Vegas past the glory-days of their careers: can the likes of Spears and Gaga learn from their times and create the sort of early-career material that put them on the map?! Joanne, unveiled last year, gained some great reviews but not the same affection as, say, her debut album (The Fame/The Fame Monster) or 2011’s Born This Way. Perhaps the constant touring and media glare has caused the U.S. singer-songwriter a lot of aggravation and exposure – unable to have a private label and relax from the constant glare and gossip. I have seen how musicians like Sir Elton John – someone who seems born to take to the Vegas stage! – gain a new lease and energy from regular performance in a comfortable environment. I guess Las Vegas, to some, represents a rather tacky and nauseating side of America. We associate it with gambling, endless neon strips and meaningless weddings. In reality, mind, there is a rich showbiz history that has seen the great of music (like Frank Sinatra) perform there.

IMAGE CREDIT: Getty Images

Maybe Las Vegas is not as productive and intriguing as L.A. or New York but the sheer number of tourists who flock there every year is making it a popular ideal for our biggest musicians. I realise there are more positives inherent (than negatives) when it comes to signing that multi-million-dollar contract but I am curious about the suggested implication those who, traditionally, have played Las Vegas have not been at the top of their game. Maybe Elvis’ time there was legendary but one gets the visions of musicians past their prime entraining crowds who want a comfy chair and a chance to be in bed by 9 P.M. Maybe that is harsh but is it a way for certain artists to keep the dollars rolling in without having a sustained and concerned critical presence on their shoulders? They may have recorded great albums in the past but it seems this is their latter-days vocation and somewhere they can still play music but not have to worry about album sales, reviews and the media’s opinion. Perhaps that is not a bad thing but the bright lights of Las Vegas seem light-years away from the cooler, cutting-edge stages they would have walked years ago. Others might say artists are chasing the green. These contracts make the eyes water when it comes to pay. I know the artists are doing a lot of dates but each performance can net the musician somewhere in the region of a cool $1,000,000!

PHOTO CREDIT: Getty Images

Lady Gaga is not exactly going to have to drink from the toilet or wash her underwear in the kitchen sink! Again; maybe it is the cynic coming out in me. We associate Vegas with gambling and gaudy wealth so is it a rather appropriate reflection an artist should receive a big pay-day but, in the process, play loose with the risks. For someone like Lady Gaga and Britney Spears – the latter used to the demands and lifestyle of a Las Vegas residency – can they step back into the music industry and re-adapt to the (comparative) stress and demands of their former existence?! It is hard to come down from the environment of a Las Vegas hotel/casino and going on tour – playing in different nations and a variety of venues. The niggling suspicion is a lot of artists either do not intend on returning to music or will wind their careers down. Will Britney Spears continue to make Pop music in a few years’ time – when she will be forty?! Unless she reinvents herself like Madonna did for Ray of Light (2000); one suspects the kind of music she is synonymous will appear unseemly being sung by someone approaching their fifth decade of life. I hope Spears does continue to release music but she has been away from the focus of many of her fans and followers. I wonder whether she will ever record another album or, having spent four years performing big and tiring shows, she will take the volume down and record music with great gentility and subtleness.

PHOTO CREDIT: Unsplash

I think there are a lot of good points but only on the proviso the artist, once they have ended their residency, can assimilate back into the musical jungle. Lady Gaga is ending her Joanne World Tour in February and will take a little time to reflect and get some rest. Then, having entertained thousands of people in a whistle-stop tour of the globe; she will prepare her show for Las Vegas and hope to remain there for a while. The reason I say that is because of a report I read in The Guardian back in September:

“On Monday it was announced that Lady Gaga has cancelled her European tour, due to begin next week, because of “severe physical pain that has impacted her ability to perform”. She has fibromyalgia, and has made a Netflix documentary, Gaga: Five Foot Two, to raise awareness about this long-term condition. A statement says: “She plans to spend the next seven weeks proactively working with her doctors to heal from this and past traumas that still affect her daily life and result in severe physical pain in her body. She wants to give her fans the best version of the show she built for them when the tour resumes.”

PHOTO CREDIT: Getty Images

One can imagine there was a sense of relief when Britney Spears was afforded the chance to head to Las Vegas four years ago. Having gone through various relationship splits and an up-and-down spotlight from the critics – some of her albums getting praise and respect; others a little colder regarding her music – it must have been quite a relief stepping into a routine and regular spot in Las Vegas. Her show is coming to its end but she has enjoyed a four-year period of financial stability, regular personal enrichment and a chance to breathe. Most musicians do not have a lot of time to see family and take time off; they are ferried around – that puts a strain on their physical health and mental wellbeing. Spears, having suffered the stresses of music in the past, has been busy during the last four years but not as chaotic and turbulent as it would have been in the ‘regular’ side of the industry. A central stage and regular, adoring crowds would have provided her the impetus to keep performing and, in doing so, a degree of spiritual enrichment that was desperately needed. Anyone who has seen Lady Gaga’s recent documentary, Gaga: Five Feet Two would have been moved by her bare-naked revelations and plight. She opens up about stress and depression; how fibromyalgia has impacted her music/life – throwing a light on the realities of the business and how hard it can be.

IN THIS PHOTO: J.Lo/PHOTO CREDIT: Getty Images

Few of us are aware of what happens behind closed doors and what a high-profile musician is like away from the microphone and camera. Stars like Britney Spears and J.Lo (another big name who has taken her music to the Vegas crowds) have been scrutinised and scandalised by the media – in a way; Las Vegas provides a shelter and safety for them. Lady Gaga will have a more stable diary and have time to rest and get away from music – not a lot more much more than she normally would. Her contract covers a set amount of dates (seventy-four) but that could be extended. One of the only issues is whether her fibromyalgia flares and exacerbates during that run. She is tied into a contract so missed dates might compromise the deal. I feel she will be a lot more settled and, not only will her mental-health and physical safety be better; she will be able to hone her craft and find fresh inspiration. One can argue previous Vegas incumbents like Elvis Presley, Sir Elton John and Rod Stewart have found new lease and creative juice following their time in Las Vegas. I look forward to seeing whether Britney Spears A) brings out an album next year and, B) it employs different genres/a more mature and left-field musicianship. It is possible Lady Gaga, following her time in Las Vegas, might change her dynamic and, perhaps, tone her music down.

IN THIS PHOTO: Sir Elton John (during one of his Las Vegas shows)/PHOTO CREDIT: Getty Images

There is nothing wrong with the theatricality and pantomime of her music but, for anyone who listens closely, there is incredible songwriting and hypnotic hooks that compel music fans of all ages. I am excited to see her given some time away from the strain of the music industry and find creative focus and some sense of stability. There are demands and definite stresses involved with mounting a Las Vegas show and one cannot underestimate the effort and dedication needed to perform all of those dates. I worry the build-up, expectation and wok-load will cause some scars and cracks but it will be less strenuous and brutal than an average tour for Lady Gaga. The biggest hope, following her time there, is she can take what she has learned and continue to make music. I fear many Las Vegas leavers failed to record much new material – it certainly does not match the gold and brilliance we know and love them for. Lady Gaga is a figure the music industry needs: her brand of Pop is just what we need at a time when there is too much predictability, sterility and generic. It has been interesting looking at this subject and I am pleased Lady Gaga has the opportunity to bring her power and talent…

PHOTO CREDIT: Unsplash

TO Las Vegas.  

FEATURE: Inkheart: The Music-Themed Tattoo and Mental-Health

FEATURE:

 

Inkheart:

ALL PHOTOS (unless credited otherwise): Unsplash

 The Music-Themed Tattoo and Mental-Health

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THIS might seem like a strange…

thing to talk about – and the dearth of inspiration and relevance – but, despite the fact I will keep this short, there is plenty of relevance. I am always fascinated by people’s music tastes and what it means to them. We blithely and nonchalantly listen to music and it becomes part of our routine and daily lives. We all have our favourite songs and gravitate towards certain artists. I have spoken at-length about mental-health and how it is on the rise. One cannot ignore the sort of things we hear on the news and read about on social media. Most of my contacts are musicians and it is devastating hearing so many tales of crisis, depression and anxiety. Whether the music industry itself is causing this – or there are personal issues affecting the problem – I do not know. It is clear, in 2018, we need to look at the music business and ask whether artists are being placed under too much pressure. It is harder to find success and attention now – than it was years ago – and the sheer effort needed to maintain a career is staggering. With this sort of hardship and burden placed on every musician; one wonders what the toll is going to be. I realise it is getting into depressive territory but, as it is almost 2018, many artists are planning their diaries and wondering where they will be heading. They will have aims and ambitions and, with that, the hard work begins. The strain we are putting on artists is immense.

Even me, who does not have the same ambitions and goals as musicians, are putting themselves in harm’s way and creating a lot of anxieties – it is a problem of the modern climate and something we all need to be more aware of. So, then…what is the idea behind this feature? Many people I know are getting down and finding inspiration in music. Whether that is a lyric or a symbol; a favourite song or artist – something that simple can provide solace and direction. I am not suggesting for a minute something as minor and meagre as a tattoo can be the difference between life and death. What I am suggesting is a tattoo can help provide a sense of place and focus. I am seeing more and more people (not only musicians) taking that commitment and getting themselves inked. Whether it is a great lyric or name of their choice artist: carrying that with them provides security and pride. A lot of people have tattoos and, with everyone, there will be different reasons as to why they chose that particular design. Another reason I wanted to write about this is because I still hear a lot of people judging and condemning them with tattoos – calling them ugly, vulgar and unsightly.

PHOTO CREDIT: Pinterest

The reason I got one, years ago, was to show my love and passion for something that has a significant purpose – it is nothing as lofty as a relationship or girl – and I do not regret my decision. In fact; I asked for a tattoo voucher for Christmas. I have found myself becoming pressured (maybe by my own work ethic) to be good and to achieve. No matter how popular and busy you are somewhere, there is a part of the brain that says you are not good enough. Maybe it is a natural human reaction: always wanting to be better and measuring ourselves against unrealistic ideals. The desire to keep working, pushing and pounding, naturally, causes its fair share of anxiety and fatigue. Kind words and praise are goods for the soul but that washes away and, before you know it, the tiredness and stress comes back. I felt a great way of reminding myself why I do what I do is a tattoo. I am seeing a lot of my peers proudly support tattoos on their social media pages. Many of them are going through some tough times and have headed to the tattoo studio to get some personal and musical etched onto their skin. I know tattoos have been sported by musicians for decades – an integral part of movements like Punk – but I am talking about something much more personal and significant.

I will not reveal the design I am choosing but the reason I wanted to a tattoo (studio) voucher was to show my dedication and affiliation to music. Those who turn their noses up at the inked do not understand the reason people do it. Everyone I know with a tattoo has a story behind it; it represents something pure and meaningful. Many of the people I see getting tattoos are choosing music designs and having words/lyrics inscribed; they are facing hard times and indecisions by reminding themselves why they are in the industry. There are, of course, musicians who get music-themed tattoos because they want to show their love of a particular artist/song – with no mental-health subtext behind it. What does strike me is the passion artists have and the fact music means that much to them. Perhaps that is no huge shock but getting a tattoo is such a huge commitment and decision. It is going to be with you forever – unless you get it removed – and, in many cases, is visible to everyone else. I have been focused on my work but losing focus of why I am pushing myself so hard. It seemed like a tattoo would be the best way of providing that permanent reminder and guide. So many others are taking that plunge and, in doing so, making a big difference in their lives.

I have heard of people suffer terrible depression and tempted to do something horrible. By getting a tattoo – with something deeply significant on their skin – it provides a warning sign and comfort; a reason to keep going and a constant reminder of who they are and why they matter. It can be quite scary getting a tattoo done (especially if this is your first time) and it is not something I would advise people do unless they have thought it through. It was a no-brainer decision for me but, when it comes to design, that took a bit of thought. I will post pictures when I have had it done but, as I look around for structure, vision and reasoning – something as simple as a tattoo can be very powerful and affecting. I can understand those who do not want a tattoo done themselves but have little time for those who claim they (tattoos) are ugly, pointless and offensive. I have seen so many artists (and others) get tattoos done and there is always a different reason behind the choice. To some, it is a great way of showing off their love of music; for others, it is a great way of taking something musical wherever they go. To some, mind you, there is something beyond the skin-deep. It can be, quite literally, the difference between life and death: a symbol/phrase that brings them back from a dark place and provides light. Nobody can judge those people and I am so pleased there are more and more people getting tattoos. Whether your reasoning spiritual or personal, mental-health-based or for sheer fun – tattoos are part of the musical fabric and can create a sense of identity and confidence. A tattoo is a reason I am making bigger plans for next year and, to so many other people, it is a permanent way of reminding them to… 

PHOTO CREDIT: Pinterest

NEVER give up hope.  

FEATURE: Ones to Watch in 2018: Part V: To the End...

FEATURE:

 

Ones to Watch in 2018:

 IN THIS PHOTO: Nicole Atkins/ALL PHOTOS (unless credited otherwise): Getty Images

Part V: To the End...

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THE final part of this feature…

IN THIS PHOTO: Tom Tripp

brings together some top talent who, I reckon, will do some good things in 2018. It is a largely British affair but there are international acts – from Berlin and Nashville. Here is the rundown of the artists who have the ammunition and potential to make their impact on music next year; to lay down a marker and get closer to the mainstream…

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Lewis Fieldhouse

Genre: Americana-Pop

Location: London, U.K.

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

Twitter: https://twitter.com/lewisfieldhouse

The Rhetoriks

Genres: Urban; Dance

Location: U.K.

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

Twitter: https://twitter.com/TheRhetoriks

Elle Watson

 PHOTO CREDIT: Haris Nukem

Genres: Pop; Alternative

Location: Sevenoaks/London, U.K.

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

Twitter: https://twitter.com/ellewatson

Catholic Action

Genre: Alternative

Location: Glasgow, U.K.

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

Twitter: https://twitter.com/_CatholicAction

The Hyena Kill

Genre: Rock

Location: Manchester, U.K.

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

Twitter: https://twitter.com/thehyenakill

Dashni Morad

Genres: Alternative-Folk

Location: Irbid, Iraq/London, U.K.

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

Twitter: https://twitter.com/Dashni_Morad

LARY

 PHOTO CREDIT: Becca Crawford

Genre: Alternative

Location: Berlin, Germany

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

Twitter: https://twitter.com/larypoppins

 

Eva Lazarus

 PHOTO CREDIT: Domas Zinkevicius

Genres: R&B; Pop

Location: Bristol, U.K.

Follow: https://www.facebook.com/Eva-Lazarus-117339965031307/

Twitter: https://twitter.com/EvaLazarus

Benny Mails

Genres: Rap; Hip-Hop; Grime

Location: London, U.K.

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

Twitter: https://twitter.com/BennyMails

Sälen

Genres: Pop; Alternative

Location: London, U.K.

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

Twitter: https://twitter.com/heysalen

Little Sparrow

Genres: Folk; Singer-Songwriter

Location: Manchester, U.K.

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

Twitter: https://twitter.com/uklittlesparrow

Tom Tripp

PHOTO CREDIT: @ronanksm

Genre: Electronic

Location: London, U.K.

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

Twitter: https://twitter.com/tomtripp

Nicole Atkins

PHOTO CREDIT: @jensvandervelde

Genres: Rock ‘n’ Roll; Alternative; Country

Location: Nashville, U.S.A.

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

Twitter: https://twitter.com/NicoleAtkins

PINS

PHOTO CREDIT:  Andrew Benge 

Genres: Alternative; Rock

Location: Manchester, U.K.

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

Twitter: https://twitter.com/WeArePins

Luke Edney

Genres: Pop; Rock; Blues; Folk

Location: Surrey, U.K.

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

Twitter: https://twitter.com/LukeEdneyMusic

CHILDCARE

 PHOTO CREDIT: Wolf James Photography

Genre: Alternative

Location: London, U.K.

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

Twitter: https://twitter.com/CHILDCAREBAND

Emmi

Genre: Alternative

Location: London, U.K.

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

Twitter: https://twitter.com/emmimusic

Phobophobes

PHOTO CREDIT: Steve Gullick

Genre: Alternative-Rock

Location: London, U.K.

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

Twitter: https://twitter.com/PPhobes

Violet Skies

Genre: Pop

Location: South Wales, U.K.

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

Twitter: https://twitter.com/IAmVioletSkies

Dama Scout

Genres: Alternative; Pop

Location: London/Glasgow, U.K.

