FEATURE: Treasure-Gripping, Guilt-Tripping: The Discovery of Older Music…and Why There Are No 'Guilty Pleasures'

FEATURE:

 

Treasure-Gripping, Guilt-Tripping

ALL PHOTOS (unless credited otherwise): Unsplash

The Discovery of Older Music…and Why There Are No 'Guilty Pleasures'

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AT this point in the year…

we are inundated, by the music press, with their favourites of the year. I guess I have been culpable, too: all my choice albums, videos and artists have been presented for your delectation. With that, as they collate 2017’s finest, we get a nod to those artists who will make breaks next year – I have made my predictions and written a multi-part feature with the competitors we should be aware of next year. In 2018; I will look at new topics, expand the blog and make a general push towards something multimedia and diversified. Writing is rewarding but the desire to get the site video-capable and more interactive is top of my mind. As I future-ready myself; there is always that curiosity regarding older sounds. I have looked at this before – pieces that examined whether older music is better than new stuff – but, motivated by an idea that was mooted on BBC Radio 6 Music; I have been thinking back and whether, as we are showered with new music and current commendation, our thoughts should consider where music came from. I am always amazed by certain people saying they have discovered a song/artist/album they have not heard before. Even though that person is not mega-young – twenties and thirties – they are connecting with artists many of us are already familiar with.

IN THIS PHOTO: David Bowie/PHOTO CREDIT: Gavid Evans/Sotheby's Press Office

Some people I know have just turned onto Steely Dan, Tears for Fears and Talking Heads – bands from the 1970s and 1980s who have been kicking around a fair bit. It is hard discovering all the music that has come before but there is that pleasure and sense of discovery when we hear a song that is fresh to the ears – but was made years/decades ago. I have been discovering new (to me) stuff by Ramones – albums like Rocket to Russia. I am aware of the band, of course, but it is only this year I have been stepping back and investigating their rich catalogue of work. The same is true of David Bowie. I am a fan but there are albums of his – his less-well-known – that have struck the ear and given me a new appreciation! Of course; it is not only albums from established artists I have been finding: I have found artists others have been raving about for years that were foreign to my ears! Talk Talk and Can are two acts I had not really known about prior to this year. Naturally, I was aware of their name and legacy and, whilst they are very different in terms of music and legacy; it has been revelatory finding these musicians! I guess, unless you regularly listen to a station that plays a blend of new and old, you are likely to discover well-known artists after everyone else.

IN THIS PHOTO: Talk Talk/PHOTO CREDIT: Getty Images

Alongside these bands; I have latched onto some great female artists from the 1980s; brilliant 1990s Dance – I thought I had the decade covered! – and pioneering Rock ‘n’ Roll from the 1950s. I like to consider myself pretty cultured and thorough so it has been a surprise finding artists that have escaped my gaze all these years. It is not unusual but, as I said, the sensation of finding that artist – looking back at all their work and ‘catching up’, as it were – is fantastic. Many others are in the same position but I wonder whether, instead of stumbling on music so long after the fact, there is something inherently disconnected in the radio/streaming networks. I understand why, in the case of the BBC, there have to be different-numbered radio stations? They have an option that plays mostly mainstream music for younger listeners (Radio 1); mostly older sounds mixed with chart sounds (Radio 2); Classical recordings on Radio 3 whereas BBC Radio 6 Music provides that new and old – none of the naff chart songs and drivel other stations salivate over. I always listen to the latter but wondered whether there are artists being played on BBC Radio 2 worth seeking out – that might not make it to my preferred option. I have mooted the possibility of, in some way, integrating the stations so the average listener gets a little bit of everything. I like Classical and Jazz but do not want to hear it a lot – the same can be said of modern chart songs.

That is not to say I’d prefer to be without them: a little of each of a day would be welcomed, for sure. I can understand the logistic nightmares – if one did create a new station – and it would be hard appealing to all ages and tastes but, as so many people are finding music years after release, I wonder if that signifies an issue. Is it better to not know about everything and make that chance discovery in 2017?! I always get annoyed when I miss out/have missed out on an artist but I appreciate those who like the mysteries and ever-giving nature of music. It is exciting having the mind opened to a band/artist that were once unborn – a new obsession or a song that nestles its way into the brain. Streaming, as I have suggested in other posts, is all about the here and now. Whilst sites like Spotify open its doors to music’s capacious cannon: one feels there is too much of an obsession with numbers, business and modern-made sounds. You go to the site and it is all about the latest big name and coolest tunes. 

PHOTO CREDIT: Getty Images

Like YouTube/SoundCloud; there are no detailed menus that break down music by genre, year…providing detailed schematics and algorithms. It is one of the frustrations and, when more and more want to connect with past sounds – why are there are no slick and easy mechanisms in place to find the gold of old?! It is interesting but, I guess, if one is given too much it robs that joy of happenstance and dumb luck! I wanted to talk about ‘the guilty pleasure’ as, to my mind, there is no such beast. I hear the term bandied about and it has been part of the musical lexicon since the first popular recordings. I have a soft-spot for those 1980s songs with big choruses, huge production…and titanic hair! I confess there are some dodgy songs from the decade that deserve nothing but scorn and derision. Tracks like Owner of a Lonely Heart (Yes) and You’re the Voice (John Farnham) are mid tracks from the early/mid-1980s and have survived the test of time. Even if you were not around then those songs first came out – I was, sad to say – they have a timelessness that means the mood is lifted and the voice compelled – songs you keep in the back pocket when you need a pick-me-up. I am a bit stuffy about the modern Pop charts but there are a few songs, now and then, I feel are worth time and energy. It can be embarrassing for someone expressing their tastes and likes and getting that sort of negative reaction. Music is a subjective thing and, whilst there is plenty of bad music, there is nothing that should be hidden and listened in secrecy.