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

Twitter: https://twitter.com/damascout?lang=de

Tigercub

Genres: Pop; Alternative

Location: Brighton, U.K.

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

Twitter: https://twitter.com/_TiGERCUB

INTERVIEW: Y.A.S

INTERVIEW:

 Y.A.S

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WHEN hunting around for artists worth investigating…

in 2018 – I would suggest Y.A.S is on your list! The upcoming songwriter has released the stunning single, Chasing the Dragon. I ask the Scottish-raised, London-based artist about the song and what its origins are. She talks to me about moving to England and some of the sounds that inspire her; what the future holds in terms of new material – if there are any tour dates we should keep our eyes out for.

Y.A.S tells me about working with Knightstarr and what music means to her; the three albums that mean the most to her; what her ambitions and aims for 2018 are; how she will be spending Christmas – and some advice to new artists out there.

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Hi, Y.A.S. How are you? How has your week been?

Hey. All good!

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

I’m Y.A.S - an artist based in London. I write songs and sing them sometimes (smiles)

Chasing the Dragon is your current single. What can you reveal about its birth and concept?

The song kind of wrote itself...

It started with the opening line: “He tells me don’t chase the high…” - and that’s literally what happened. When that person said that to me it just really clicked and I was inspired to write Chasing the Dragon. At the time, I was in a deep depression where I felt very numb. I was obsessed with the theme of happiness and longing to feel what I felt before.

But, my favourite thing about this song is that the dragon can represent anything. For me, the dragon symbolises happiness when dealing with depression: it’s all you think about and long for but, because you are in such a negative headspace; happiness has become something mythical, like a dragon.

Its video intrigues me. It is a series of different shots that, I imagine, represent the racing thoughts and turbulence of broken love. Was it time-consuming putting it together – or quite a fun shoot?

It was definitely a fun shoot!

I think we were on-location for about twelve hours. It was all shot in one location with different, quirky rooms. It was quite hectic; I had quick outfit changes and it was back on camera again. I didn’t have much time to think about my performance - I just did it. I (just) expressed myself and experimented with so many poses and (just) hoped for the best!

The song has that huge Pop vibe and a cool, sexy Electronic pulse. It is very much the sound of now. Are you inspired by what is happening in the mainstream right now? How did you come about the sound one hears on Chasing the Dragon?

This song really just wrote itself. I had the lyrics on my phone - and my co-writer and I were chatting about them and their meaning. The producer just started a vibe - and we just went with it. It was written in under an hour and everything just felt so natural. I will always find sounds inspiring but, for this particular track, I made no references to anyone else...

it just happened.

Knightstarr produced the track. What was it like working with him?

It’s spiritual (smiles).

We usually work through the night -  there’s something about making music after midnight. I just love to watch him build the production. It’s really special witnessing him express himself.

It really amazes me the amount of talent and beauty that just oozes out of him...

Is there going to be new material next year? Are you working on anything at the moment?

I will be releasing an E.P. early next year - Chasing the Dragon being the opening track and, yeah; I’m always making music…so I’ll just be releasing it consistently and seeing what happens.

You moved from Scotland to London. What was the reason for the move? Is London somewhere that inspires you and provides energy?

I felt there was more opportunity in London: there isn't much of a music industry in Edinburgh. It was also (just) time to move on and try something new.

It seems like music is more than a career to you – it is a life-force and a reason to keep pushing. For many, it helps their mental-health and gives them comfort. What does it mean to you and who were the artists that inspired you to go into music?

I’ve always felt, ever since I was a baby, that performing and expressing myself was my purpose. It’s when I feel the most authentic. Music has always made me feel something deeper than anything else. When I make music; I am trying to feel that feeling. It can be the smallest detail in a song, just one random note that just hits me - and I feel something I can’t even put into words.

The artist that inspired me to make music was Pharrell (Williams). His production, melodies; arrangements and concepts are the reason I went into recording music.

IN THIS PHOTO: SIPPRELL

Who are the new artists you recommend we check out?

SIPPRELL is heavenly - what beauty literally sounds like.

Wes Period - I admire how liberated he is.

IN THIS PHOTO: Wes Period

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

This is the hardest question! I don’t know how to answer this!

Michael Jackson – HIStory: Past, Present and Future, Book I

I wouldn’t say this was even his best album – but, because it has so many of his greatest hits on it; I’ll say this one. I would listen to this album on-repeat and I (just) cannot explain how much Michael Jackson means to me...

I worshipped this man!

Nirvana – Nevermind

This means a lot to me. This reminds me of a time when I was coming-of-age and felt misunderstood. This album was my friend. The writing is so inspiring. I think it was the first time I really tried to interpret lyrics. I think this album is a demonstration of a person’s depth - and that inspires me.

This is really hard…but I’ll go with….

Kanye West – The College Dropout

This was our introduction to Kanye - and I was blown away. His honesty is the main thing I connected to. His story - of how his dreams manifested - is so inspiring. He makes you feel like anything’s possible. I think this was the album that gave me the courage to go after what I wanted.

Is there any advice you would give to fellow artists coming through right now?

Express yourself. Don’t make comparisons or try to imitate - and just PUT SH*T OUT THERE. Let the universe do the rest.

Can we see you perform anywhere soon? What gigs do you have coming up?

Probably sometime next year! I can’t wait to create a live show around my music.

Christmas and New Year are not too far away. Do you have plans already - or will you be busy working?

I will be in Cyprus (smiles).

What are your dreams and aspirations for next year regards music and your personal life?

I would love for a fanbase to grow: I want to connect with people. I want to grow as an artist and take more risks and be more liberated. 

I would like to have my poetry book published.

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).

Can you plaaaaay….Kali Uchis - Loner

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 Follow Y.A.S

Official:

http://yasaquarius.tumblr.com/

Twitter:

https://twitter.com/YASaquarius

YouTube:

https://www.youtube.com/channel/UCkEq5PXPZpEDaZv2ndPqkRQ

TRACK REVIEW: Fallen Arches: Seventeen

TRACK REVIEW:

 

Fallen Arches

Seventeen

9.3/10

Seventeen is available via:

https://soundcloud.com/user-442929765/seventeen

GENRES:

Singer-Songwriter; Alternative; Folk

ORIGIN:

Glasgow, Scotland

RELEASE DATE:

20th December, 2017

The album, Pen to Paper, is available here:

https://itunes.apple.com/us/album/pen-to-paper/id1228221908

RELEASE DATE:

24th April, 2017

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THE biggest changes I am making to my blog…

concern images and information (or lack of). This review of Fallen Arches is exciting but it is absent of great images – something I am getting strict on next year. I love the pieces where I can put some great photos in and make it look really good. I will talk about (for the last time this year) the importance of a healthy stable and things to consider next year. Before then, I will look at Scotland and Glasgow artists; social media and selection criteria; acoustic, humble songwriter; touring the country and seeing the sights; 2018 and what the songwriters can come up with; why the mainstream needs a bit of shaking up. I have been neglecting Scotland for a bit and spending too much time in England. The country is producing so much good music lately – I know they will make a huge impression in 2018. It is going to be interesting seeing how music transforms and evolves in the coming months. On Christmas Day; I will write a piece that explores Manchester and how the city will take some energy and momentum from London. I always love the capital and think it has produced some of the best music ever. I have spoken a lot about Scotland this year but have featured very few artists from here. Glasgow is a big and productive city that contains some of the most promising acts around. It is a country the mainstream media ignores and I cannot really see why. Everyone who visits there comes back with an awed expression and fantastic stories. Scotland is an amazing country with phenomenal landscape and wonderful people. It is only natural the people would reflect that sense of beauty and interest. If one spends a bit more time investigating and searching; they will find just how many great artists there are in Scotland. I am worried we are neglecting the nation and feel all the finest music comes from London.

Colin Bell’s Fallen Arches is a hard-working act that has been gaining local pride and attention. Next year, I will be moving towards bigger acts that are closer to the mainstream – getting a sense of the stars of tomorrow, as it were. Bell’s music is fantastic but it might be a few more years before he can negotiate focus from the movers and shakers of the industry. The only way this can be done is people turning their obsessions from England and training it to Scotland. I am interested seeing how the country is growing and what artists are coming from there. I am seeing a raft of wonderful solo artists who have a more acoustic-led sound. Against that are bands who have plenty of grit, passion and rawness. The mainstream is lacking solo artists with tenderness – that are against the ideals of the mainstream – and bands who have original Rock sounds. Maybe this is untrue of the underground but there is a need to expose and highlight all the great musicians that are putting out this work. Scotland is a long way from London but that does not mean it should be shunned and given meagre coverage. I feel Fallen Arches can help make a change in the way we perceive Scotland and its music. These are early days for Bell and it will be interesting to see where it can go. His social media pages are building and he has put out an album, Pen to Paper. I will talk more about it but I feel next year will be a successful and promising one for Fallen Arches. On the strength of the latest album; all the signs point towards an artist who can go a long way in the industry.

I will come to look at the wilds of Scotland and how the landscape influences music but it is important for Bell to push the music he has out there. I am looking after a friend’s music at the moment and many P.R. agencies are responding to it. They all love the sound but say the same thing: she needs to get herself to the people and promote what she already has. In terms of her social media; she has a good spread but there is that need to keep pushing the work and not taking the foot off the gas. Fallen Arches have exposure on Facebook and Twitter but the need to get the images and information improved and out there is vital. Colin Bell has a good look and persona so there will be people who want to find some high-quality, good images. There are one or two on his pages but every artist, in this modern time, needs a lot more. I have seen so many great artists – with some deep and meaningful music – connect with people in terms of sound: when it comes to their imagery and projection; there has been something lacking. The business side of music demands every artist has a bare-minimum outlay and look. I hope that is something Bell will invest in through 2018 – getting a professional snapper to take a dozen-or-so great images that are clear, varied (and hopefully do not have a watermark on them). Getting the music side of things ‘right’ is crucial but one needs to match that with the social media and image half. Bell is a spirited and dedicated songwriter and the desire to have that fulfilled and rewarded resonates in me. At the moment, he is preparing for 2018 and putting the music out to the people. Originally – when I was approached for a review – I was going to investigate Let It All Out.

Now, with Seventeen out, I have changed and looking at that song. His L.P. is full of terrific songs so it would be good to see a couple more singles released from it. On the subject of promotion and the prolific; I hope Fallen Arches gets a few more videos out and gives the great songs a visual edge. Let It All Out has a video but I am not sure whether Seventeen is going to have a video made. Although I am looking for bigger/more image-focused acts in 2018; that is not to say artists like Fallen Arches are not primed for big things. I am excited to see how Bell has expanded and improved his music. He is a confident artist and one of the best new songwriters in Scotland. If he invests some money in a few images and puts a bit more biography on his pages – that will attract more journalists in and contextualise him in the scope of Scottish music. He has already shared the stage with We Are Scientists, Ultras and Pronto Mama. That is no small feat for someone in the music industry. I know this will continue and Bell was invited to support My Vitriol in Glasgow. I feel the live performance element of his music is what makes Fallen Arches such an attractive proposition. I will end the review looking at where his music might go; whether it is likely to expand nationally – why other songwriters should take notes from him. Next year is going to see some big changes in music. Artists like Bell will be aware of that and will be able to take advantage of it. His music is something I have been hankering after for a while now. The way he manages to talk about common subjects and make them deeply personal is a hard skill to pull off. He does look at ideas and stories we all are familiar with but he makes them about himself and gives the listener honesty. It is rare to find songwriters who are willing to expose their pain but not make it too overwhelming and severe.

That might sound like an odd assumption but there are so many who are too naked and revealing. I want to hear about an artist and what goes through their mind. There is a line one must draw so that they are not too raw with their emotions but are never closed-off so they give nothing away. Maybe Pop has taken too much ground over the past few years. One listens to the mainstream and there are a lot of radio-friendly artists who have a particular sound and dynamic. The production is big and glossy and the music is uncomplicated. Many artists do not want to produce anything too challenging because that would compromise their commercial hold and success. That is the way the mainstream has been for a long time but I am concerned it is too inflexible and unchanging. I feel there will be some changes next year whereby acoustic music gets more of a say. I know Fallen Arches employs Rock edges and has some tougher vibes but there is the sensation of calming and reflective. Although his music does look at relationship break-ups and personal woes – there is something, oddly, nourishing about his sounds. I wrote a piece yesterday that asked whether acoustic music was on the way out. I do not hear much of it these days and that makes me a bit sad. I love the legends of Folk who managed to amaze and impress with a mere guitar. The modern scene seems to be more concerned with force, sound and colour. There are acoustic artists - but for every one of them you see; there are dozens of others who prefer their music more energised. Maybe we feel there is no potential to succeed and impress for those who do not shove music down our throats. That might be harsh but a great songwriter knows how to win and seduce an audience with an acoustic guitar.

I feel one of the things that will change in 2018 is the dominance of commercial sounds and a change towards something with greater depth. I have grown a bit weary of the chart music that places more validity on the streaming services and popularity – rather than genuine songwriting that can strike the heart and mind. Maybe this is the way it has always been but, in a world where we are more afraid and less sure; that desire for something substantial is essential. I love to find an artist who can blend the softer acoustic tones with something more fired and physical. Fallen Arches is a songwriter who has been in the business for years and knows what his audience wants. Bell has travelled up and down Scotland and built a reputation as one of the best live acts around. The stunning live sound is something he should wear like a tattoo. He manages to bring that wonder and emotion into his studio-formed music. I am always drawn to artists who can craft an incredible live show. This year, I have seen a few gigs and am always blown away by the way they connect with the audience. So many big artists rattle through their songs and produce generic sets: artists that go deeper and take the chance to bring the audience into their music should be commended. Fallen Arches is a night out you will not forget. Some of Scotland’s biggest sources have paid tribute to a musician who manages to touch the listener and bring them into his world. I mentioned how his songs have that personal touch – they can get into the skin and remain in the soul. His voice and performance skills are part of that and one reason I hope he comes and plays down my way. I am envious Bell has the chance to explore the nature and variations of Scotland.

There are few nations that have such evocative and scenic backgrounds. England has its striking history and high-points (Yorkshire and its countryside among them) but Scotland is in a world of it owns. From the Highland glory to the castles and buildings of Edinburgh; the honesty and dignity of Glasgow through to the beaches and treasured coves. It is a nation that can widen the eyes and get the blood hot. I have talked about Glasgow a lot this year and why it is a vital city. The musicians here are among the finest in the world and the city itself is beloved by most. Bell is based in and around the area and getting heat and good love from critics there. Not only does Scotland have great venues and people in every part; Glasgow is a city, I feel, is the true capital of Scotland. It seems to have a better reputation than Edinburgh and is a lot stronger when it comes to the music scene. The artists are more varied and the people seem to have a different take on life – more humour, honest and loveable. That might be an outsider’s view but I know the musicians of Glasgow have something different about them. I will end the piece by touching on that but I am excited to see how Fallen Arches can expand in the coming year. Although the moniker of Colin Bell sounds like a medical complaint of the feet – there is no stopping the pace and progress of one of Scotland’s brightest new stars. Maybe London will retain some of its grip and legacy but I know areas like Glasgow and Scotland will accrue more dominance and importance. new need to shake off our presumptions and dogged ideals of what music is about and where we should look. I am impressed Fallen Arches is making progress and the reputation critics are affording Bell.

I feel Bell is someone who can bring back the art and necessity for acoustic/calmer music. I said how he does have tougher, musical sides but there is that ethos and side of the personality few modern songwriters are talking about. Folk music, in past years, has talked about the plight of the affected and poorer communities. Impoverished souls have found their story being told by Folk artists. Now, the genre is more eclectic and progressive. There are acoustic artists who talk about societal concerns but most artists have dispensed with acoustic bases and are taking their music into new realms. If you know where to look; there is that band of musicians who know what wonder can be extolled from the acoustic guitar. Bell is someone who has taken note of the rich seam of acoustic music in Scotland and added his own spin. I know that will continue into next year and see more material arrive from him. I am making a list of the artists to watch in 2018 and have included a varied selection of acts – covering so many genres and cities. Few of the artists I have included are able to impress and stun with an acoustic guitar. There are few artists that have the belief they will be taken seriously; critics will note their music and they can gain necessary respect and consideration. I feel there is a great need, in music, to see the older traditions and sounds of Folk come back in. I will leave that point there but feel like there needs to be a look at music and things we are missing out on. The so-called best acoustic artist of the year is Ed Sheeran. He appeals to a certain demographic but is not indicative of the scene and why people like me love acoustic music.