IN THIS PHOTO: Kylie Minogue/PHOTO CREDIT: Getty Images

Maybe you like Kylie Minogue or Jazz; others might say it is a guilty pleasure – that does not mean you should stop listening to that music. A lot of that reaction comes from the critical opinion: if they think an artist/style of music is a bit tragic, that impacts negatively on others. You get D.J.s putting on special nights for ‘cheesy music’ – we all know the type of songs that would fall into that category – and that doesn’t really help. I have mentioned a couple of songs (from the 1980s) that could feature in those sets when, in reality, they are solid and impressive songs. There is nothing bad and wrong with those songs at all – and no reason they should be confined to cheese-only sets. I mentioned how music is subjective but how much personal exploration is being stunted by negative branding and this term ‘guilty pleasure’? I am a big fan of Beyoncé and, since her days leading Destiny’s Child, have been in awe of her creativity, reinvention and talent. Many, who know I listen to her, have turned their noses up. She is, to many, overly-commercial and processed; someone whose music appeals to a niche demographic. If this were true – which it isn’t – we shouldn’t judge other people’s tastes and think any sound is reserved for guilt and embarrassment.

IN THIS PHOTO: Beyoncé/PHOTO CREDIT: Getty Images

Music is a broad church and, in the same way we should integrate stations and create a more visible market; we need to get out of the habit of branding certain types of music as uncool. Quality is a different objective and there are songs that are distinctly rotten – you should still be proud to listen to them but some will not share the same enthusiasm! Whether you love a good bit of 1980s Pop, some experimental Jazz or modern-day, British Hip-Hop – get involved and play it loud! I am getting less picky about my music tastes and, doing what I do, I have to have an open mind and accepting ethos. I will refuse some artists because their music is not to my tastes and preferences. That being said; I would never alienate any music and say people should be ashamed to like it. Music is a spectrum and community where differences are welcomed. If we all liked the same music then it will be a very boring and pointless scene. I like those songs that others snobbishly push away: I feel I hear something others don’t and have a finer sense of taste. I am searching my mind and wondering if there is anything that can be deemed a ‘guilty pleasure’. Even if you think something is a bit uncool – I am not partial to Taylor Swift or Cliff Richard, for instance – I would not judge others and say they have poor taste in music.

2018 is going to be about change and acceptance: altering bad practice and ensuring there is greater awareness of any problems that arise. That SHOULD be what happens but, until we get the ball rolling, there is no telling whether it will be better than this year. I am always campaigning streaming sites to make older music more visible and accessible to those who use the site – rather than promoting whatever is new and hip. I asked whether stumbling on an old album/song/artist was part of a frustrating compartmentalisation in the music industry or whether it was an inevitable result of the industry. It is getting fuller by the year and it can be hard nailing it all done and sorting it out. Having heard various people talk about the joy of finding an artist – that many of us already know about – and getting that surprise is good to hear. Maybe it is best not knowing/hearing everything and relying on the odd surprise here and there. It would be good to see stronger connections between the present and past; getting music from older artists put into the modern-day ears. As I have said; music is not a guilty pleasure that should be hidden and judged – everything has a purpose, worth and its place. Realising that, and keeping that truth to the chest as we head into a new year…

WILL make us all a bit richer.

FEATURE: If at First You Succeed… Incredible Debut Albums from 2017

FEATURE:

 

If at First You Succeed…

PHOTO CREDIT: Unsplash

Incredible Debut Albums from 2017

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SOME artists can take an entire career…

IN THIS PHOTO: Loyle Carner/PHOTO CREDIT: Getty Images

to produce an album that gets critics humming and listeners flocking! If one considers all the best and most durable artists from music: how many of them cemented something terrific the first time out?! Even titans like Radiohead and The Beatles (random names, I know!) didn’t hit their peak until a few albums in – later, in the case of The Beatles! It is hard putting out the debut album because it is the first offering and you are never sure what the public will think – and whether it will resound with the critics. Those who manage to create a great and solid debut album have a lot of pressure taken off...and get straight into the collective bosom.

2017 has seen some terrific introductory L.P.s from artists we will hear a lot more of through next year (and beyond)! These are the ten debut albums that have helped make 2017 a stunning and eclectic year for music…

ALBUM COVER CREDITS: Getty Images

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Sundara Karma - Youth Is Only Ever Fun in Retrospect

Release Date: 6th January

Label: RCA Records

Critical Snapshot:

“Youth is Only Ever Fun in Retrospect doesn't quite match The 1975's I Like It When You Sleep For You Are So Beautiful, Yet So Unaware Of It in terms of ridiculously long album titles, but the Reading four-piece have taken a good shot at matching it in terms of hooks. Dubbed a 'band in waiting' by various outlets, Sundara Karma have filled their debut to the brim with hit after hit; it's hard to know where to begin” – The Line of Best Fit

Stream the album here.

The Big Moon - Love in the 4th Dimension

Release Date: 7th April

Label: Columbia Records

Critical Snapshot:

“The smouldering heart of ‘Love In the 4th Dimension’ arrives in the orange-licked shape of ‘Bonfire’; an almighty flame-singed anthem obsessed pursuing the secrets to fire-starting to escape boredom. “Show me how your fingers got in all those pies, I’ll never go away,” urges Jules, presumably hammering down the doors to The 4th Dimension and letting loose wolf-like howls. On all the evidence here, The Big Moon have succeeded in unearthing the secret to a fire debut” - DIY

Stream the album here.

Sampha – Process

Release Date: 3rd February

Label: Young Turks

Critical Snapshot:

“Nothing feels in thrall to current trends in R&B, either sonically or emotionally: Sisay may have been a constant, quiet presence on other people’s records last year, but Process doesn’t sound much like any of them. Instead, it’s a weighty, powerful album with an identity entirely of its own. And while clearly not constructed with commercial ambition at the forefront of its mind, it’s certainly good enough to make an unlikely star of the man behind it” – The Guardian

Stream the album here.