Seventeen starts its life with tumbling strings and a lightness. There is passion and pride in the performance and the composition compels the imagination and gets your brain working. All good songs should do this: few tracks I have witnessed all year have managed to do that. It is the accent and natural voice of Colin Bell that gives the song its natural charm and conviction. If songs like Let It All Out were about exultation and releasing the pain: here, we have a song that seems to reflect childhood or a past time. We get images of innocence and playfulness; balls being kicked up and down. If Let It All Out suggested balls being kicked in a rather spiteful and painful manner: here, there is a sense of the free and child-like that shows what a varied palette Bell has. There are artists who hide their tones and Americanise their voices. Maybe that is a conscious effort to get the music to the U.S. but Bell does not try that. He is all about his own identity and providing the listener with honesty and full discretion. His Scottish burr makes the music come alive and brings the listener into the picture. I get a little fleck of the 1990s and some of the bands that were arriving around the Britpop period. That same sense of quality and evocation comes through (in Bell’s song). Right from the off, one is involved in the song and following the projection. It seems like a game of football is underway but maybe it is a metaphor for love. There are hard tackles and painful situations – breakups and cruel words – that have burnt into the heart of the hero and made him reflect. It is the strings that continue to impress and get into the imagination. The bold and passionate voice of Bell brings the song to the fore and that combination of qualities that makes Seventeen so appealing. If the early stages suggest heartache and the loss of love: the song develops into something more positive and redemptive.

It seems the sweethearts are unbreakable and beyond fracture. There were hard times and splits but things are solid and you cannot easily destroy that affiliation. Bottles and brews are “Tainted with spiders” and will never taste as sweet again. These images not only heighten the song’s power but show the complexities and layers of love. Maybe the age-referencing song refers to childhood and how adulthood is less sure and more unpredictable. The hero is hanging out around derelict flats and making sure friends are kept safe. I was wondering whether the song referred to love alone and if there was something deeper running through the water. It is clear Bell is looking back at his early life and those changing teenage years. There are vivid experiences and a sense of a working-class lad that wants to return to those past days. He has changed in life and moved on but reflecting on his past and where he came from. I am not sure whether lamentations and memories of the past are designed to augment the present or they are being put to bed. The vocal is constantly alluring and invigorating. It is full of passion and wondering; it has sadness working throughout and shows a scarred heart that is trying to repair. Few songwriters manage to make such an impression upon the first listen. Seventeen is a song that reveals more of itself through time and shows its heartbeat firmly. You are affected by the strings and clarity of the voice; invested in the lyrics and piecing together the story – trying to get to the bottom of it. Colin Bell has been around a while but it seems, right now, he is producing his strongest material. The confidence one hears coming from the song cannot be ignored. He is sure of what he is doing and is at the top of his game. I related to some of the ideas expressed in Seventeen: that desire to hold onto a love many doubt; the bare-boned simplicity of play and hanging out; the way life changes and we look back on times past. It is a stunning and assured song from one of the best young songwriters of the moment. Expect Fallen Arches to make some serious moves in 2018!

It has been a busy and productive year for Colin Bell. Fallen Arches has risen and managed to craft a reputation in Scotland. I know critics have been raving about the live performances and speaking in excited tongues. Pen to Paper is a broad collection of songs that looks at relationships and personal issues; it expands and casts the net to the outside world. Seventeen is the latest release from the album and a song I felt I needed to get to the bottom of. What strikes me about the music of Fallen Arches is the mix of bold and emotional. There is never too much urgency or peace coming from the speakers. You get a nice blend of both and have various parts of the brain stimulated. Pen to Paper is full if depth and richness. It is a decent and proper singer-songwriter album that is modern and of-the-moment but does look back at better times. I wonder whether Bell will take his music on the road in 2018. I assume he is playing Scottish gigs but are English gigs going to be part of the agenda?! It would be good seeing Fallen Arches play a few venues down this way. What we are lacking around London are songwriters who go against the mainstream and produce something different. This year is coming to an end and I am curious to discover how music will shape and inspire. There are some promising artists coming through and I want to see just how far they can go. Fallen Arches have humbled foundations but things are getting bigger and better. If the social media pages can find more photos and information; if Bell can get some gigs in other parts of the U.K. – that will get the music to more people and find more fans. He has worked hard on his current L.P. and getting great feedback. That is going to continue in 2018 and will see the Scottish songwriter go far. He is a strong and original songwriter that excited my imagination and gets into the heart. Given that is quite rare in this time and age; I would compel others to get on broad and seek his music out. Seventeen is an example of what Bell can produce and why he will take further steps in 2018. It is a good time for him and he is helping to push Scottish music to the fore. Not that the nation should need that kind of kick but I feel too many are ignoring it. Let’s hope this is something that is eradicated in 2018. As we can see, from Fallen Arches; Scotland is a nation that warrants…

PROPER love and attention.

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Follow Fallen Arches

 Facebook:

https://www.facebook.com/fallenarchesmusic/

Twitter:

https://twitter.com/FallenArches77

SoundCloud:

https://soundcloud.com/user-442929765

YouTube:

https://www.youtube.com/channel/UCurT1O59r60AArGBKJfO3ww

FEATURE: Strings Attached: Is Acoustic-Based Music Relevant in the Modern Scene?

FEATURE:

 

Strings Attached:

ALL PHOTOS (unless credited otherwise): Unsplash 

Is Acoustic-Based Music Relevant in the Modern Scene?

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BEFORE this year is through…

I will look at a variety of things I have not covered before. Among them will be new technologies and breakthroughs; ideas and suggestions; some of the best (and worst) musical achievements of the year; tattoos (believe it or not!) - and a lot of other stuff. My energy for Christmas-based features has waned slightly so I am going to look at non-festive topics that are of interest to me. One thing I have noticed about modern music is how few genuinely appealing acoustic-led songs there are out there. The past few years, certainly, has seen genres like Folk relegated and overlooked. Many might say that is nothing new: it has never gained the focus it deserves and has struggled for appreciation. I guess the last time acoustic artists were truly commended and celebrated was back in the 1960s and 1970s – the likes of Bob Dylan and Joni Mitchell, for example. I will come to them but feel modern music has evolved and changed so much there is that emphasis on sound and energy – fewer artists willing to strip it back and produce something quite tender and Folk-y. Of course; there are other genres where one can hear softer strings – there have been a couple of albums this year that have provided that sense of comfort and contemplation. Courtney Barnett and Kurt Vile’s Lotta Sea Lice (awful title, by the way!) gained some great reviews but some felt the record was a middle-ground and compromise: none of Barnett’s fire and playfulness; the material did not match Kurt Vile’s best days.

Although that record garnered appreciation and showed both songwriters were suited to one another and able to step outside their usual remit – most of its gentler moments still had an electric guitar in the mix. Top Folk albums like Queen of Hearts by Offa Rex and Julien Baker’s Turn Out the Lights have stepped into Rock territory and employ a lot of different sounds and variations. I guess you can claim albums like Stranger in the Alps (Phoebe Bridgers), Not Even Happiness (Julie Byrne); Hitchhiker (Neil Young) and Memories Are Now (Jesca Hoop) are quite soft in places. Hoop’s album was reviewed by Allmusic’s Marcy Donelson who claimed:

“The whole record, in fact, is injected with a heavy dose of gumption and irreverence, a spirit that, deliberate or not, seems timely in the sociopolitical climate of early 2017”.

Maybe it is the times we live in that means fewer artists are picking up an acoustic guitar. There is a lot of tension and uncertainty in the world - so it is only natural modern artists would reflect this through greater urgency and sonic exploration. I would counteract that assertion with the fact, back in the 1960s, there was plenty of political strife and social division. Artists like Joan Baez and Bob Dylan created assertive and sentient music with acoustic strings – that offered commentary regarding the world around them (and wise words).

PHOTO CREDIT: Getty Images

I feel this year has been a good one for music but is defined by sonic ambition and evolution. Even Folk artists – who exist in a genre defined by a certain stillness and grace – are pushing the envelope and taking the genre in new directions. I guess music is much more competitive and busy than ever and there is that need to stand out from the crowd. Will one fall for an artist unless they provide music with depth, vibrancy and colour? It is hard to capture the minds armed with little more than an acoustic guitar, songbook and voice. It may sound like I am hankering after a time that no longer exists: has music come too far so acoustic-made music is no longer viable and demanded? There are Pop artists (like Ed Sheeran) who produce acoustic music but they/he appeals to a very limited audience. Even musicians like Sheeran, who courts a huge following, are not really offering anything original and memorable. The reason this subject comes to my mind is the fact I have been listening back to great Folk/Pop albums of the past and immersed in their beauty and power. One need not be rigid when it comes to the definition of ‘acoustic’. Take an album like Blue (Joni Mitchell) or Tapestry (Carole King) and you get piano and other elements. Again; there are very few albums that strip things back and provide shivers and astonishment.

Is it, therefore, impossible to replicate the sounds of the 1960s/1970s – at a time when music is at its hottest, most jam-packed and varied? The acoustic artists we hear on the radio now, for the most part, seem to have little to say and do not really remain in the mind.  For those who want a modern-day Wonderwall (Oasis) or Blowin’ in the Wind - where do we turn to get our fix?! Perhaps we do not have the same calibre of artists now but I wonder whether guitar music is as relevant in the modern day? I read an interesting article by Billboard published earlier this year – that asked whether Folk music was social relevant – are modern artists preserving the ethics and ideals of their forefathers?

“It’s hard to imagine the turbulent '60s without such folk songs as “Blowin’ in the Wind,” “Eve of Destruction” or “The Times They Are A-Changin’” serving as musical markers of protest. And when Lady Gaga opened her Super Bowl halftime show earlier this month with Woody Guthrie’s iconic folk song “This Land Is Your Land,” the 77-year-old patriotic anthem got introduced to a new generation.

As America enters its most fractious political time in decades, can folk regain the social relevance it once had as the musical voice of resilience and resistance? The very people you would expect to say yes -- some of the biggest artists in the folk genre -- said no during the 29th annual Folk Alliance International conference held Feb. 15-19 in Kansas City, Missouri. But they passionately believe that folk music and its heritage will have a moral and guiding role in shaping the conversation, no matter what it sounds like.

 “White boys with guitars is a bit outdated,” FAI keynote speaker Billy Bragg told Billboard. However, he added, “This is one of those fertile times when folk music can come along and feed the resistance. What’s different is that music no longer has a vanguard role in youth culture because of the internet. There are so many different ways to express your anger now, whereas before the only real medium that made sense was music. If you’re 19 and angry, you can make a film on your phone.”

Modern bands like Shame and IDLES are producing terrific guitar music; there are promising Punk/Alternative groups appearing on the scene right now. I agree (with Bragg) Folk music has a vital role in today’s world! The political and social clashes mean there is a need for artists to articulate the divisions and strains we are all aware of. If, as suggested, there is a strong and necessary Folk scene cementing and rising – where are the acoustic-based artists?! The same article raised an interesting point when referring to U.S. Folk and the type of sounds/styles favoured:

“It is a tough line to walk, said upcoming folk singer Caitlin Canty, especially when so many artists make their living playing in red states before paying customers who want to be entertained, not necessarily preached to.  “I feel sympathetic to those audience members,” she said, adding that she kept most of her political opinions and activism separate from her music -- until recently. “We need our Guthries right now,” she said. “That’s not how I’d stereotype myself or my friends, but I think everyone is adding that piece to their personality right now.”

 What folk artists may lack in arena-sized audiences, Finnan believes they can make up for in a more personal outreach. “The activation that is happening now is at a grassroots level,” he said. “There is an intimacy to the presentation of acoustic-based folk music that is in the coffee houses, in the community halls, in the church basements, in the high school gymnasiums that has a very disarming quality and that has a proximity to people’s hearts and lives that is different from commercial music. There may be a few crossover acts that bump up into that world from ours, but I think it’s a different track that folk music can tak.”

It is that personal touch I want from music. I love the way music continues to change and develop but I am concerned the market/mainstream demands artists have a certain sound. Even modern Folk, away from the underground, is defined by a more varied and genre-splicing sound. Aside from the odd album here and there; I am hearing few acoustic artists who can genuinely stand out and create an impact. I long for the literate and cultured sounds of The Beatles (the sort of sounds they were producing around 1964-1965), Simon & Garfunkel and Bob Dylan – artists that have survived the years and inspired so many people to go into music. I guess a lot of acoustic-focused music is Folk and, historically, that genre has investigated poorer communities and struggles; the plight and fight of those suppressed and ignored. If, in a gentrified and developed world, there is less social poverty – Folk music loses some of its traction and necessity.

I think there is plenty of struggle and hardship out there but, whereas Folk artists addressed these problems in years-past; now,  genres like Hip-Hop and Rap are taking over. It is important to preserve the traditions of Folk because it is a way of passing down to generations the reality and situation of the world. A lot of current music shies away from issues like social deprivation and political tension – the same themes and subjects (love and personal struggles) are still the popular currency. It is not only Folk music that employs acoustic strings to convey its messages. I have mentioned artists like Joni Mitchell, Bob Dylan and Carole King. They, between them, have crafted immaculate, heartbreaking love songs on the acoustic guitar. It is not true that all acoustic music is Folk; it is not the case all the greatest songs ever created have gone beyond the humble six-string. I wonder whether artists are concerned something pastoral and acoustic alienates them from the public. Folk is transforming and most mainstream artists employ more instrumentation into their music. I know acoustic music, in general, has never been huge – it is nice to hear artists bare their soul in an original and striking way with little more than that single instrument.

I do not buy into the assumption guitar music is dead and extinct. Maybe that is true of the mainstream but, when you look at the great artists coming through right now – maybe independent and underground – there are plenty of Punk/Alternative/Rock options. I believe there will be a revival and re-examination of guitar sounds. Solo artist-made music is more popular and impressive (in my view) than band-created sounds but the contemporary musician is a lot more adventurous and vivacious than previous years. You can debate how important and relevant acoustic music is at a time when there is bubbling communal anger and universal friction. Perhaps we do need the fire and motivation of Hip-Hop pastors; the incredible fizz and innovation of the new bands emerging. It is a shame the likes of Bob Dylan and Joni Mitchell seem to be a product of the past - something we cannot reverse and revert to. Perhaps this is something we need to consider for 2018? We need to promote artists who document the desire of the people and go beyond the predictable and generic songs of love and relationships. I do not agree that acoustic music – whether Folk or Pop – is a non-entity that has little muscle and importance. Maybe it is a fear of commercial isolation or a lack of quality – there enough great singer-songwriters around that can argue against that point – but I feel the sort of potency and genius one can only get from the acoustic guitar still…

HAS a huge role to play!  

INTERVIEW: EnaFay

INTERVIEW:

  EnaFay

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I have been speaking with EnaFay…

about her awesome new E.P., Arwen. It is a stunning and beautiful collection of songs that make you reflect, immerse and imagine. The German-born artist talks about her influences and upbringing; how she will spend Christmas; how important dance is to her sense of liberation and musical dynamic – and how Celtic symbolism inspired her E.P. title.

EnaFay talks about her upcoming E.P. launch in London and what she has planned for the future; the albums that mean the most to her; why she moved from Germany to Ireland; whether London is a good place to record music; a few new acts we should check out -  she tells me what she learnt about herself whilst recording Arwen.

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

Hi, Sam. I’m really good, thanks - and it’s been a busy and great week since I released my debut E.P. (only last week)! 

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

Of course! So. I’m the artist EnaFay; singer-songwriter living in London - at the moment - born in Germany; partially raised in Ireland…so, in the same way I have several homes; my music does, too.

I play soul music but it’s a bit experimental - there’s a lot of different influences in there.

Arwen is your debut E.P. What does it feel like having it out to the world? What are the main themes you explore throughout?

It feels like a weight has been lifted off of my shoulders.

Don’t know if that surprises you but even though I loved working on it; it just feels so good to have completed it and to not be able to go back and change another thing. It has been a long process for me to get it out there. I am quite the perfectionist which, sometimes, can make it hard to…you know…let go. So, to me; one of the biggest achievements about it is to have - in fact - let it go! 

This is a theme (also) on the E.P. - “Let go, make me proud/we are no longer restricted” in the last track of the album. Restricting yourself by being too hard on yourself; restricting the other by not giving them the space they desire; finding the balance between the two poles - you and me, black-and-white; fire and water…‘Arwen’ is symbolic and it means ‘total unification of polarities’.

The title has a Celtic connection. Growing up in Ireland; is that exposure and experience of the country the reason you chose ‘Arwen’ as the title?

So, yes; ‘Arwen’ is, indeed, a Celtic symbol!

The idea behind the E.P. is finding balance in a relationship as well as yourself - so it sums it up nicely. I only came across this symbol, however, when I was already living in London - so many years after moving away from Ireland. But, I was doing research specifically on Celtic symbols in connection to myself as an artist; so, the time living there definitely had an impact on me - since I deliberately chose to make it a part of what I was working on. 

Did you learn anything about yourself whilst recording the E.P.? How much of an impact did the music make on you?

Big question. I could probably write a book on it! Haha…

As I mentioned; it was quite a long process and in that time I learnt so much. (Also, about myself). The whole E.P. felt like a not so personal matter at the beginning (quite a few songs on it I wrote about other people, not myself) and now, after three years, it feels like I have lived them all!

The truth is (this may sound like a cheesy ending); I would say I have come a lot closer to feeling balanced than I have ever been before. But this is, of course, in no way an end. One of my favourite sayings is: “Life is like riding a bicycle - to keep your balance, you must keep moving”!

I believe you are launching the E.P. in Walthamstow next month. What can you reveal about the gig?

It will be a night not to miss…this is where it all comes together…music, dance; a bit of drama and a bit of poetry. A lot of the amazing people I have been working with on this E.P. will be there, which makes me feel ever so grateful - as it shows how relationships can last! To add to that; talents I met more recently will be shaping the evening with me so, overall; I am hoping it’ll be the spring for more collaboration.

Also; it will be the day that I release the physical C.D.s, too!

Looking at videos you have filmed; it seems dance plays a big part in your life! How important is it with regards freedom, expression and adding physicality to the music?

I chose to have two dancers take on the main ‘characters’ in my music videos - as it is a physical expression of the music and the story being told. Dance, to me, leaves a lot of freedom in the way you can interpret. In this case; I wanted it to support, but not distract too much from the songs. Adding dance, to me, adds another layer - which leaves more freedom for the audience than, for example, if the singer is singing the song into the camera.

London is where you are based now. You have moved from Germany to Ireland; now to England! What was the reason for settling in London? How important is the city to you?

I came to London to study Contemporary Music Performance and, then, I stayed as it seemed like the only thing that would make sense for me to do. I had just started working with people that I wanted to continue working with. I think the overall excitement in London and drive is what makes me feel like it is the place to be for me: work hard, play hard as they say (smiles).

Which artists did you grow up listening to? Which musicians have inspired your own music?

I grew up listening to Britney Spears, J-Lo; Alicia Keys and Destiny’s Child. I pretended to be all of them (especially Beyoncé) - it was so much fun! I also went through phases listening to Eminem and Rammstein. When I was around sixteen, I think; I identified most with Alicia Keys - I was playing the piano and singing some of her songs. I got more into writing songs with the piano. I was, however, mainly classically trained on piano. Later, I switched from mainly female artists to male - it was Frank Ocean and The Weeknd for me.

Massive Attack came into the picture as well as Björk and Kate Bush - who I had never heard of before...but I was told I had a similar vibe to.

IN THIS PHOTO: Lyves

Who are the new artists you recommend we check out?

I would recommend Lyves. Very atmospheric and soothing. Also; SYML. A very touching singer/songwriter.

Emmit Fenn is an Indie/Electronic artist - very good looking, too (smiles).

IN THIS PHOTO: SYML/PHOTO CREDIT: Shervin Lainez

If you had the chance to choose the three albums that mean the most to you – which would they be?

Alicia Keys - Songs in A Minor

Drake - Nothing Was the Same

Destiny’s Child - Survivor

Is there any advice you would give to artists coming through right now?

Try and not put your life into social media’s hands. With that, I mean live a life outside of it…we are, at the moment, so pushed to put our efforts into growing a following online that it is easy to lose track what it is that actually drives us (not two more Facebook ‘likes’ or a ‘retweet’). It’s the connection happening in the rehearsal-room; in the studio or on stage.

At least that is what it is for me….

Can we see you perform anywhere soon? What gigs do you have coming up?

Right now, just at my event in January. I will probably have some more gigs coming up in February/March again, though.

Are you looking ahead at new material in 2018? Do you have ideas for a future project?

Once the E.P. Release Gig is over; I will do a lot of songwriting. I have had a lot of ideas in the past months that I never managed to turn into something more complete (due to time restrictions). So, this is what I want to focus on for some months in the New Year. What these songs will lead to exactly - I don’t know yet.

But, I have several ideas….

Christmas is almost here. Do you have plans already - or will you be busy working?

Yes; only a few days to go!

Until then; I’ll be sorting out all the presents that I still need to get…I have quite a big family. Over Christmas, I’ll be in Northern Ireland in the countryside with some of my family - but I’ll be quite busy with preparing my E.P. Release Show on 13th January!

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).

Yay (smiles). Fear of the Water by SYML, please.

The official music video is amazing, too!

________

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FEATURE: Wonderful, Glorious: Is There Such Thing as a ‘Perfect’ Song?

FEATURE:

 

Wonderful, Glorious:

ALL PHOTOS (unless stated otherwise): Unsplash

 Is There Such Thing as a ‘Perfect’ Song?

________

AT this time of year…

we wrap everything up (apart from presents) in a sense of wonder and delight. We are relaxing into Christmas and everything is a lot calmer and happier now (than any other part of the year). Some, in fact, see the Christmas period as ‘perfect’. It is a time for family and retuning; taking it easy and enjoying time away from the strains of everyday life. I have been thinking about – as I launder the Christmas stocking – whether there is, in music, such thing as ‘perfect’. One can argue music is so subjective there is no such thing as a perfect album or song. On the album front; I wonder whether there are creations that are, if not perfect, as near as you will get? Do emotions and time make a record better and more meaningful? You can debate an L.P. like Revolver (The Beatles) or Rumours (Fleetwood Mac) has no filler and, as they have endured and impressed for decades, they are perfect. I am a massive fan of The Beatles but can compartmentalise their albums into categories: the most underrated, the finest; my favourite, the most influential. Revolver would definitely fall into the category of ‘the finest’ – my actual favourite would be Rubber Soul. Albums like Rumours are phenomenal but I would say there are a couple of songs I do not listen to with my whole heart.

Maybe they are skipped – despite the fact they are great – and I rush to the other numbers. Albums, like songs I guess, can be judged subjectively. I thought of this topic because I am listening more and more to new music – inevitable, given what I do – and trying to detach from older tastes. I think we all find natural comfort and sensibility in the music we were raised on; the artists that compelled us to fall in love with music and become fascinated. Newer music can resonate and inspire but there is always that natural attachment to the songs of old. Given the fact modern music is so busy, big and eclectic: do we ever get the chance to sit down and really investigate a moment?! We are inundated with streaming, new singles and hot acts – they are sort of flash past and you never get the opportunity to savour and linger. A few songs might stick in the brain but when was the last time you had to stop everything, turn the radio/laptop up and listen to this phenomenal track blasting in your ears?! Tomorrow, I want to look at acoustic music and whether it has lost its edge: now, as I debate the comparative merits of newer music; I wonder whether there is a secret recipe to create a perfect song? Albums suffer the problem they have a lot of tracks and, invariably, some people will not like others as much as you do – can a record truly have enough strength to be called ‘perfect’?!

IN THIS PHOTO: Dagny/PHOTO CREDIT: Getty Images

I will come back to that but, when it comes to songs, maybe it is not all about memories, personal tastes and critical reviews. A lot of the music we hear now is geared towards platforms like Spotify and YouTube. I guess we need to define the parameters of a song and what to consider: some might say there is no science and feeling needed for such a discovery: it is about the feeling and sensation. That might be true but are there certain aspects present (in the very best songs) that new artists can learn from? Popstar Dagny conducted an interview last year and was asked whether there is such thing as a perfect Pop song:

“I’m not sure there is such thing as a “perfect pop song”. To me, being a melody girl, a good hook and a catchy melody are the foundation of a great song! And you got to get a feeling across, whether it’s joy, energy or melancholia”.

I think that is the problem with the modern mainstream: there is that need to get something instant and hooky-out; create a sense of fun and abandon. Big streaming figures and airplay is as much to do with accessibility and digestibility as it is depth and texture. I wonder whether the market has become so saturated and changed we will never hear a new song that rivals the biggest hits of yesteryear. To me, music is not only about memory and nostalgia: one can find perfection in the modern times, for sure...

A 'perfect song' would not be something that is loved and adored by every human that listens to it: something that has no discernable faults; can grow in the mind and stay in the heart – that, in truth, is all it takes. The last time I heard a song that did that to me – in terms of contemporary music – was, I guess, a few years ago now. It has been a long time since I heard a track that I was compelled to repeat and stays with me now. You can argue something semi-modern like Beyoncé’s Crazy in Love is a perfect song – it gets people dancing and has inspired cover versions – but that was released over a decade ago, now. I would argue there are songs that fit into my definition of ‘perfect’ but, for the most part, they are quite old. I will go on, but I wanted to bring in an article from Esquire - where they discussed the subject and what makes a ‘perfect song’.

 “Everybody knows a perfect song when they hear one, everybody has a list of perfect songs, and everybody's list of perfect songs is pretty much the same as everybody else's: "Amazing Grace." "You Are My Sunshine." "Hallelujah." "He Stopped Loving Her Today." "Summer Wind." "I'm So Lonesome I Could Cry." "Let's Stay Together." The rules are so well-known that there's even a perfect country song about the rules of perfect country songcraft, David Allan Coe's version of Steve Goodman and John Prine's "You Never Even Called Me by My Name," in which Goodman boasts that he's written a perfect country song, and Coe reminds him that "he hadn't said anything at all about Mama, or trains, or trucks, or prison, or getting drunk." What Coe's really doing, of course, is confirming what everybody already knows — that there's a formula for perfection, and the perfect song is the song that follows it and rises above it at the same time.

A perfect song, then, is a simple song. A perfect song begins with either a declarative sentence ("Well, he walked up to me and he asked me if I wanted to dance," as the Crystals sang in their perfect song of 1963, "Then He Kissed Me") or a direct address to the listener ("Hear that lonesome whip-poor-will," as Hank Williams sang in "I'm So Lonesome I Could Cry"). Whether it's a country song or a soul song, a perfect song follows classic pop-song structure and doesn't last very long. A perfect song tends to be cinematic as much as it is musical — "Wichita Lineman," which otherwise is a Kansas utility worker's complaint about having to work extra hours, is a perfect song because it functions as a short film about loneliness — and often shows up in movies. Most of all, though, a perfect song is a song you first heard on the radio, because — besides simplicity and yearning — the elements indispensable to all perfect songs are the elements of commonality, time, and fate. Subtract any of these and not only do you have a song that is suddenly less than perfect, you have the lot of the song aspiring to perfection in the age of MySpace and the iPod”.

I agree with a lot of what is said (above) but feel you can add a couple of other bullet-points into the list: a song that provokes some serious emotion and is adaptable to any mood, need and time. I will revisit the ‘against’ side of the argument before wrapping up - but I have been considering the songs, I feel, are beyond scrutiny.

The two songs, oddly, that are in those sacrosanct, God-like holes are Hallelujah (Jeff Buckley’s version) and Kate Bush’s Running Up That Hill (A Deal with God). Both artists have, I know, crafted songs that are considered fan-favourites but both are not so lucky they can rely on these songs alone to create a legacy – it is the fact these numbers, to me, stand above the rest. So, then…what is it about these numbers that are ‘perfect’ (to me, at least). The article I sourced (above) looks at the simplicity of a lyric or hook: something that gets into the soul without much fuss and drama. I feel Buckley’s cover of Hallelujah is more a sermon/rendition than an actual vocalisation. Leonard Cohen wrote the song for his 1984 album, Various Positions - but his version is a completely different beast (to Buckley’s). Cohen’s low-voiced, gravelled take is perfectly okay but Buckley’s reading is a transcendent and unearthly thing. He talks Cohen’s masterful words – Buckley considered his take to be a celebration of the orgasm – and brought every syllable to life. From that single, aching, breath at the very start; down to the impossibly soothing held note at the end: it is a rapturous, spine-tingling song that surpasses the original but could not have happened without the original. Cohen could never have performed the song as wondrously: Buckley could never have written lyrics as poetic and intriguing.  

There is something about Buckley’s vocal that stops you dead and forces you to experience the music – you cannot have it in the background or casually bond with the song. The vocal, to me, is perfect as it ranges a gamut of emotions and always drops the jaw. The lyrics are flawless and there is little compositional encroachment – arpeggio electric guitar is about all you get. Hallelujah is not a song to bring a smile to the face but it seems to reveal new meaning every time I hear it. Buckley’s version was recorded ten years after the Cohen original – for his only, and seminal, album, Grace – but has endured and continues to inspire artists now (the slew of inane cover versions have not dampened its magic). I come away from the song a better person; educated and calmed; baffled by its sheer grace (no pun intended!) and nuance. Similar reactions are provoked when I listened to Hounds of Love’s most-celebrated song. That evocative and epic introduction; the passionate vocals and the feeling I get when listening to the track – it is not my favourite Kate Bush song but is the one that summons something others don’t. There are common threads in both songs – a sense of beauty and the sublime; incredible vocal performances and words that have a sense of strange wisdom – but they are quite different-sounding.

They are, to me, perfect songs and I can find no fault in them. There are others who disagree and can find flaws: is it, then, still a case of the subjective taste of the listener?! I think there are songs that defy any criticism and (a song) need not be complex. There are many tracks that I would rate perfect but I can understand those who feel, in a lot of ways, a single moment of music cannot reach giddy heights. I am a little worried by the modern currency of disposable Pop songs that do what they need and then disappear. I know there are artists who craft incredible music and take a lot of time over their work: a lot of what is proffered and promoted in the mainstream lacks any real craft and skill. I guess it has been that way for a while but does that mean, years from now, we will struggle to name any songs from this decade that truly deserve the word ‘perfect’ put next to them. Is it all about personal definitions or is music so subjective, no matter what song you name, one can find flaws somewhere?! It is rare to discover but there are those tracks that do something profound and, when you look at them, cannot be faulted. Will we, in this decade, see a song that is perfect and flawless? Have we seen one (or more) already? It would be good to know…

WHAT people think about this subject.

INTERVIEW: James Perryman

INTERVIEW:

 James Perryman

________

THIS interview will be spread around my social media…

in February – when James Perryman’s latest track, Why Do You Only Love Me When I’m Stoned?, is released. It is out on 12th - and is a fantastic offering from the talent London-based songwriter (I have had a sneaky listen and can attest). Of course; I wanted to get the interview out now so people can check out Perryman’s existing work; get excited about what is to come and make sure they prepare their mind for the single - and his third E.P., The Narrow Gate (not out until April). It has been a frantic period for Perryman, so I was keen to catch up and see what his new material is all about – and the themes that have driven his latest work.

He talks to me about his time working with Angus & Julia Stone; thrilling audiences with The Honey Ants – and what it was like having The Honey Ants’ John Grimsey co-produce his (upcoming) E.P.

Perryman discusses the changes in his work and the albums that mean the most to him; some new artists to investigate; how paternal duties (for Perryman and his band) changed things; musicians that have inspired him; whether there are any gigs in the calendar; what advice he would give to new songwriters – and how it feels being compared with the likes of Father John Misty.

________

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

Good, thanks. Busy at the moment getting ready to release new music and rehearsing new songs for some upcoming shows.

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

I’m a singer-songwriter from West London - and I’m soon to release my third E.P., The Narrow Gate.  It’s kind of Alt-Country (but it’s pretty broad overall).

Why Do You Only Love Me When I’m Stoned? is your new track. I love the title! What can you tell me about the song’s origins?

Thanks. Glad you like it - the title is a bit deceptive…

The song is really about the media and people’s general obsession with celebrities’ lives falling apart; whether through drugs, drink or marriages breaking down. It’s on the front covers of so many magazines - and we just feast on it.

It seems like, when these people have sorted themselves out and are well again, we just lose interest and move on to the next one.

The video shows a series of images/sketches. Who illustrated them? What was the reason for the concept/story?

I can’t really take any credit for the video: my friend Thalie Stephan did the art for the cover and the video. 