The Moonlandingz - Interplanetary Class Classics

Release Date: 24th March

Label: Chimera Records

Critical Snapshot:

“The most immediate moments might come when Saoudi – sorry, Johnny Rocket – unleashes his ghoulish Nick Cave impression, but there’s variety here, too. Downbeat moody duet ‘The Strangle Of Anna’ is ostensibly The Velvet Underground’s ‘I’ll Be Your Mirror’ given a contemporary spin It ends with the unlikely pairing of The Human League’s Phil Oakey and Yoko Ono howling on a cosmic six-minute electronic-prog wig-out ‘The Cities Undone’. You couldn’t make it up. Accept, well, The Moonlandingz just have” – NME

Stream the album here.

Stormzy – Gang Signs & Prayer

Release Date: 24th February

Label: #Merky Records

Critical Snapshot:

“Overall, Gang Signs & Prayer is a daring debut. Stormzy could have played it safe with this album, but rather challenged himself with gospel. A key factor about this album is the complexities to Stormzy’s character—displaying a multi-dimensional black British man who goes against a simplified image that’s usually portrayed. Balance makes this album beautiful, as Stormzy worships on "Blinded by Your Grace Pt 1 & 2," falls in love on "Velvet" and raps his socks off on "Cold." Gang Signs & Prayer is a multi-faceted masterpiece and a testament to Stormzy’s talent that warrants his phenomenal rise to the top” – Independent

Stream the album here.

SZA – Ctrl

Release Date: 9th June

Label: Top Dawg Entertainment

Critical Snapshot:

“People will go to extremes to absolve themselves of judgment, whether it’s for liking something as benign as “The Bachelor” or by mining the depths of psychology to determine that breaking someone’s heart was somehow just an act of radical self-care. SZA has the grit to say that it doesn’t just feel shitty, it is shitty. She is in touch with love’s fragilities and understands that it is worth protecting, there is just a lot of tireless work to get it. The record is all the more beautiful for it” - Pitchfork

Stream the album here.

IDLES – Brutalism

Release Date: 10th March

Label: Balley Records

Critical Snapshot:

“Meanwhile, the band are impossibly tight, offering an onslaught that pitches itself somewhere alongside the sensory overload of Girl Band or Hookworms. From its loping beat upwards, few songs in recent memory have encapsulated smalltown boredom as perfectly bluntly as ‘Exeter’, one of the album’s rare pauses for breath. Otherwise, the rough edges and lack of nuance here are entirely the point. The government may be eager to get rid of the architecture that gives the album its name, but Idles have offered a ‘Brutalism’ that demolishes back” – Loud and Quiet

Stream the album here.

Prophets of Rage – Prophets of Rage

Release Date: 15th September

Labels: Fantasy; Caroline

Critical Snapshot:

“Music has both the ability to reflect and transform the times,” stated Morello in early press about their new album. It's clear that in a time where it's more important than ever for people to have a voice, the band has solidified what theirs is and are ready to rally for what they believe, all against the backdrop of some at times aggressive and at times funky sounds. Time will tell if they're able to "transform the times," but Prophets of Rage are doing their best to rage against the machine for as long as it takes” – Loudwire

Stream the album here.

Nick Hakim - Green Twins

Release Date: 19th May

Label: ATO Records

Critical Snapshot:

“Most of the songs evoke some combination of obsession, rapture, gratitude, and anguish. The whirling title track, spaced-out "Bet She Looks Like You," and easy rolling "Cuffed," all exemplary, indicate the profound effect of a committed relationship. The impact is conveyed in open-hearted lines like "I admit -- inside me lives fear," "If there's a god, I wonder what she looks like/I bet she looks like you," and "She taught me to make love with patience." The album's potent mix of soul-searching lyrics and spaced-out sonics lends itself to deep thought and accompanied stargazing” – Allmusic

Stream the album here.

Loyle Carner – Yesterday’s Gone

Release Date: 20th January

Label: EMI

Critical Snapshot:

“Mostly though, this is an album which celebrates the love of family – there’s an incredibly touching bit in Sun Of Jean where Carner’s mother appears again reciting a poem she’s written about her son, and the pride in her voice is palpable. As should be the case: yesterday may be gone, but the future of UK hip-hop belongs to this man” - musicOMH

Stream the album here.

INTERVIEW: Stephanie O

INTERVIEW:

 PHOTO CREDIT: Sam Copeland 

Stephanie O

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ONE looks at Stephanie O and gets a sense of Joni Mitchell…

PHOTO CREDIT: Sam Copeland

which is no bad thing, that’s for sure! There is an elegance and sophistication that reminds me of her; a way with melody and beauty that evokes the legendary songwriter. I speak with Stephanie O about her attachment to Paris and the differences between the French capital and London. She discusses the artists that have inspired her and her musical upbringing; working with Doctors Without Borders - and the new artists she recommends.

I ask whether there are plans cemented for the New Year and whether there are any gigs coming up; whether a permanent stay in Paris is a possibility and the advice she would give new songwriters – and whether she feels the modern scene has potential and quality.

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

Hi Sam. I’m very well, thank you. This week has been intense (with the run-up to Christmas) but I’m finally back home and plan on taking it very easy (at least for a few days!).

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

Hello. I’m Stephanie; a singer and songwriter from London, living in Paris. The music I make is reflective of the people I’ve met, the places I’ve been and the stories I’ve collected - and I’m currently working on a new release for 2018.

Your music has progressed over the years – I’m in the Mood for Love was unveiled earlier in the year. Have you noticed your songwriting change? Do you have plans for new work in 2018?

I think an artist’s songwriting naturally evolves as time passes – all the changes that life brings – in terms of the environment, people; circumstances; they fuel the music that’s written and I can hear those changes present in my work. I’m in the Mood for Love was recorded as a homage to Jazz - a style of music I love, which has influenced me over the years. This year, I’ve been working with an incredible producer and musician, Peter Lyons (who I’ve been recording with in London).

I love what we’ve captured and can’t wait for 2018 (when the songs will be released). 

It seems Paris has been in your heart and life the past few months. You have been working alongside Doctors Without Borders. How did you get involved with them? How special is Paris to you?