I didn’t even know she’d done the video. I just asked her to do something for the cover that was inspired by the lyrics. When she gave me the cover artwork, it turned out she’d also done this amazingly illustrated video too. She took inspiration from each line of the song and drew something.

It’s really cool. 

She’s on Instagram as invisible.supply and is definitely worth checking out.

The E.P., The Narrow Gate, is out in April – the single is released in February. What are the themes and stories explored on the E.P.?

There’s no real overarching theme on the E.P. I think, generally, all my songs come from something I feel quite strongly: I can’t just write about any old thing. 

The opening and closing tracks are really about me and my life; some of the struggles and journey so far - and knowing that we’re not alone; even in our lows. A couple of songs are about a hard time from a few of years ago when someone close to my wife and I was going through some heavy stuff around mental-health. Those songs are about how it affected each of us individually and together.

Probably, the most epic song on the E.P. is the third track, Every Piece of the Way - which is about a break-up (not mine), but that song probably carries the most angst and emotion on the E.P. 

I think there are a lot of stories in there that people will identify with.

You worked with The Honey Ants and Angus & Julia Stone. What was it like working with them?! Did you learn a lot from that time?

Yeah; both experiences were great.

I learnt a lot from Angus & Julia. It was a bit of a turning point. Before that, I was playing in a loud Rock band. Angus & Julia definitely taught me about space and depth - and being true in your songwriting. Also, you could play their songs in an arena or a living-room and they still have the same presence. I got to play some amazing places with them, too. They took me to Australia and we played Sydney Opera House on that tour.

The Honey Ants have been really cool, too. John and Rebecca are both great songwriters and really work at it all the time. They sing beautifully together, too - and have definitely influenced me harmonically on some of the newer songs I’ve been writing.

The Honey Ants’ John Grimsey co-produced The Narrow Gate. What did he bring to the work – in terms of guidance and insight?

John brought a lot to the E.P…

He’s a really good producer and has a great vision for things. He really helped shape the sound and make the songs punchier in places (and cut to the point). He produced the single, too, and got me to shorten the song - and sing it softer than I had been doing. It came out really good because of it.

What was the reason for setting up a band? How did you come to meet your cohorts?

Although we play under my name; it’s really more of a band vibe I’ve known them all for ages and we’re all good friends. It kind of just fell together a few years back. When I broke up the Rock band I was in, I started playing solo acoustic shows. After a while, I got Rob Pennel to come in and play some light percussive drums. He suggested Tom Quillfeldt on bass and, after a couple of years, we got Olivia Coghill in to sing with us (and sweeten up the harmonies). I love the guys I play with. 

I’m always gutted if one of them can’t make it to a show.

I believe paternal duties delayed the progress of your new music. Was it important for you and the band members to focus on family - before following up on To Whom It May Concern and Consumed by the View?

It wasn’t really planned: it’s just that we all ended up having kids around the same time (five of them in total!). It really put the brakes on things in terms of free-time and finishing off the E.P. Although we love playing together; I think it was really important to get our priorities straight - and get to know these new little cool people in our lives before proceeding with the E.P.

 

Your voice has been compared to the likes of Father John Misty. (I hear shades of Glen Campbell, too). Are these names you are compelled by?

Yeah, definitely. They’re both great singers.

When I was younger; I didn’t really know what my voice was: I just emulated singers that I liked. I think, eventually, I started to really identify with singers who, I felt, were delivering truth and weren’t putting it on - they were just singing in the voice they speak in. 

Johnny Cash and Sturgill Simpson are definitely a lot like that.

Which artists did you grow up listening to? Which musicians have inspired your own music?

My music taste is a bit all over the place: anything from Mastodon to Take That. I think the bands that really stand out - and have influenced the music I write - are The Beatles, The Band; The Black Crowes, Bon Iver (all the Bs) - amongst various other things. 

I grew up listening to Nirvana, Foo Fighters and Queens of the Stone Age - and I still love all that stuff. I was very influenced by my dad’s record collection, too: stuff like Crosby, Stills & Nash, the Eagles; Led Zeppelin, Evan Dando/The Lemonheads.

The Lemonheads were probably my entry to Country music because they covered some Gram Parsons and, through Gram Parsons, I discovered a load of other Country that I fell in love with.

IN THIS PHOTO: The Honey Ants/PHOTO CREDIT: http://jenmphotography.com/

Who are the new artists you recommend we check out?

Well…obviously The Honey Ants. 

There’s a great singer-songwriter called Louis Brennan (who is a mate of mine). Also; Officer is really cool. His album sounds pretty different to his live shows - but he’s great and definitely worth catching live.

IN THIS PHOTO: Officer

If you had the chance to choose the three albums that mean the most to you; which would they be?

The Band – The Band

This album is amazing. It’s just a load of guys working it out and playing in a room. It’s honest. They’ve got three great singers - and it’s just fun and groovy.

Chris Whitley and Jeff Lang – Dislocation Blues

Angus & Julia’s old drummer put this on my radar when we were in Australia. I think it’s recorded in a warehouse. It’s so cool and gnarly. Very raw. It just has a great feel and there’s so much power coming out of it - considering it’s all acoustic guitars.

R.E.M. – Up

This album is so cool. I saw R.E.M. on this tour the first time I went to Glastonbury Festival in 1999 - and it was magical. The album is so broad. (There’s a great Beach Boys influence). It’s rocky, edgy; sorrowful in places.

Love it.

Is there any advice you would give to fellow artists coming through right now?

Enjoy it. Find people you love to play with and have fun….

Also; find people to help you if you can. There’s so much stuff to sort out around gigs and releases: if you try to do it all yourself, you’ll probably run out of steam for the music.

Can we see you perform anywhere soon? What gigs do you have coming up?

I’ll be playing on 7th February at The Bedford in Balham (just ahead of the single release on 12th February). Also; I’m playing at The Coppermill in Walthamstow on 16th February (the week after the release).

Christmas is not too far away. Do you have plans already - or will you be busy working?

Hopefully; I’ll be sitting down doing nothing. My only request this year was that we didn’t host - as I’ve spent about six hours in the kitchen for the last few years.

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).

Billy Ray Cyrus - Achy Breaky Heart! 

Haha. Cos a mate of mine has been calling me ‘Billy Ray’ recently and cussing my mullet. I’ve had it for about eight years -ain’t nothing wrong with a bit of tail!

________

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FEATURE: Moving with the Times: Music Journalism in 2018

FEATURE:

ALL PHOTOS: Unsplash

Moving with the Times: Music Journalism in 2018

________

A few things have caught my mind…

over the course of this year.  There has been some personal revelation and change; a need to develop what I do and push into new areas. Next year, as I consider how to expand and grow my blog - I have been thinking about the ways music journalism is changing. One of the biggest regrets I have had this year is being too lenient with artists. Quite a few of my reviews and interviews have been with artists whose images and information has been lax. It is annoying seeing so many artists pitch to me and not really doing their research. I understand there is a need to get material out to people and be visible but having that scattergun approach to submitting is not the way to go about things. I have been too soft with some and regretted putting up pieces. The music might have been good but the photos – or the lack of them – have been disappointing and poor. I have encountered people asking for interviews and not filling out all the questions I submit; others who want it published weeks after they have sent it back to me – why are to do an interview and wait for weeks to have it online?! – and others who provide scrappy and flimsy interviews. I have reached a point where I don’t need to go after people for requests – or I can and expect them to comply – so next year will see me becoming a lot stricter with any requests that come my way.

This covers interviews and reviews: if they do not have a selection of good images and information, I am not interested. The same goes with ensuring, if they are interviewing, they answer every question I ask. That tactic could alienate me from a lot of artists and get the workload down a lot. It is an approach I have had to take because I am not willing to see my blog suffer and look shoddy. I have a unique style/format and, if artists are dissatisfied with my rules, there are dozens of other options they could explore. This might sound like a rant from me but it is a signal of where I want to head and how seriously I am taking things. I have noticed a lot of music sites – the popular and big ones we all flock to – adopting a similar approach to their pieces. One would not read an interview with Kendrick Lamar, say, and see a couple of blurry images on the piece; they would not feature any artist/album and produce poor images – nor would they publish an interview where some of the questions were omitted. I have been thinking about sites like Pitchfork and The 405 and the work they produce. I realise they have teams behind them – and have the resources and time to do that kind of work – but it is inspiring seeing great, detailed features on artists; able to hook people with incredible journalism and of-the-moment articles.

There is no reason why a smaller, less-known blog cannot match the big-league sites such as Pitchfork. The reason I wanted to write this piece was to show how journalism is changing and what direction it needs to take in 2018. I am noticing a lot of sites produce the same articles (writing about the same things) and most of the work is written. They do put videos on their sites but most of these are music videos. Interviews, on the whole, are written and one gets very little audio content. In a time where attentions are waning and people want a mix of the written word and audio. Maybe it is a question of traditions and risk but it would be good to see more interviews online that are filmed. All of my interviews are conducted by email but I understand a lot of people are hankering for something tangible and visible. Whether this involves recording an interview – like I would on a radio station – or filming it; adding that aspect to my site seems like a good move. I feel more of the larger sites should adopt this and create that blend of written and spoken interviews. A few months ago; I mooted the possibility of a music YouTube channel whereby one would produce regular videos covering a variety of subjects.

Maybe there would be a series looking at classic albums; interviews with unsigned acts and tracks of the week; features regarding various cities and artists coming from there – essentially, what one might see on a top-notch music site but in the form of videos. I am keen to move into video-based territory - as I feel there are too many sites providing the same thing; sticking with written content and, when there are so many options available, it can be hard to differentiate and distinguish. It is great seeing the range of sites and the quality of journalism but, from my viewpoint, I have spent a large chunk of the year sat at a laptop and not interacting with musicians. I aim to see more gigs and set up an interview series whereby, in one part, two artists – either D.J.s or label boss; musicians or bands – interview one another; the other would be me chatting with a musician. I am ambitious when it comes to chasing established musicians and would like to get a few high-profile artists on my pages. As music becomes more digital-focused and there is less reliance on the printed word; websites need to recognise the changing demands and tastes present in music. There are blogs/sites that combine videos and written articles but there are few sites that produce a comprehensive channel that has filmed interviews, audio documentaries and other videos.

Given the number of vlogs, podcasts and digital stations out there; something that draws these together might be a nice idea. There are few music websites that combine traditional journalism and provide their own podcasts/series. Given the fact Sir Paul McCartney has started vlogging: does anyone in the world of journalism have reason to ignore such an immediate and vibrant platform?! It is a case of controlling quality and ensuring what you put up is of good and meaningful quality. I love the pieces I put out but I feel the best way for me, and any site/blog out there, to improve and evolve is to get into the open and, if you are at the laptop, to think about multimedia diversification. There is the issue of cost when it comes to ambition – travelling to meet artists and filming equipment; paying for new software and technology – but these ‘investments’ are worth the burden. There is a huge, bright and busy music world out there: getting out there and embracing it is a good ambition for 2018. As I introduce regulations and get tougher with artists; I am looking at the broader horizon and seeing what is out there. I have spent so much time in London – and various other cities regarding acts – and have neglected large parts of the world.

It is time to change things and get out there! Another of my ambitions – I don’t want to use the word ‘resolutions’ – is to focus more on northern music and the great artists who do not get the recognition they deserve. I am writing a piece in a few days that will look at Manchester and how, I think, it will gain traction – taking the focus from London and getting back into the public consciousness. In essence; I am eager to explore parts of music that are relatively unchartered and overlooked. It will be exciting stepping into the year and seeing what it holds. I am always researching and seeing what other music sites are producing but there is that feeling, deep down, that there needs to be a sea-change. Printed music papers/magazines are becoming rare and people are getting their content on their laptops/computers. I often wonder, when considering the reader, whether an article (such as this) looks a bit dry and unmoving on the page. I regularly check out the biggest websites (music) out there and, whilst they provide inspiration and guidance, I cannot help wonder if there is something missing. This time of year is a quiet-ish one for music journalists. Most artists are winding things down and making their plans for 2018.

Over the next few days; I will start thinking about the ventures I want to achieve next year. I have been a little stubborn this year regarding the way I publish my work and the format it takes. That need to diversify and provide a balance of audio and visual is the biggest lesson. From my defence: a limited budget has restricted my movements and ambitions but, as I become more committed to what I am doing; I realise I need stretch my horizons and do better. I feel the same can be said about a lot of sites – who have teams behind them – and, whilst budget is a factor for all of us; one can achieve a fair bit by utilising channels like YouTube. The final pieces of this year - aside from some ‘best of’ lists – are going to look at more general themes. The modern music fan demands a lot more from the media: keeping their attentio held and firm is a challenge in itself! We need to learn a lot of lessons as we head into 2018 (and take stock) and, I feel, music will take on a bigger role than any other year in recent memory. The media will be in the spotlight as there will be a lot to write about; the way it is presented to the reader The printed/written word is vital but I have noticed a stagnation and lack of movement in music journalism. Maybe it is not as simple as introducing more videos and features but the need to create something incredible and forward-thinking is clear. Who will take that step…

WILL be interesting to see!

INTERVIEW: Martha Ffion

INTERVIEW:

ALL PHOTOS: Laura Meek 

Martha Ffion

________

THERE are some songs that intrigue the senses and cause…

the listener to conspire and dream. We Make Do is one such number and one I was keen to talk to Martha Ffion about. She discusses the background to the song and the upcoming album, Sunday Best. I ask whether her work has evolved since last year’s (E.P.) Trip and what comes next; the highlight of her year – and what it was like growing up in a Catholic household.

I ask the talented songwriter about the new artists she recommends; whether there are going to be any gigs coming up; how her week has been - what themes and ideas are explored on Sunday Best.

________

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

I am good, thank you. It’s minus-six-degrees outside - but it’s nearly Christmas and I’ve just announced my album release.

So I’m very happy.

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

My name is Claire Martha Ffion McKay and I am a songwriter. I grew up in Warrenpoint, Northern Ireland – but I now live in Glasgow.

My music is inspired by both classic songwriting and Indie music.

Sunday Best is your latest album – out early next year. What can you reveal about the sort of themes that you explore on the record?

An overriding theme is ‘what does it mean to be good?’ - in terms of both the expectations of others and of society as a whole and how that pressure affects us.  

We Make Do is the new single from the album. What is the origin of that song?

It came out of a conversation I had with a family member...

I was feeling a bit overwhelmed - as certain things weren’t going well for me or for them and they sort of told me to toughen up a bit. The song is both expressing frustration at that stiff-upper-lip culture - but also accepting the idea that sometimes ‘just getting by’ in the face of adversity is good enough.

Your reputation has increased and strengthened following the last year’s E.P., Trip. Have you noticed yourself grow as a songwriter?

I hope so. I do feel I’ve grown into my identity more as a writer and have more confidence in what I like.

You were raised a Catholic in a small-town part of Ireland. Was it quite frustrating growing up, wanting to see more of the world? Was there a need to break from it and see the bigger world?

I loved where I grew up. It’s beside the sea and really beautiful. To be honest; I was pretty sheltered and generally content. It wasn’t until I turned eighteen that I started to get itchy feet and felt I had to move away.

Now, I’m shocked by how little I knew about the world.

IN THIS PHOTO: Andy Shauf/PHOTO CREDIT: Geoff Fitzgerald

Who are the new artists you recommend we check out?

Andy Shauf (not really new - just under-appreciated), Spinning Coin and Katie Von Schleicher.

IN THIS PHOTO: Spinning Coin/PHOTO CREDIT: Stuart Macintosh

Can we see you perform anywhere soon? What gigs do you have lined-up?

I’m playing some dates in March:

Cardiff - Clwb Ifor Bach on 7th

London - Waiting Room on 8th

Edinburgh - Sneaky Pete’s on 9th

Glasgow - Mono on 10th

Newcastle - Think Tank on 11th

Looking back at this year; has there been a moment that stands as a highlight for all of you?

Howlin’ Fling festival on the Isle of Eigg. It was one of the best festivals I’ve ever been to and one of the most fun I’ve played. It was a memorable weekend.

Also; recording the album was an amazing experience.

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).

Kevin Morby - Dorothy (because everyone should hear this song!)