Paris has, indeed, always been in my heart…

Since moving, I’ve completely fallen in love with it in a way I could never have imagined – inspiration is everywhere and I’ve met some wonderful people that have shown me incredible kindness and warmth. Early this year, I began fundraising for MSF and the year will end with a second project to support them once again. I, like so many people, have been deeply affected by the war in Syria - such trauma and atrocities on an unimaginable scale.

I wanted to do something and contribute to helping in whatever way I could - and found that MSF was one of the charities that travel there to deliver aid. I hope to raise as much as we can for them and, as I write, would like to thank everyone that has made a contribution so far. I am so very grateful.

Will you be remaining in Paris - or splitting your time between there and London?

I’ll be remaining in Paris but I’m hopping back to London for special projects and performances. 

Tell me how you got into music and the artists that struck your ear at a young age. Did you grow up in a musical household?

I was always fascinated with instruments as a child - so I let my curiosity guide me. I started playing the violin; then moved onto harp and guitar. Playing instruments has always been the thing that relaxes me most and makes me feel good. Performing came a bit later on - but I’d been singing from an early age. I grew up in a very musical household: my dad was a D.J. for many years and has a huge record collection that is hugely mixed; from Kate Bush to Deep Purpl...and everything in-between. I remember my sister and me listening to Wuthering Heights on-rotation and being equally unsure yet intrigued by it. We’d always play the music out of these huge speakers my dad had from his gigs – they were bigger than us!

My eldest brother is a pianist and orchestral composer and would play the piano for hours on end in his room above mine; so I’d be singing along to all sorts of Classical pieces. Sometimes, I’ll hear one of those pieces play somewhere and it triggers this childhood memory; then I find out who actually composed it and it’s a really poignant discovery. My younger brother and sister love to sing, too, and we’d always be singing together.

PHOTO CREDIT: Sam Copeland

Looking at you – and the romance you put into your music – you have an air of Joni Mitchell. Is she someone, stylistically or musically, you take guidance from?

Thank you; that’s a real compliment! I greatly admire and respect Joni Mitchell as a musician and painter. I remember searching to find a way to express myself in my songwriting in my late-teens in a more meaningful and true way - and she certainly influenced me in this respect.

Authenticity resonates through her work, and equally, that is what I strive to underpin in my own work.

Already; you have covered a lot of ground. What have been your fondest memories from music – either special songs you have recorded or a great nation that stuck in the mind?

Yes. It certainly feels that way yet I feel there is so much more to be discovered. One of the most incredible moments of my career to date was recording with my former band - a collaboration with Michael Buble at Capitol Studios in L.A. It was a track for his Christmas album so, every year at around this time, I’ll be out somewhere and it will be playing - and it brings back this lovely memory.

What is your opinion on the current music scene? Do you feel it is as strong as previous years? Any albums that have really stuck in the mind?

I look at the scene objectively; viewing it as having two parts - one whose primary concern is the art and the other that is more focused on a formula. I have to separate the two when I speak about it. The former gets me the most excited and the latter is an inevitable part of the industry and machine.

I think the scene is strong and eclectic and there are many independent labels bringing through artists that are bringing new dynamism and style to the market. Some of my favourites include King Krule’s E.P.; Melody Gardot’s most-recent album, Currency of Man, and an absolute gem of a track called I Spy by Mickhael Paskalev.

 IN THIS PHOTO: Palace/PHOTO CREDIT: Getty Images

Who are the new artists you recommend we check out?

I’m not sure how ‘new’ they are - but they’re new discoveries to me! Lately, I’ve been listening to Palace, Pauline Croze and Woo.

That’s quite a mixture right there - so I’m sure there’s something for everyone.

PHOTO CREDIT: Getty Images

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

I could spend hours on this question…but will go with the following:

Tapestry by Carole King

This album inspired me to begin songwriting when I was in my teens. I had no idea that, later into my career, I’d have the opportunity to perform with her.

It Could Happen to You: Chet Baker Sings by Chet Baker

I was introduced to this album my I was sixteen and it really got me hooked on Vocal-Jazz. I’m still amazed at how beautifully lyrical and smooth his style of singing is. It’s a true classic.

Grace by Jeff Buckley

It’s perfection.

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

Be yourself and, if you don’t know who that is yet, don’t be scared to take time to find out.

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

Absolutely! Plans are being made for gigs in Paris early-spring - and I’m certain that we’ll arrange a few London dates too. You can find updates on my website.

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

For New Year; there are a few ideas flying around but I’m favouring being somewhere low-key with a few close friends. It’s the days between (Christmas and New Year) that will be super-busy as I’m recording the project A Song for MSF with an excellent Jazz trio - and need to finalise the arrangement of the song.

Shortly after, I’m in the studio for the last time this year with Peter; working on the final track for the new release in 2018.

I know it is cheesy; but do you have any resolutions for the next year, either music or personal?

Eat more fruit.

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).

Moi Moi by Albin de la Simone and Emiliana Torrini, please. It’s been my soundtrack to Paris...

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Follow Stephanie O

PHOTO CREDIT: Sam Copeland  

Official:

https://www.stephanieomusic.com/

Facebook:

https://www.facebook.com/StephanieOmusic/

Instagram:

https://www.instagram.com/seestephanieo/

SoundCloud:

https://soundcloud.com/stephanieomusic

YouTube:

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

Spotify:

https://open.spotify.com/user/thestephanieo

FEATURE: That’s My Kind of Scene: The Best Music Videos of 2017

FEATURE:

 

That’s My Kind of Scene

PHOTO CREDIT: Unsplash

The Best Music Videos of 2017

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EVERY year brings videos that stand out…

PHOTO CREDIT: Unsplash

and add light, life and longevity to a song that, otherwise, would have faded from the mind. It is interesting how a brilliant concept and fantastic look can change the nature of a track and add so much to it. I guess that is what a music video is supposed to do but...when one considers the volume of options out there...is it easy to separate the genuinely brilliant videos from those that are merely promising (or the sheer naff)?!

I have been looking through videos from this year, across a range of genres and artists, and highlighted those worth another look…

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PHOTO CREDIT: Mary Ellen Matthews/CPi Syndication

Lorde – Green Light

Director: Grant Singer

Release Date: 2nd March

YouTube Views (at the time of this feature): 99,982,078

PHOTO CREDIT: Getty Images

Beck - Up All Night

Director: Canada

Release Date: 6th September

YouTube Views (at the time of this feature): 3,427,212

PHOTO CREDIT: Getty Images

Avalon Emerson – One More Fluorescent Rush

Director: Hayden Martin

Release Date: 25th October

YouTube Views (at the time of this feature): 50,192

PHOTO CREDIT: Getty Images

Camila Cabello (ft. Young Thug) - Havana

Director: Dave Meyers

Release Date: 24th August

YouTube Views (at the time of this feature): 382,863,102

PHOTO CREDIT: Getty Images

Chromatics - Shadow

Directors: Rene & Radka

Release Date: 21st May

YouTube Views (at the time of this feature): 3,292,779

PHOTO CREDIT: Getty Images

Jonathan Bree - You're So Cool

Director: Jonathan Bree

Release Date: 28th August

YouTube Views (at the time of this feature): 1,671,404

PHOTO CREDIT: LeAnn Mueller (for Rolling Stone)

St. Vincent - New York

Director: Alex Da Corte

Release Date: 31st August

YouTube Views (at the time of this feature): 1,717,555

PHOTO CREDIT: Getty Images

Dua Lipa - New Rules

Director: Henry Scholfield

Release Date: 7th July

YouTube Views (at the time of this feature): 825,293,348

PHOTO CREDIT: Getty Images

JAY-Z - The Story of O.J.

Directors: Mark Romanek & JAY-Z

Release Date: 5th July

YouTube Views (at the time of this feature): 54,076,968

PHOTO CREDIT: Getty Images

Princess Nokia – Flava

Directors: Destiny Frasqueri and Milah Libin

Release Date: 8th September

YouTube Views (at the time of this feature): 588,104

PHOTO CREDIT: Rankin

Liam Gallagher – Wall of Glass

Director: Francois Rousselet

Release Date: 31st May

YouTube Views (at the time of this feature): 9,263,748

PHOTO CREDIT: Getty Images

Kamasi Washington - Truth

Director: AG Rojas

Release Date: 12th April

YouTube Views (at the time of this feature): 757,709

PHOTO CREDIT: Getty Images

Charli XCX – Boys

Directors: Charli XCX (with additional direction from Sarah McColgan)

Release Date: 26th July

YouTube Views (at the time of this feature): 66,191,974

PHOTO CREDIT: Getty Images

Perfume Genius - Slip Away

Director: Andrew Thomas Huang

Release Date: 21st April, 2017

YouTube Views (at the time of this feature): 237,784

PHOTO CREDIT: SSENSE

SZA – Drew Barrymore

Director: Dave Meyers

Release Date: 20th June

YouTube Views (at the time of this feature): 5,845,492

PHOTO CREDIT: Getty Images

Björk - The Gate

Director: Andrew Thomas Huang

Release Date: 20th September

YouTube Views (at the time of this feature): 1,460,829

PHOTO CREDIT: Getty Images

Kendrick Lamar - HUMBLE.

Directors: Dave Meyers and the little homies

Release Date: 30th March

YouTube Views (at the time of this feature): 405,640,974

PHOTO CREDIT: Getty Images

Radiohead - Lift

Director: Oscar Hudson

Release Date: 12th September

YouTube Views (at the time of this feature): 6,992,742

PHOTO CREDIT: Getty Images

HAIM - Want You Back

Director: Jake Schreier

Release Date: 22nd June

YouTube Views (at the time of this feature): 10,395,231

FEATURE: Let There Be Love: Why Music Needs to Look to the Past to Move Forward

FEATURE:

 

Let There Be Love:

PHOTO CREDIT: Unsplash

Why Music Needs to Look to the Past to Move Forward

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AS I type this…

IN THIS PHOTO: A still from A Hard Day's Night/PHOTO CREDIT: Getty Images

I am watching The Beatles in A Hard Day’s Night. It is a festive favourite that shows what a majestic force The Beatles were – their best film and one of the finest moments on film. There is an innocence and endless charm that makes you smile. The script and concept are great; the acting is brilliant and the songs, of course, are faultless. The entire film – shot in black-and-white- takes you back to a time when there was more optimism and love in the air. I could have called the feature All You Need Is Love – in honour of The Fab Four – but I thought that would be a bit too much! I am not going to claim the 1960s were innocent and free from any problems: they had blights, political chaos and crisis. Whilst the world has not moved on in many ways – the corrupt politics and fear hanging in the air – I feel there have been lacking progressive steps. I look at bands like The Beatles and the 1960s. I was not alive then but know people who were; the sense things were better, in the music industry at least, always come through. Could we ever have a modern-day Summer of Love, in our society, that promoted freedom, liberation and togetherness?! It seems almost inconceivable but, after the last few years we have had, there is that desire to create a unity and peace.

IN THIS PHOTO: Unsplash

I have written about this a few times throughout the year – but I feel things have not really changed. Away from the scandal and disease that has plagued the film industry this year – the allegations against figures like Kevin Spacey – there are questions in music that need to be raised and tackled. Specifically, I am thinking about sexism and racial imbalance. With every month we go through; that problem keeps coming up. The disparity is there and, although there are small developments, there is a gulf that does not need to exist. We hear about more women coming into the studio and finding opportunities. The studio has always been seen as a boys club and somewhere few women find acceptance and a natural. More are coming into the studio and reversing trends – although there is a long way to go. The same can be said for the charts and the artists getting number-one songs. Earlier this year; Dua Lipa because the first female artist since Adele to get to the top of the charts (with her sing, New Rules). The irony of the song’s title suggested a fresh order was coming in: the need to get rid of the discrimination and division we find is paramount.