________

Follow Martha Ffion

Facebook:

https://www.facebook.com/marthaffionmckay/

Twitter:

https://twitter.com/marthaffion

SoundCloud:

https://soundcloud.com/martha-ffion

Spotify:

https://open.spotify.com/artist/5Hfe2K074kukMOuccDN5Lc

YouTube:

https://www.youtube.com/channel/UCO6vO8obWc5AquttAWIDnYw/feed

INTERVIEW: Chloé Bodur

INTERVIEW:

 Chloé Bodur

________

IT has been interesting speaking with Chloé Bodur…

as she discusses the difference between the people of London and Brighton (she spent eighteen years growing up in the capital but prefers the openness and easy-going fun of Brighton). Bodur tells me about her debut single, Glory, and the story behind it; what comes next in terms of music; why gender-equality is important to her – and how she will spend this Christmas.

I ask about her influences and how it feels being championed by the likes of BBC Introducing; what it easy like being raised in a mixed-race household; a new artist she recommends we check out – she gives some great advice for young songwriters coming through.

________

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

Good, thank you! I came back home last week for the Christmas holidays - so it’s been really nice seeing family and friends etc.

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

I’m nineteen-years-old and am a singer/songwriter from North West London - but currently studying Music at university in Brighton. I’ve been performing with my band (big up James, Jono; Malte, Matt and Sergio) since March.

We just put out our debut single, Glory. 

Glory is your debut song. It is smooth R&B with an edge of urgency! Can you tell me about its background and creation?

Glory was originally (just) a poem I’d written...

I didn’t plan on taking it to the band but I ended up recording us jamming at my drummer’s house one day and, in the recording, you can hear me sing the word ‘glory’ here and there. I went home and played around with that voice memo and recorded my poem as lyrics over the top.

I then sent what I’d done to the boys - who loved it - and it just fell together naturally from there, really. 

It has been released via Live Nation’s Ones to Watch and produced by J.D. Reid. What has it been like working with Reid?

J and I have always been super-close; so it was easy to work with him. I’m sure we’ll collaborate properly on a tune next year. 

Various BBC stations have championed the track. Does it feel good knowing so many people are responding to it?!

Yeah, it’s amazing. When Jazz FM played Glory - that was a special moment for me.

Is there going to be new material coming? What are you working on?

Ooooooooh, yes!

I’m hoping to release a lo-fi, kinda-homemade E.P. next year with some dark jazzy tunes of mine that nobody’s ever heard. I’d like to get that all out of my system before releasing the fluffy Neo-Soul-style tunes I play with the boys. 

I’m also featuring on some Electronic releases next year. 

You were raised in a mixed household in London. How important is your upbringing and the artists you were raised on?

I think my upbringing is 99% of why I’m doing what I’m doing.

I was raised around a lot of good music - but mainly a lot of love and support. I wouldn’t have the same work ethic, motivation and belief in myself if it wasn’t for my parents and their constant love. 

Can you tell me the acts and albums you loved during your childhood?

I mainly listened to singles when I was a child: the only albums I heard were whatever my parents were playing around the house or in the car. The first album I remember rinsing by myself was Channel Orange (by Frank Ocean) - but that’s probably (just) because my memory is awful. 

What compelled your decision to move to Brighton? How do you find the people there compared to London? Is it somewhere you feel more at home?

I moved to Brighton to study and to find myself a band. The people in Brighton are so much more friendly, left-wing and P.C. than in London. They’re also much easier to please when it comes to live music - and there’s certainly a better sense of community than where I come from. I still feel more at home in London, because it’s where I grew up for eighteen years, but I do love Brighton.

It’s a great place to escape to. London is too hectic and grey sometimes. 

I know you promote empowerment of women. Does your background and start in life make you more focused to raise the rights of women – and let others know they can make it?

Yeah. I’d love to do whatever I can to empower the olive-skinned girls out there that have to put up with all the racist bullsh*t - as well as all the sexist bullsh*t. The industry is defiantly improving, though, and making an effort to be more inclusive…

But it’s still got a long way to go. 

IN THIS PHOTO: FUR/PHOTO CREDIT: Getty Images/Band

Who are the new artists you recommend we check out?

FUR are a band from my uni - Will’s in my class. He’s very lovely and a great songwriter. Their music is 1960s-inspired and impossible not to like.

Their video for If You Know That I’m Lonely is great, too. 

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

Couldn’t possibly just pick three - I’m sorry!

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

Don’t give up and don’t compare yourself to other artists too much.

Write and finish as much as you can and share what you’re doing with people. Don’t feel disheartened if you do a show and there are only three people listening - because everyone’s been there. 

Can we see you perform anywhere at the moment? What gigs do you have coming up?

I’ll be releasing details of my headline show in London next year on my socials (Facebook, Instagram and Twitter) soon. 

Christmas is not too far away. Do you have plans already - or will you be busy working?

I will be overeating at my aunt's house, in London, as I do every year. 

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).

George Baines - Summer Come Back

George is my flatmate and one of the best songwriters I know. He was BBC introducing Artist of the Week last month. My favourite songs of his haven’t even been recorded yet - so keep your eyes peeled for his 2018 releases.

He’s one-to-watch, for sure. 

________

 Follow Chloé Bodur

Facebook:

https://www.facebook.com/chloebodurmusic/

Instagram:

https://www.instagram.com/chloebodurmusic/

Twitter:

https://twitter.com/c_bodurmusic

SoundCloud:

https://soundcloud.com/chloe-bodur

Spotify:

https://open.spotify.com/track/4ucUZ260uit7vsvQfcDqgh

FEATURE: "Hi-Ho-Hum…" The Essential Christmas Playlist

FEATURE:

 

"Hi-Ho-Hum…"

ALL PHOTOS: Unsplash

The Essential Christmas Playlist

________

IT is only a week to go…

until we all will be ripping into presents like a pack of wolves tearing the flesh from a recently-conquered carcass! If that festive and beautiful image does not stir the Christmas spirit then I do not know what will! I guess, technically, by this time next week we would have opened all the gifts and will be tucking into Christmas dinner – saying goodbye to the waistline until the New Year and seeing what films are on the box (the same we have watched a dozen times before!). We forget about Christmas so soon but enjoy the build-up so much – I guess it is about the intensity of the day itself and wanting to cling to it. We are hearing, more and more, Christmas tunes filtering through P.A. systems and infuses/infesting our shopping; radio stations changing their playlists - and all those ‘classics’ getting back into the ears! With that in mind – and not wanting to sit this out like Scrooge – I have scoured the Internet for the best Christmas tracks, new and old, that should get you into the mood (if, hard to imagine, you are not already!). Those who are not quite buckled and primed for Christmas; apologies: those who could do with hearing a round of the festive standards – and the rare cuts we do not often hear – here is a playlist, I hope, will cause more cheer…

THAN misery.

FEATURE: Guess Who? The Importance of Social Media Visibility

FEATURE:

 

Guess Who?

ALL PHOTOS: Unsplash

The Importance of Social Media Visibility

________

SOMETHING rather unsettling has been catching my eyes…

the past few weeks (or not, as it turns out!). I am putting together a (five-part) feature regarding the artists to watch out for in 2018. It has been interesting surveying music and collating those, I think, will be a big deal next year. One of the things that has perplexed me is the disorganisation and lack of visibility from some artists. Not only are their social media pages jumbled and fractured – there is not a lot of information on Facebook or links to all their other sites – but they are missing out options like Twitter. In fact; I have encountered a number of musicians who are on, say, BandCamp, but do not have a Twitter profile! I wonder whether people are unaware of the potential and necessity of having a Twitter account. In personal terms; if it not necessarily crucial and all that helpful: when it comes to music, it is absolutely essential! I am confused why any artist who wants to get anywhere would ignore the importance of Twitter. If you want to get people investigating your sounds – and checking out your movements – then you need to consider every social media outlet and streaming site. For any artist; these sites are an absolute must-use: Twitter, Facebook; SoundCloud, YouTube and Spotify. I would also suggest BandCamp and Instagram – they are all free and easy to use. Given the fact it is easy to set up an account (on each) and get started – I wonder why artists are neglecting them and assume they will be okay?!

I can understand why they would negate BandCamp, for instance, as it is very similar to SoundCloud. It is a more visual equivalent and reaches a different audience but you can exist with one or the other. Spotify is key because that is where a lot of the focus is. You can get big streaming figures and push your music to a huge audience. Playlists are a good way of joining forces with other artists and promoting their music – they, in turn, can feature your music on their playlist. Many take advantage of Spotify by featuring artists on a playlist in the hope that reciprocating boosts their current single. It is shrewd, for sure - but this site is as much a marketing tool as a great way of discovering good music. Whilst I am not a fan of the obsession labels and artists have with the site – putting everything into numbers and taken an obsessive business-brained approach to music-making – but I use it a lot when collating my weekly feature (where I pull all the new music out that week). Spotify is a great way of getting your music out in the same way, traditionally, SoundCloud and BandCamp are. Many might say having three similar-themed sites is a bit excessive. There is no such thing in music excessive coverage and attention-to-detail. If you put all your links on a Facebook page – so one can easily link to all of them – that will impress journalists and fans. I like the fact many artists are still using BandCamp and using it alongside other music-sharing sites.

SoundCloud survived a bit of a financial/survival wobble recently but it is, in my mind, the best site to stream your music on. You do not have to pay to use SoundCloud and it is a simple and easy way of playing sounds. If you have that full coverage of Spotify, BandCamp and SoundCloud then it means your latest release has greater potential and you can reach more people. YouTube is the other essential site you need to get involved with. There are very few sites where you can upload video (as opposed to audio) and it is, again, a free site. I love YouTube – now I have installed AdBlocker and do not have to suffer nauseating adverts with every video – and it is another indispensable site for all musicians. Everyone, at some stage, will produce a music video and YouTube is where it will go. Even if you have released a song (minus a video) you need to get it up on YouTube. The more sites you consider then the likelier it is people will find your current cut. Now that we have things cemented regards the audio side of things: why are so many showing little attention when it comes to social media?! The ideal set-up, with regards any artist, it to have a Facebook page that houses all your links. The same applies if you have an official site – another great thing to think about – that, where you write about yourself, have a link to EVERY social media/streaming/sharing site.

You would not believe the number of artists who are covered on all sites but, on Facebook, it only lists their Instagram and SoundCloud. I then have to go to SoundCloud to discover all the other sites they are on. There is laziness and disorganisation creeping into artists’ pages. If you sent someone a C.V. and missed out your employment history – but had it listed it on LinkedIn, for example – that is going to annoy and confuse a lot of people. It takes very little time setting up these accounts: it takes even less time putting links/hyperlinks, in a single place, so one can easily navigate and discover. I have mentioned official sites but, even if you have one and put all your links at the bottom of the homepage (all in a neat line for ease of access) then it is prudent putting them onto Facebook. When looking for new musicians; I instantly head to Facebook – it might not be obvious a band/artist has an official page. In a market where visibility and promotion are paramount considerations; I am finding too many with insufficiently tall totems. Their house is short and structurally fragile; bits of wood hanging out of the sides and glass rattling in the breeze. If you want to get your music out there and ahead of the competition – ensuring these things are considered BEFORE you get started is essential. I shall move on to information and visuals at the end but, just before…a word about Twitter.

I mentioned how some artists are not setting up Twitter accounts. Even if you do not have a lot to say at this early stage; it seems odd not to have an account set up. I find it is a much more effective tool when promoting music and finding music. From my perspective; most of the attention and success I have gained has been because of Twitter. You can share a post or song and it can reach so many people within seconds – from there, others can share and get to new audiences. Loads of artists on there have only a few followers (a couple of updates and bits of information) but I have seen some upcoming, popular artists on Facebook but not Twitter. It does perplex and grate when you consider how tough music is! Artists who ignore Twitter are overlooking a tool and device that can get them more fans and put them in contact with record labels, radio stations and who knows what else. I can publish a post, put it out to the Twitter-verse and others share it with their followers. It is such a slick and simple way of pushing work out and promoting your stuff. Whilst it does not have the same functions as Facebook – chat and messenger; as a deep a profile and an easy-to-manage timeline; it is essential for every musician who wants to get their music heard and shared. Maybe there are personal reasons why artists are ignoring Twitter but it would have to be a pretty good one, you’d think?!

There are others, too, that are on Twitter but have hard-to-spell/remember handles. If a band/artist has a common name – shared by a few others – they need to differentiate themselves, I know. There are others who have original names but create weird and tricky names. If, for example, your band is called 'Meathook'; then why would you have your Twitter handle as ' @WeAreMeatHook'? If there are no other people with the same handle, then take advantage! I will search the band using the obvious letters (i.e. their name) so, unless I put it into Google and get lucky with the search results; there is a chance I might needlessly miss out on them – the same applies when looking on Facebook. Others put underscores for no reason and have common names – that is its own demon. There is a wealth of choice regarding names so why would an artist/band choose something common and simple?! It makes the job of locating them extra-hard and can be impossible, at times, to find them on Twitter/Facebook. Making things simple for fans/radio station etc. is paramount in this game. If I have to try endless variations to find an artist – I have heard on the radio – then my attention will wane and it becomes frustrating. In any case, there is a cardinal rule for every musician: get on Twitter and make your handle easy-to-remember and as economical as possible...

Whilst it is important to ensure you have all your streaming/social media/sharing sites set and ready to go; it is crucial, when they are online, to give the consumer something to read. I have laboured this point to death but there are too many who feel giving minimal exposure is a good way of staying mysterious and focused – it is all about the music and why would anyone need to know their life-story?! Those ‘perfect’ artists have all their links in one places and a collection of images (I shall end on that) and, where it asks for a biography, it gives some information. You can put in press quotes and a bit about yourself; what genre you play in and where you are located. You would be stunned by how many artists do not say where they are from and leave you to piece it together. If they are a great Nottingham-based artist and I am writing a piece about great Nottingham acts – I will ignore them and not realise the fact. It is small things like this that need to be figured out. It is not an effort to put that on the page and will lead to more opportunities down the line – venues near you contacting and journalists better-informed. The biography does not have to be an epic read but, if a journalist sees no information, then what are they going to write about?! I look for reviews on the strength of where they are from and what they are about. If there is only the music, then I am very limited with what I can discuss.

Photos are the last thing I shall discuss and is another important thing to consider when looking at visibility and identity – one of the most important. It is a subject that keeps coming to mind because so few people are adequately providing photos. I have current interview subjects who have sent photos that are terrible quality and blurred; others that are microscopic. If you are approaching a journalist and want your music featured; they are going to need a few photos at the very. These images need to be good-quality and not be blurred. How many professional interviews do you see published where the photos are grainy/inferior or blurred?! You would not see that with an artist like Beyoncé or Eminem so why would any other artist feel that is okay?! Cameras are not bank-breaking and technology means you can take great-looking images on your phone without hassle. I have an iPad and can produce some shots in minutes that are clear and concise. Why artists are unable to do this is beyond me. There is a shoddiness and lack of respect when you get sent some poor and amateur images. The fact the person/people have not done any research is annoying enough – assuming I am a tiny blog who is lucky to have anyone approaching me for work!

There are bands/acts who have a load of images/photoshoots which is really appealing for the journalist/fan. I understand a professional shot can cost a bit of cash – so it is beyond the reach of most – but it is something, like an official site, that everyone should think of. It makes the music/profile look more professional and lures people like me in. I am going after artists with great photos on social media because, along with great music, it affords my site that visual edge and look of class. If I find an artist with great music, but a few grainy or sub-standard shots, I am not going to feature them. It is nothing personal - but there needs to be at least a few decent shots available. Very few sites will use one photo: they will want a choice, at the very least. Not only do photos mean the chance of a review or interview is more likely: it shows an artist is more open and thinking about music from all angles. If you have a social media site that has no information, few/no photos and updates here and there – how many people will stick with you? I know people capture images on phones that are blurry/grainy but you need to consider journalists etc. who want something higher-end and clear – that they can show off and share on social media. More galling than those who have very few/no good images are those with none at all!

What rational and sensible-minded artist comes into music and assumes the audio side of things is enough – who need to put a face to the music and bother with all that?! If you have the finance and resourcefulness to find recording equipment one assumes the same applies to photography?! It is great if you have utter confidence in your music but the industry relies on visuals as much as it does audio – if you want to get your face/music beyond social media then you need to consider putting images up. In the first instance – the debut single and first year in music – maybe six images would be the minimum (at least four of them at a near-professional standard). This is not going to be expensive and makes a good impression on those seeking out your stuff. It might be a lot to take in but artists need to make a checklist when they start out – or they can start one when they are underway – that covers images, social media and visibility. If people have to work hard to find the music/artist then that can cause a huge dent. If all these small measures are considered, it gives you an advantage and means fans, journalists and interested parties will come your way and invest in your music. Those who feel a causal and lackadaisical approach to promotion/business is a good way of doing things can easily find themselves…

OVERLOOKED and forgotten about.