IN THIS PHOTO: Dua Lipa/PHOTO CREDIT: Getty Images

I was pleased when she got to number-one and, whether you like her music or not (I am not a fan); it was a landmark and important step through. The fact that was the first number-one by a British female artist in a couple of years was a shock. Is it the case people are going after male-created music and ignoring and female alternative? Is the scene primed towards promoting the men and providing less attention to women? One cannot look at stats – like the Dua Lipa case – and assume there is no issue and everything is fair-minded and even. That is clearly not the case and whether there is deliberate sexism or not; it is baffling and peculiar it would take THAT long for a female artist to climb to the summit of the charts. Look at festivals and big music events and I hear voices that highlight the lack of women on the bill. The headline spots are given to men and there is an embedded ignorance and predictability that goes after commercial, male artists. It is not only sexism that seems to linger and infect the music industry: there is a racial bias and a need to augment more black and minority artists. It is not only sexism that seems to linger and infect the music industry: there is a racial bias and a need to augment more black and minority artists.

PHOTO CREDIT: Unsplash

One of the best things I heard this year (in music) was the number of black artists who were nominated for Grammys. Hip-Hop is getting the respect it deserved, and with it, artists like Kendrick Lamar and SZA have been included. Problems surrounding race will not disappear in 2018 but the time has come for the music industry to have a good look inside itself and ask why there is a distinct imbalance. Words and meaningless if they are not backed by action. Many industry figures say they will make changes and promote minority artists but how much are we going to believe?! It is not a case of making exceptions and pandering: changing the way artists/genres are promoted and, like women in festival slots; make more available for the finest minority artists around. If the white man continues to promote white men; it will send out the message everyone else is excluded. I have seen some fantastic, world-class music made by black and female artists, new and existing, that deserves festival coverage in 2018. I wonder whether that is a reality or whether, like years past, the commercial white artists are going to steal all the limelight. I know there are other concerns away from race and sex but these are the most visible and troubling. Venues are closing and the fabric of music is weaker and less sure than it has been in a while.

PHOTO CREDIT: Unsplash

The government are not willing or prepared to make decisive changes and take action to benefit the industry. It is down to those in charge within the industry to ensure there are positive step forwards and preservative measures put in place. I am troubled by the continuing sexism and racial bias; the way commercial sounds are muscling out others. Returning to a 1960s, free-love style of thinking would be horribly naïve and idealistic considering the way the planet has changed in the ensuing five decades. It is not only music issues that we are finding. The political crap and growing global-warming crisis mean now, in an age defined by technological advancement, human beings are retreating back into the mud. It will take small steps and a lot of internal administration but I feel a declaration and desire to make changes can go a long way. So much negativity is flying around it can be hard finding any light and hope among all that. I can hardly judge myself – without making changes and being active myself – but I am looking at the music industry and finding too much discrimination and issue. The fact the film industry has been tarnished by a select few male figures means many are wondering how far the problem extends – and how many other people will be accused in the New Year.

PHOTO CREDIT: Unsplash

Music is not immune and already has enough burden without falling down the same slippery slope. Of course; this year has seen a lot of good and love but not enough for my liking. Although the 1960s had more than its fair share of problems – racism and sexism was pretty prolific and unabashed – but there are aspects that we have lost in the ensuing decades. There are other problems that have been covered in various articles. One, seen here looks at live music and how hard it is for touring musicians to sustain a career – whilst keeping up their day-job:

“Ask just about anyone how musicians make their money these days, and they will say, "live music." In fact, ask anyone who never pays for recorded music how they support the musicians they love, and they'll say, "I go to their shows."

Now, that's all well and good. And, it's true—live music is where it's at these days financially for musicians. However, there's one major disconnect—playing live costs musicians money. A lot of money. Yes, even more than that. Sure, going down to play your local venue for the 80th time is a piece of cake financially, but that a music career does not make. To really build an audience, a band has to go out on the road”.

 PHOTO CREDIT: Getty Images

There are some brilliant articles that break down the various issues in the music scene – from streaming and record labels to albums and royalties. Ranging from small to immense; there is a long list of considerations that need to be discussed in 2018. I have, several times this year, how we have not really developed and ways we can improve. It is going to be impossible to stamp out every slight but I wonder whether, as I have proffered in a previous post, someone should be assigned to take a governmental approach to music. It is clear there are lots of easy-to-solve things that can be solved: the bigger, music-wide problems definitely need action and exposure in 2018. There has been so much good and productivity; some real strides and world-class music and I know that will continue. A pragmatic, proactive and positive approach needs to come out next year. Not only do the divisions need sorting and list of faults need proper scrutiny: a much more balanced, welcoming and inclusive industry needs to make its voice know. It is what musicians want but, as music becomes more business-minded, I wonder whether suits and money-grabbing men are thinking more about their wallets – less about the artists and creating a balanced and less problematic industry. If we continue to ignore the visible and worrying cracks in the pavement; it is going to get worse and get to a point where it will be impossible to fix. Love might not be all we need but it is…

PHOTO CREDIT: Unsplash

A pretty good place to start.

FEATURE: The Future Is Now: Virtual-Reality Startup Magic Leap and a New Way of Experiencing Music

FEATURE:

 

The Future Is Now:

PHOTO CREDIT: Unsplash

Virtual-Reality Startup Magic Leap and a New Way of Experiencing Music

________

I was reading an article…

IN THIS PHOTO: Magic Leap One's Lightpack, Lightwear and Controller/PHOTO CREDIT: Magic Leap

on Pitchfork that highlighted a new technology that is getting people excited. A billion-dollar company, Magic Leap, is looking to replace Alexa and Siri in the new wave of virtual-reality interactivity. This would allow people to interact and experience music in a new way. The company has already raised $2 billion and has backing from the likes of Google. The glasses/goggles project virtual objects that are just like real-life scenes/images. It is not a reality at the moment – merely a prototype – and has yet to get past the stage of testing and conception. It does, however, raise questions on both sides of the argument. Is it going to be the way music is heading? Is this how people will listen to music in years to come? The article highlights what the scene involves:

“Turbo-boosted by machine learning, and with their power of illusion limited only by the human imagination, these new devices could herald a major cultural and economic shift. According to tech giants, the not-so distant future will include holographic droids clanking around our homes, and a baby elephant in the palm of every child…Silicon Valley’s big players are currently betting heavily on glasses that could replace Siri or Alexa with a digital assistant that looks and sounds as present as another person in the room.

PHOTO CREDIT: Magic Leap/Getty Images

Turbo-boosted by machine learning, and with their power of illusion limited only by the human imagination, these new devices could herald a major cultural and economic shift. According to tech giants, the not-so distant future will include holographic droids clanking around our homes, and a baby elephant in the palm of every child”.

There are issues with any form of augmented/virtual-reality. We all know the infamous Google Glass and how well that did! It was launched as a hugely innovative and revolutionary concept by the bods at Google but ended up being an expensive and over-hyped experiment. I am not sure whether anyone benefited from the product – or what it actually did – but there have been technologies launched that look to replace human contact and traditional modes of interaction with machinery. There are watches that are an all-in-one Smartphone/watch etc. and, every year, inventors and progressive thinkers are pushing the boundaries and limitations of what is possible. That is exciting but I wonder whether, like Google Glass, there are too many flaws! The fact I posed no question in the header suggests I am more positive regarding Magic Leap and what they can produce. Even if the glasses are flawless in their execution and promise; they cannot block out everything around them. Actual reality seeps in at the sides and you cannot realistic wrap the glasses around the head so you erase any light and outside world.

PHOTO CREDIT: Unsplash

There are, as writer Marc Hogan proffered, some other problems:

“There are a few widely documented problems with augmented reality devices in general. They look silly. They have a narrow field of vision, so while what you see through the goggles looks amazing, you can still see unmixed reality in your peripheral vision. And they require so much energy that, for the foreseeable future, they’ll need to be connected to a battery pack. Once, after I try to grab a tónandi while using the app, I briefly see an error message. It tells me that the tónandi will interact with you, but you can’t control them. There’s something humbling about this. It’s almost a sacred ceremony, in secular form. Or a strangely vivid hallucination. If nothing else, it’s surreal”.

If we rely on technology to interact and experience life around us then are we encouraging the disintegration of human contact?! Is it healthy and wise leaning on machines and the un-physical in order to see more of the world?! It sounds counterintuitive to take this approach but I guess this is the way technology is advancing. Music is becoming less physical and more of our music is being streamed and bought digitally. It is only natural a technology firm would pitch something that immerses the listener into music using machinery – a gadget that provides depth and dynamics the naked eye cannot perceive. It is almost like the electric car in many ways. It has taken years for a viable and workable model to come onto the market.

PHOTO CREDIT: Unsplash

There are drawbacks to the electric car – having to recharge frequently; charging stations not overly-common and available; how costly and inconvenient it might be – but it is coming to a point where there is no real option. Global-warming means fossil fuels are doing more damage than we can imagine. It might be the only way we can have vehicles without the consequences being dire and planet-destroying. The electric car is still not completely there yet but it is a lot more advanced and realistic than years ago. The same cannot be said of music-related virtual-reality. The motives are different but the issues, one feels, are similar. One would need a battery-pack when using the new goggles. There is no suggested price for these goggles so you can only imagine how pricey they would be. This will be straightened out and, as with many of these ambitious projects, the price comes down eventually. It is a case of gauging the market and seeing what the demand is; modulating and redefining pricing so that the company makes a healthy profit without alienating the market – there is always going to be greed but, if the consumer cannot afford it, that would be a very costly and embarrassing failure. Hopefully, lessons have been learned from the fellow mixed-reality projects of old and how they have fared.

PHOTO CREDIT: Unsplash

Looking at an article by Business Insider; they look at the other possibilities with regards the Magic Leap project:

“As the Magic Leap website says, the headset merges, "environment mapping, precision tracking and soundfield audio." What that means in practice is whatever you see in the world through the glasses can be interacted with.

In the example above (from Magic Leap), a user has our solar system projected in the world in front of them. The glasses have sensors and cameras that see the user's hands interacting with the projection.

It's not actually clear if the Lightwear headset can track hands, but this example certainly gives that impression”.

One would be able to watch a basketball game with others in a living-room – the game would project life-like scenes in front of them. Not only would it be a new way of perceiving T.V., film and the arts: it would open up science, art and technology; help make it more appealing and engaging. There are sketchy details regarding the full capabilities but, when it comes to music, I am quite excited. It is early days regarding pricing, logistics and practicality: when it comes to the capabilities and possibilities; it will help take music to new audiences. Returning to the Pitchfork article – as I will finish up – and the journalist was able to hear various drum sounds and notes in surroundings.

Various parts of the image gave off different sounds – music coming to life in a much more evocative and tangible way. I would fear for the industry if this was trying to erase traditional formats and hardware. Streaming services are not trying to replace vinyl and C.D. but there is a sense things are going more in a digital direction. I have been worried about the dependence on streaming sites but know, with regards vinyl sale, there is evidence people are not willing to abandon traditional and purity. The launch of a virtual-reality will supplement what is already out there and help bring videos, scenes and songs to parts of the brain that are not usually stimulated. If it is something as simple as taking an existing video and making it larger, clearer and more cinematic; that is something to get excited about. My doubts remain but there are ways we can help various people connect with music in new ways. If a person is deaf and, therefore, they cannot engage with music in ways most of us can – can the visual components and ways Magic Leap are proposing help them enjoy music in ways as yet undiscovered?! Others, with dementia and memory problems, may be able to have parts of their brain stimulated that stores memories. Children are always reluctant to sit down and patiently listen to music but, if there was a more film-like, robotic way of connecting with music – that has to be a good thing, surely?!