FEATURE: Ones to Watch in 2018: Part IV: Before the Final One (Mostly British)…

FEATURE:

 

Ones to Watch in 2018:

 IN THIS PHOTO: Oh Wonder/PHOTO CREDIT: Getty Images

Part IV: Before the Final One (Mostly British)…

________

THE final part of this feature…

IN THIS PHOTO: Pale Seas/PHOTO CREDIT: Julien Bourgeois

will round up those artists you need to get involved with next year. This instalment unites musicians from North America, the U.K. and beyond – with a British bent – and has a nice sonic spread. It has been fun listening to and investigating some great acts, I feel, will do great things in 2018. Have a look at the rundown and, I am sure, there will be some acts in here you will want to add to your regular rotation!

ALL PHOTOS (unless stated otherwise): Getty Images

__________

Matt Hartke

Genre: Singer-Songwriter

Location: New York, U.S.A.

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

Twitter: https://twitter.com/MattHartke

Jazz Mino

Genre: Electro-Pop

Location: London, U.K.

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

Twitter: https://twitter.com/Jazz__Mino

JONES

 PHOTO CREDIT: Josh Shinner

Genre: R&B

Location: London, U.K.

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

Twitter: https://twitter.com/iseeJONES

Pale Seas

PHOTO CREDIT: Hollie Fernando 

Genre: Alternative

Location: Southampton

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

Twitter: https://twitter.com/paleseas

YONAKA

Genre: Power-Pop

Location: Brighton, U.K.

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

Twitter: https://twitter.com/weareYONAKA

Van T

 PHOTO CREDIT: big red photography

Genre: Alternative-Folk

Location: Cape Town, South Africa

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

 Twitter: https://twitter.com/ChantelvanT

Charlie Says

Genre: Alterative-Rock

Location: South Wales, U.K.

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

Twitter: https://twitter.com/charliesaysband

Heir

 PHOTO CREDIT: Portia Hunt

Genre: Pop

Location: Leeds, U.K.

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

Twitter: https://twitter.com/heirtheband

Late Night Legacy

Genres: Rock; Blues; Funk

Location: Leeds, U.K.

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

Twitter: https://twitter.com/LNLegacy

Pinkcaravan!

Genre: Rap

Location: St. Louis, U.S.A.

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

Twitter: https://twitter.com/pnkcaravan

Clairo

Genres: Electro; Alternative

Location: Boston, U.S.A.

Follow: https://www.facebook.com/clairecottrill2/

Twitter: https://twitter.com/clairecottrill

Bleek Noir

Genres: Alternative; Noir

Location: Leeds, U.K.

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

Twitter: https://twitter.com/bleeknoir

HEZEN

PHOTO CREDIT: Isaac Murai

Genre: Electronic

Location: Paris, France

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

Twitter: https://twitter.com/sarahezen

Jade Jackson

Genre: Alternative

Location: California, U.S.A.

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

Twitter: https://twitter.com/jadejacksonband

The Luck

Genres: Indie

Location: London, U.K.

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

Twitter: https://twitter.com/theluckmusic

Vanessa Forero

Genres: Folk; Alternative

Location: Brighton, U.K.

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

Twitter: https://twitter.com/vforeromusic

Oh Wonder

Genre: Alternative

Location: London, U.K.

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

Twitter: https://twitter.com/OhWonderMusic

Dumb Lovers

Genre: Pop

Location: Bournemouth, U.K.

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

Twitter: https://twitter.com/dumbloverslove

Joshua Luke Smith

Genre: Hip-Hop

Location: Bath, U.K.

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

Twitter: https://twitter.com/JoshuaLukeSmith

Equals

Genres: Soul; R&B

Location: London, U.K.

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

Twitter: https://twitter.com/theequals

Sonia Stein

Genres: Pop; Alternative

Location: London, U.K.

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

Twitter: https://twitter.com/SoniaSteinMusic

INTERVIEW: Zoey Lily

INTERVIEW:

 Zoey Lily

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THE release of a new single is always exciting…

so I have been chatting with Zoey Lily about her track, Nothing. She tells me about its background and whether there is more material planned; what it feels like to have the backing of some high-profile, reputable music sites; how her time in Les Mayons affected her music; the sounds/artists she is inspired by – and how she got into music to start with.

Zoey Lily talks about the mainstream and how it feels being an independent artist; the albums that mean the most to her; whether there are going to be any gigs in the coming weeks; what she has planned for Christmas – how important London is with regards her music and ambitions.

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Hi, Zoey Lily. How are you? How has your week been?

I’m really good, thanks. I had a very productive week as I spent a couple of days in the studio (in Leeds) working on new tracks.

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

My name is Zoey Lily and I’m a singer/writer.

Nothing has been out a few days. What has the reaction been like to the song?

The reaction’s been good, overall. I’m really happy to finally have put out some music.

Can you tell me how it came to be and what inspired it?

This track is based on a poem I wrote last year.

I started to play around with some melodies that would fit the meaning of the poem - so it came together in a very natural way. I like the way this led to a more complex structure of the lyrics. There’s not a clear storyline but a lot of phrases with a meaning within themselves - and they only make sense when looking at the whole track.

The Line of Best Fit and Amazing Radio have already featured it. Does that give you strength and confidence – knowing big sources are responding to your music?

Yeah. It’s very motivating to see blogs like Line of Best Fit or Amazing Radio supporting my track. I think it matters who actually writes about it or features the track but, in the end, it comes down to the people - if they really like it and listen to it.

You are an unsigned artist in London. Do you think, the fact you are an independent artist, it gives you the freedom to write as you please? How important is the city and its people to your creativity?

Yes, definitely!

It’s really important to me to have the full creative control over my songwriting and music. I’d say, at the moment; London is the right place to be for me - as a substantial part of the music industry is located here and the amount of creatives is enormous.

How important are your parents, and the time spent in Les Mayons, to your music and growth?

My parents would always give me a lot of freedom as a child and supported me in whatever I was doing. I started off with playing the clarinet and acting; then, later tried gymnastics and ballet before I started to play the piano and guitar. I grew up in a very artistic environment and music has always been a crucial part of our daily life.

In Les Mayons; we’d always listen to music when getting up on weekends and when having breakfast.

How did you get into music? Was there an artist that inspired you to take it up?

Up until (like) two years ago; I never thought about going into music professionally. I started writing songs when I was thirteen but wouldn’t share the songs with anyone - I just liked ‘creating’ them. My dad was the main reason I started to play the guitar in the first place and, once I was able to accompany myself with an instrument; I started to write more and more songs.

You have achieved a lot this year. Do you have plans for new material in 2018? What is on your mind?

I’ve got much more music to come out in 2018.

I think some of the new material will be slightly unexpected to people who’ve been following me since the beginning, as they’re a bit more upbeat; still dark, though.

I don’t think I’ve achieved much yet, but thanks.

What do you think of the current mainstream? There are a lot of different artists out there! Do you think current music is pretty strong and compelling?

To be fair, I probably wouldn’t know all of the songs currently in the charts. I do listen to a lot of different music, though; from mainstream to Classical piano music. There are so many great artists around and I feel like a lot of music sounds slightly similar - so I think the main challenge is to do something unique and recognisable.

IN THIS PHOTO: Little Simz

Who are the new artists you recommend we check out?

Little Simz is one of my new favourite artists. Her lyrics are amazing and I think she developed a very specific and unique sound (which I like a lot).

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

Lana Del Rey – Born to Die: The Paradise Edition

Frank Ocean – Channel Orange

Eminem – Curtain Call

Born to Die: The Paradise Edition was such a new and unexpected album. I love the tracks featuring in her short film called Tropico - and how they are connected in a story.

It’s so rare that you find an album you love every track on, and Channel Orange is definitely one of them.

Eminem’s Curtain Call feels so honest and raw, lyrically. Tracks like When I’m Gone and Mockingbird will never lose their value to me - as they’re so timeless.

Can we see you perform anywhere soon? What gigs do you have lined-up?

Yeah. I’ll be (hopefully) playing a show in spring 2018, in London.

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

I guess, at the moment, I’m still the one in need of advice…but, if I had to say what I think is important; it’s to know why you’re doing what and where you want to go - and then to get the right people to support you in your vision.

Christmas is not too far away. Do you have plans already - or will you be busy working?

I’ll spend Christmas in London with my aunt or go and see my grandma - who will be one-hundred on 25th December.

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).

Frank Ocean – Pyramids

Eminem – When I’m Gone (if the other one is too long)

________

Follow Zoey Lily

Official:

http://mezoeylily.com/

Facebook:

https://www.facebook.com/mezoeylily/

Instagram:

https://www.instagram.com/mezoeylily/

Twitter:

https://twitter.com/mezoeylily

Spotify:

https://open.spotify.com/artist/0LazfGmIM2fG2g9Xg3ZLWA

FEATURE: Sometimes, We Will Rise: How the Bravery of Musicians Has Inspired Me

FEATURE:

 

Sometimes, We Will Rise:

 PHOTO CREDIT: Unsplash

How the Bravery of Musicians Has Inspired Me

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THIS will be a short one…

IMAGE CREDIT: Polly Crossman

but, in the final days of the year, I will piece together a few features, interviews and reviews. I will put up, say, three more reviews (and as many interviews as come back to me); a selection of features by next weekend - maybe nine or ten before this time next week - and look back on a very changeable year. I have appropriated an image, and part of the feature title, from someone who (for The Pool) wrote about her terrible time of late - and how the poem Sometimes (by Sheenagh Pugh) provided guidance and reflection. The first verse of the poem contains these words:

“Sometimes things don’t go, after all/from bad to worse. Some years, muscadel/faces down frost; green thrives; the crops don’t fail. Sometimes a man aims high, and all goes well”.

In a few days; I will write a piece (non-Christmas-themed) that looks at how addiction and depression have claimed some great artists. It sounds like a depression thing to bring up but my interested is purely rational and scientific. I want to find out why so many musicians are turning to substances and whether there is a viewpoint and culture in music that sees drug-taking as acceptable and sociable – something that aids creativity and helps you bond with peers.

 PHOTO CREDIT: Unsplash

I was struck by the article because, not only did the writer find inspiration in the poem’s words, but it provided a chance to look at the issues and problems she faced and look forward to a better future – realising hope is out there and things can change. I am not giving to so-called ‘inspirational messages’ but realise words like we see above (from the poem) can be extrapolated by people going through a variety of situations. For me, when reading those words, it proved nourishing and humbling. It has been a hard and bad year for me in a number of areas. My job is a place I hate visiting and feel hopeless and lost there; the fulfilment I get from writing is minor (in time) compared with the necessity of work. My love-life is, well…non-existent and it has been a stagnant and unspectacular year – although, there have been some benefits and highlights! I will ponder more in a couple of weeks (as I look ahead to 2018) but there have been some moments of light among the fogginess. An appearance on Radio 5 Live and a recent chat with Matt Everitt has provided impetus and useful insight. Whilst it has been a rather topsy-turvy year for me, for musicians I know, they have had to undergo a lot and face challenges every step of the way. Not only have they had to work relentlessly to get their music out there: balancing that with day-to-day life adds extra pressure and strain.

 PHOTO CREDIT: Unsplash

I have seen so many posts – from various musicians around the world – expressing their sadness, strain and confusion. Whether personal issues have infested their professional life; the demands of the music industry taking its toll; the lack of appreciation and commercial success shattering illusions and dreams – I have witnessed a lot of people tackle bad situations with resilience and aplomb. It takes me back to that poetic verse and the fact we cannot always predict circumstances and things are not always obvious or lost. Just when you think everything is down and defeated: things can turn around and come through. There are no easy fixes and small good fortune does not change everything for the best. I have been enriched and motivated by musicians and the fantastic work they have put out in 2017. It has been a changeable and uncertain year on the world’s political stage and that, combined with our workaday strains, has placed a huge weight on the shoulders. I understand and appreciate how hard a career in music is and how hard people work. Mere words cannot limit any bad elements that come into our lives - but knowing seasons can change and things can work out should provide us with the strength to carry on. I cannot express my thanks in mere words with regards the musicians and artists who have provided me purpose and direction. The fact they have produced such stellar music means I have been able to grow as a person and find something to look forward to.

 PHOTO CREDIT: Unsplash

The end of any year, inevitably, puts us in a more pontificating and reflective mood. We assess how far we have come and what we can achieve in the year to come. I am in that position where I am weighing up the good and bad and deciding whether I have made real progression. Although I have made professional steps; I feel my personal life has failed to evolve at an appropriate and acceptable rate. I know many musicians have high expectations and will measure their success in numbers, streaming figures and airplay. This is the way music is and I can understand why many reduce success/failure to numbers. That is the stigma and disadvantage of the digital age: everything is numerical and business-like. We all have high hopes and want the very best for ourselves. If we do not live up to unrealistic standards then we deem ourselves failures! Many people I know have had to tackle depression, anxiety and personal problems; lost love and career downshift. I have been refreshed and compelled by the music I have heard and stunned by the ambition, determination and fortitude of the hundreds of artists who have made their way to me this year. I do not plan on slowing down in the final days of this year and look set to tackle more in 2018. It is only because of the musicians I encounter I am able to have this attitude and energy. There have been hard times (for us all) but it is the way we face them and rationalise the negative times that make us who we are. I am appreciative of the fantastic musicians who have given me the strength to go on and sympathise with those who have experienced struggles. To all of them out there, I have this to say:

 PHOTO CREDIT: Unsplash

KEEP going strong and be proud of yourself!

FEATURE: Northern Sky: Melodies Beneath a Cold Horizon: How Music Can Help the Homeless

FEATURE:

 

Northern Sky:

 IMAGE CREDIT: ThingLink

Melodies Beneath a Cold Horizon: How Music Help the Homeless

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CHRISTMAS provokes a number of images…

PHOTO CREDIT: Scribbletaylor (Flickr)

and emotions in the average person. We all have that image of families gathered around a warm fire and presents stacked underneath the tree. There is the table teeming and blossoming with food and drink; the distant sound of carols and the T.V. flickering in the background – I am making it sound somewhat Dickensian, but you get the point! I want to raise a bittersweet point that has a musical component – but is aimed broadly at everyone who walks the street. Many musicians hit the streets this type of year to busk and get some pennies together for last-minute presents. Many rely on it for their income and need that injection of cash (hoverer modest) to pay the bills. It is a sad climate but there are few buskers out there who are beyond the remit of a traditional job and benefits – at the very worst; they have a home to go to and a warm bed to sleep in. It is a hard life being a musician but there are few out there who are so desperate they need to rely on busking to get any money in. My point is not to illuminate the tough industry and how hard many have to work to survive: I wanted to illustrate how music can benefit those in desperate need this time of year. It may be a direct form of performing to them or raising money to help them get back on their feet. The afflicted group I am side-stepping around is the homeless.

PHOTO CREDIT: Getty Images

That may sound rather insensitive but that seems to be the common approach to the disadvantages who bunk-down in doorways and have to brave the sub-zero temperatures we experience this time of year. Even in a warmer month; the dangers associated with sleeping rough are insane – and the risk of injury/death is immense. The average person sleeping on the streets is exposed to verbal and physical abuse; the scorn and snootiness of the public; they look for donations and food but are often greeted with ignorant and an imperious countenance (translation: people can be complete c*nts). This plight has come into sharp focus because, where I live, there is an escalating problem. Many are losing their jobs and homes and find no recourse but to survive on the streets. They are often armed with little more than a rudimentary sleeping bag and a few meagre possessions. Throw into the bargain many have dogs – who are on the street with them – and it tugs at the heartstrings and angers the blood. It is not exactly a humanitarian crisis but there is an ill that needs addressing by the government. I walk around the streets of London (and Brighton) and see many homeless seeking the kindness of strangers; looking unwell and malnourished. It is upsetting not being able to help with any sufficiency – you cannot give money to all and there are so many out who sleep rough; you’d need to monitor them and continuously give them money – and seeing so many people treated like rubbish.

PHOTO CREDIT: Getty Images

The discarded and alienated are being given little respect and consideration; seen, by our elected, as non-entities and insignificant specs in their great plan. Although you cannot give attention and welfare to every person out there: one would hope the growing rise in homelessness would worry those who are being accused of dividing the nation. The recent tragedy at Grenfell has seen many of its residents left without a home and banished to the streets – this is a problem that persists and has garnered a lot of angry protests and vitriol. Before I come to the music-related point behind the issue; I wanted to bring in some statistics:

“More than 300,000 people in Britain – equivalent to one in every 200 – are officially recorded as homeless or living in inadequate homes, according to figures released by the charity Shelter.

Using official government data and freedom of information returns from local authorities, it estimates that 307,000 people are sleeping rough, or accommodated in temporary housing, bed and breakfast rooms, or hostels – an increase of 13,000 over the past year.

London, where one in every 59 people are homeless, remains Britain’s homelessness centre. Of the top 50 local authority homelessness “hotspots”, 18 were in Greater London, with Newham, where one in 27 residents are homeless, worst hit.

However, while London’s homeless rates have remained largely stable over the past year, the figures show the problem is becoming worse in leafier commuter areas bordering the capital, such as Broxbourne, Luton, and Chelmsford.

PHOTO CREDIT: Getty Images

Big regional cities have also seen substantial year-on-year increases in the rate of homelessness. In Manchester, one in 154 people are homeless (compared with one in 266 in 2016); in Birmingham one in 88 are homeless (119); in Bristol one in 170 are affected (199).

Polly Neate, chief executive of Shelter, said: “It’s shocking to think that today, more than 300,000 people in Britain are waking up homeless. Some will have spent the night shivering on a cold pavement, others crammed into a dingy hostel room with their children. And what is worse, many are simply unaccounted for.

“On a daily basis, we speak to hundreds of people and families who are desperately trying to escape the devastating trap of homelessness. A trap that is tightening thanks to decades of failure to build enough affordable homes and the impact of welfare cuts”.

That gives you every piece of information you need: if you think homelessness is reserved to the capital and a dying sensation; you have food for thought and plenty of contrary information. One can barely imagine the stresses and pain someone on the street goes through. They have to beg for every meal and are exposed to devastating cold and the severity of the elements. There are kind members of the public but so many see the homeless as a cancer that needs to be eradicated. Many are dying in this weather and it brings it into sharp focus this type of year. Whilst many of us are enjoying time off and preparing for a feast over Christmas: in certain parts of the country; there are many who will go without and spend Christmas Day depressed, alone and forgotten.

Look at this article - and it seems shocking that countries like Finland have no homeless at all:

“The country has eliminated homelessness through its "housing first" policy which offers people who need them permanent places to call home.

Following its success in the Scandinavian country, the scheme is about to be trialled in Liverpool, Manchester and the West Midlands”.

The fact that scheme is being rolled out in various parts of the U.K. is encouraging to see, at least. There are few practical measures the average person can do to cure homelessness and safeguard those rough sleepers where they live. I have been thinking about charitability and how Christmas, you’d hope, brings out the best in people. I am not embroidering the feature and painting the streets in any negative terms – the reality is stark and there need to be more affirmative and productive action. Musicians are a conscientious and communitive group - so it seems artists who willingly take to the streets to perform music can spend some time playing for the homeless. I see a lot of buskers round my way who are a few feet from homeless people. Whilst neither has a huge crowd around them; it seems there is something therapeutic about music. I am not suggesting every busker can make every homeless person happy all the time – and they would want to, indeed – but few people on the street get the chance to hear music and have people reach out to them.

I am not naïve enough to think music has curative powers and can shine a light that washes away the problems of homeliness. Music has its benefits and my unhappiness regarding the rise of homelessness leads to a need for people to come together and address the issue. I know there are benefit gigs and great charities out there (like Shelter) that raise funds and awareness to help ensure more people have somewhere to shelter. Whether that is a vital campaign or a series of concerts: musicians are a lot more moral and responsible than those we have elected to run the countries. I know people who actively get out on the streets and help the homeless. They provide money and comforting words; they provide a shoulder and do their bit. It is a commendable approach and I wish more people took the same attitude. I feel music alone has the ability to bring people together and something as simple as performing to a homeless person can make a huge difference. Musical donations go a long way so that long-abandoned C.D. Walkman or a radio can improve their day exponentially. My words do not arise out of personal guilt and privilege but the awareness there is a casual ignorance and divide when it comes to the better-off and poorer in society. My long-term aim, like every decent human, is we see an end to homelessness and accommodation offered to those in dire need. We are keen to over-populate the world and bring children into the world like rabbits – selfish in a way to think people procreate so provocatively without considering those who live here already!

PHOTO CREDIT: Getty Images

It is troubling seeing so many having to live on the streets and being ostracised by society. Music is not responsible for that problem but, rather than mourn and attack the government, we can recognise how small gestures, with a musical component, can make a difference in the life of a homeless person. Whether that is a busker providing some of their time; people donating their radios and older equipment – so that a homeless person can play the radio over Christmas – or organising concerts (alongside charity-run endeavours) to get funds together so we can help people find accommodation and make a better life for themselves. The same way I propose charitable movements and organisation to help counteract a disadvantage in society – I suggest minds are put together so we can help tackle homelessness. The charities out there are doing great work but the fact countries like Finland have found a solution (of sorts) means we are lagging behind. I have been shocked by the callous disregard many afford the homeless; how we do not even make eye contact and shun their pleas for time and affection. They are not trying to scam us (some are there to get money and not homeless; most are there because they need genuine help) and the fact most of us are going to spend Christmas in comfort should not be taken lightly. Any way musicians/musical-thinking people can assist this winter – as the nights get colder and crueller – will make a big difference. The passion and pride musicians have can certainly help and I think we all need to be a bit more aware of the problems we find on our streets. As we all prepare for familial and exciting Christmases; reflect on those less fortunate who will spend the big day on the streets and…

PHOTO CREDIT: Franco Folini

SPARE a thought for them.

FEATURE: The Needle and the Damage Done? Is the Cost of Vinyl Putting People Off?

FEATURE:

 

The Needle and the Damage Done?

 PHOTO CREDIT: Unsplash

Is the Cost of Vinyl Putting People Off?

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MY love for vinyl is endless…

PHOTO CREDIT: Getty Images

and something that will remain to my dying day! I have requested a certain record by The Beatles on its true form; if/when I get Amazon vouchers for Christmas – that is also going to go on records, too (Jack White, Beastie Boys and Madonna among them). I can get all spiritual/wanky and say I started my musical ‘journey’ with vinyl – lest I vomit blood at the mere suggestion! – and it was the legends of the 1960s that hooked me into music. I know that would be a lie because my early experiences of music were n cassette and slight less-cool artists. Maybe I am starting to sound like a broken record – maybe I have used this title before – but it is a subject that comes back to my mind every day. I prefer music on vinyl and the way it always was. I will bring in a couple of competing articles that investigate the price of vinyl and whether it is too expensive. There is something unavoidable about records and the price we may. A record itself if a large thing and, with a sleeve and all that physical wonder; something you cannot easily put in your ears or carry around in one hand – unless you want to do yourself an injury! You look at a single L.P. and it is a lot of material you have there! I think people buy vinyl for a number of different reasons. There is the feeling of possession and pride one would not get from a C.D. or digital music.

IN THIS PHOTO: The cover of Antwood's album, Sponsored Content/PHOTO CREDIT: Getty Images

You can buy yourself a record bag/box and store all your L.P.s together. It is fun flicking through them; reading the sleeves and taking that record in hand – feeling all the work that goes into it. You can pick up a C.D. and feel they are quite expensive. Even if you shell out a tenner on a new album – that can seem like a lot of money for something so small and fragile! Vinyl, amazingly, seems more durable and fortified – despite the fact it is a lot older and more basic. We love the community of going to a record shop and standing alongside others; people who have the same passion and curiosity. We all hope we’ll come across that long-forgotten record or a gem we had forgotten about! Even if you buy your vinyl at a multi-national chain; there is the pleasure of browsing the genres and dreaming about a (very) full shopping cart! It is one of those rare pleasures in life: who would deny a true vinyl-head that pleasure?! I guess there is that need to preserve a record and keep it for years; something you can pass onto people and share. I know digital music is the way forward and it seems a lot more affordable than, say, a double-L.P. that might cost you a day’s wages. A lot of people are streaming music and often picking odd songs rather than a full album. Are we burning those who want to appreciate music in a more aesthetic and pure format?!

PHOTO CREDIT: Unsplash

With consumers opting for songs rather than complete albums, it makes me wonder whether vinyl is past its time and a relic. That is nonsense but should we see prices go down?! I look in shops like HMV and you can find a vinyl from a current chart act coming in perilously close to £20! I was looking at a couple of articles published last year – during a time when vinyl was starting to come back in and challenge the dominance of electronically-sourced music. NME  mooted the fact vinyl might get cheaper:

“As reported by The Vinyl Factory, a new pressing technique pioneered by Dutch manufacturer Sycomen, will not only increase production efficiency, but could be set to slash prices as well.

At the moment, steam is used to heat up the PVC (vinyl) puck, which is then pressed between two large stampers to create the record. The use of steam provides some wear and tear on certain parts, meaning that the stamper can only be used for roughly 1,500-2,000 records before it needs to be replaced.

Sycomen’s new injection moulded technology doesn’t use steam at all. As a result, they claim that the technique will reduce energy costs for manufacturers by 65 percent, due to reduced pressure on the stampers ultimately meaning that machinery will last longer.

As the parts become more durable and maintenance on the machines are reduced, Sycomen reckon that it means that the timeline for pressing records can be reduced from an average of 16 weeks down to two. Essentially, it’s making the whole production flow cheaper and more efficient.

 IN THIS PHOTO: The cover of Object Collection's album, It's All True/PHOTO CREDIT: Getty Images

If successful on a large scale, the cost-saving technique will mean that suppliers can meet the surging demand easier and will make the entire production cheaper overall, something which will hopefully be reflected in the retail price of records in your local shop”.

Over in Canada; another article argued why vinyl is so expensive:

“Alex Durlak co-founded Toronto independent label Idée Fixe (home to Jennifer Castle and Bry Webb), whose latest release, Bart’s Holomew, features gorgeous embossed and foil stamping for its packaging and still only costs $17.

“Making vinyl is expensive, there’s no question,” Durlak says. “And, sure, the Canadian conversion on the dollar hurts. But my understanding is that overall costs have not increased. I do think you have major corporations thinking, ‘Oh look, people are spending money – let’s reissue the Beach Boys catalogue again!’ That stuff is definitely overpriced purely because people will pay for it.”

Last year in Canada, vinyl sales totalled 517,400 units, a jump of 30 per cent over 2014, according to Nielsen. (Some perspective: the top seller, Adele’s 25, scanned 6,200 vinyl copies compared to 622,000 CDs and 238,000 digital.) It’s hard to imagine companies choosing to piss off vinyl-loving customers with flagrant price-gouging, yet several store owners confirmed off the record that some distributors have increased the wholesale price of certain titles by as much as 100 per cent. It’s hard for shops to sell a record for $30 when it costs them $40.

PHOTO CREDIT: Getty Images

“I don’t price on margins. I try to make $10 on new stuff,” says Trevor Larocque, co-owner of the Tiny Record Shop, a vinyl-only store specializing in rare vintage records that also stocks the latest. “So if it costs me $19, I sell it for $29.99 and I’m fine. If my cost goes up to $40 for a record, I have to sell it for $50. I still make money, but it’s not as fun, and people aren’t as happy when they leave the store”.

Like every product out there; it costs money to make it and the material is not cheap. There has been that years-long argument whether C.D.s are too expensive and could be lowered; if digital music is compensating artists fairly – and whether more people should pay to listen to songs on sites like Spotify and YouTube (the former does offer a subscription but there is the option to pay). I am concerned one of the reasons many are hand-picking songs – rather than enjoying albums in their fullest – is because of the prices. If you can get a song for a lot less than a quid; why would you splash out on a vinyl that can run you in the neighbourhood or a decent lunch?! It is strange to see because, in 2016, there was great news regarding vinyl sales:

“Sales of vinyl in 2016 reached a 25-year high as consumers young and old have once again embraced physical formats of music.

PHOTO CREDIT: Getty Images  

More than 3.2m LPs were sold last year, a rise of 53% on last year and the highest number since 1991 when Simply Red’s Stars was the bestselling album. This was also the first year that spending on vinyl outstripped that spent on digital downloads”.

A lot of those sales, I suspect, were older albums being re-appreciated and treasured. There was the benefit of seeing smaller labels and artists benefitting from the boom. I can understand why people would lure after records. You have the artwork – one of the reasons I have scattered various images through this piece – and are purchasing something fantastic. Whereas streaming services seem best for those who want music on the move: vinyl is for those who want to linger and study their music; who appreciate what it means and how important the feel and texture of an album is. I still find, despite the resurgence, many are being put off by the high prices. There are great record stores out there where you can find used vinyl. If lucky; you might be able to purchase a classic for a cut-down price. That is another reason to go crate-digging: discovering something genius for so little money! Although the last couple of years have seen people preserving the honour of vinyl: how long before the relative affordability of digital music swings the balance back the other way?

 IN THIS PHOTO: The cover of Arca's album, Arca/PHOTO CREDIT: Getty Images

With so many independent record shop going out of business, soon, the only areas we will get records is online or through major chains. The bigger bodies do not have any reason to lower prices; they will not sell vinyl second-hand so people can experience a record without breaking the bank. You can go on sites like Amazon but, as an example, I found a few problems. For a start; vinyl is rarer than C.D. and digital – many albums or either unavailable on vinyl or there are fewer copies. If that is the case then the consumer is vulnerable to a financial spanking. I was fantasising about Christmas and which records I will spend my money on. I looked for Jack White’s Blunderbuss and Lazaretto and, whilst the latter was unavailable, the former ran in at quite a cost! I managed to find Beastie Boys’ Paul’s Boutique at a good price but the average cost of most albums I looked for was between twenty and thirty of my English pounds! For an album you want to play/keep for years; that seems like a pretty good price, no? It is a good investment but, unless you can afford to buy it in the first place, it is hard to accrue a record collection! I have often wondered whether there is a way of making vinyl more affordable for those who want to acquire a serious tally!

IMAGE CREDIT: Getty Images

There are vinyl clubs where you can order the latest releases – they are expensive and not a long-term solution to the issue. If, in the way you had record clubs years ago, you could order a record and have a series sent to you at a reduced cost. Those who used to participate in the older schemes found issues where they were tied in and it was a little too good to be true! It would not force a subscriber to order a minimum amount – and spend the same amount of money they would have done usually – but it would give the music-lover vinyl at the minimum cost. If one were to guarantee a certain sale – ordering a few dozen records over a few years – then it would not put off labels and artists. I feel the price of vinyl is so high because it feels the financial strain when matched against streaming services. People are worried many are getting music for free so, in order to recoup some of the losses; they keep the price high and can salvage something. I feel there is a danger many will flock to the Internet if the prices remain high and there is no negotiation. A way of conserving the fanatical vinyl-loving community is priceless and needed. There are those who will never abandon their church but I feel the ‘flock’ will snap up fewer records than before – preferring second-hand ones and desperately trying to keep the record stores open.

PHOTO CREDIT: Unsplash

I love record shops but I know many will close in the next few years. Most of the vinyl we purchase is on the Internet and it is the most convenient and dependable outlet. Getting together a legitimate and solid club/site for those who want to keep their tastes vinyl should be on the minds of many out there. We have seen a rise in vinyl sales but there are many who cannot afford to buy a decent and traditional L.P. – they are flocking to Spotify and fancy that less expensive route. Christmas is a time when many of us are (luckily) gifted vinyl and will be enjoying it for years to come. The downside is we will get hooked and want to go out and buy a load more records. I am in that position and have a wish-list of about six or seven. That list will cost anywhere between £100 and £130. I can get those albums on C.D. for nearly half the price and even less on streaming sites. We should encourage future generations to stick with vinyl and mix it with a diet of digital sounds. If the prices remain high – and record shops dwindle and disappear – then there is that danger vinyl will become near-obsolete and a niche item (affordable and needed by older listeners and those with more cash). I am not the only one who wants a remedy to the malady we are faced with: the continued favour and augmentation of vinyl records is one of the best thing about modern music. I understand there are processes and costs involved with manufacturing but I question whether vinyl is needlessly marked-up and aimed at huge profitability. Are those who love their music physical being cheated and exploited? Are there ways we can lower the cost of vinyl and keep everyone happy? Is it a losing game by fighting for the honour of a record? More discussion needs to occur so we can promise those growing up they will be able to collate a decent and inspiring record collection…

PHOTO CREDIT: Soundudes

WITHOUT breaking the bank.