Rolling Stone were afforded a unique experience and meeting with those behind the project. They spoke with Magic Leap founder (the company was founded in 2011), Rory Abovitz, who (first) talked about a special musical benefit of the virtual-reality glasses:

“…Finally, I went to a separate room to see an experience that I can talk about in full detail. Iceland experimental rock band Sigur Ros has been quietly working with some folks at Magic Leap to create an experience that they like to call a soundscape. For this particular demo, the team had me put on earbuds plugged into the goggles. “What you are about to see is a project called Tonandi,” Mike Tucker, technical lead on the project, tells me. “What you’re going to see is not a recorded piece of music but an interactive soundscape. That’s how they like to describe it.”

Those worried the new technology would be cumbersome and unwieldy have little to be worried about when it comes to possible strain and physical stress:

“The Lightwear and Lightpack are almost toy-like in their design, not because they feel cheap – they don’t – but because they’re so light and there seems to be so little to them. (Ronni) Abovitz, though, is quick to point out just how much is packed into that small space. “This is a self-contained computer,” he says. “Think about something close to like a MacBook Pro or an Alienware PC. It's got a powerful CPU and GPU. It's got a drive, WiFi, all kinds of electronics, so it's like a computer folded up onto itself...”

PHOTO CREDIT: Magic Leap/Getty Images

“One of the fundamental problems that Abovitz and his team at Magic Leap were hoping to solve was the discomfort that some experience while using virtual reality headsets and nearly everyone finds in the prolonged use of screens of any type. “So our goal is to ultimately build spatial computing into something that a lot of people in the world can use all day every day all the time everywhere,” Abovtiz tells me. “That’s the ambitious goal; it'll take time to get there. But part of all day is that you need something that is light and comfortable. It has to fit you like socks and shoes have to fit you. It has to be really well tuned for your face, well tuned for your body. And I think a fundamental part of all day is the signal has to be very compatible with you.”

I have seen videos and interviews where Magic Leap is explained and to what extent it can change the world around us. In a way; it is bringing the world into closer focus and allowing us to see things we have previously not been able to. Before I conclude with my hopes – and why it will be good for music – that Pitchfork piece posed concerns regarding privacy and personal security:

PHOTO CREDIT: Unsplash

“Aside from questions about whether technology like Magic Leap’s really will catch on as the tech industry predicts, the coming of mixed reality would bring other concerns. If the internet is always there, then it’s always watching us. The corporate behemoths that currently treat user data like it’s the new oil—not to mention governments—would know much more when they could apply facial recognition software to each face we see, record details from our real-world conversations, monitor our eye gestures. For now, though, the existence of an app like Tónandi points a potential way forward for artists under siege from the Muzak economics of streaming an opportunity to survive in that incipient world. And, perhaps, a forum to speak out about it too”.

There are always going to be problems and teething concerns but, if they can be smoothed in the coming weeks; there will be fewer risks and downsides compared to, say, Google Glass. The company was founded six years ago so one would imagine they have been working on the nuts-and-bolts of the design. Worries about security, weight and price will be explained but there are many in the music world that are getting excited. I feel it will be beneficial to musicians and listeners alike. For those disadvantaged and ill – who would be prohibited from hearing and experiencing music in a conventional manner – have the chance to see (literally) it in a new way. Music videos are great but I have always hankered after a way of connecting film/visuals and music in a modern impactful and magical way. Magic Leap might be that solution that means we can unearth more and create new genres; find ways of helping new musicians get their music to people; change music videos and help bring issues like sexism, racism and inequality to life – fighting them in a very bold and unforgettable way. We cannot judge the concept before it is fully rolled-out and realised. I am optimistic – always a fatal sign! – but there are signs to suggest something…

PHOTO CREDIT: Unsplash

WONDERFUL is on its way.

FEATURE: The Gift of Music: Dropping the Needle and Raising the Bar

FEATURE:

 

The Gift of Music:

ALL PHOTOS (unless credited otherwise): Unsplash

Dropping the Needle and Raising the Bar

________

THIS is the day where many of us…

are digging into gifts and sharing our memories online. Today, we will see (and have) happiness and good wishes pouring through social media. Whilst some have accused Christmas of being too commercial – there are only two days of the year when one gets presents so I embrace this element of Christmas – whereas others prefer the family time and togetherness. There is no wrong answer – the day means something different to everyone - but, as we check out our gifts and dive into the spirit of the day; I wonder whether lessons and education, in addition to presents, is what we should be passing to children. My point does not only apply to the young: music is for everyone and is a timeless, ageless gift. I do not necessarily mean a physical possession: passing down tastes and artists offspring is as precious and meaningful as a physical thing. We think about family this time of year and, as the tree is crammed with presents; there is excitement and happiness around the house. No matter what your age; there is that thrill of receiving and giving presents to loved ones. Whether you think it is a commercial day that lacks religious spirit or preserves Christian traditions – music is an integral part of Christmas. We have all been flooded with Christmas music, old and new, and had those tunes bouncing around the head. It is a day to be in the present (no pun intended!) but, also, reflect on the past. I have been casting my mind back to childhood and the best days.

IMAGE CREDIT: Freepix

One of the reasons I got into music at a young age was because of the exposure and opportunities I had in the 1980s and 1990s. I was fed the finest music ever in the childhood household and afforded access to vinyl, cassettes and C.D.s. I was given music-related gifts and, blended with that, a constant stream of eclectic sounds. I am not sure which is most instrumental to me (again; not trying to pun!) but I feel both of them played a part. I am not casting myself in the guise of a personal shopper but I feel few of us, young or older, are being provided the literal gift of music. One of the best ways to instil a passion for music in a child is to play it around the house. Many parents do that but I wonder whether the selections are broad and how committed they are. I was lucky enough to spend my early life in a household that was constantly humming with great sounds. It is because of that, and the music I was buying, that led me to pursue music as a career – and spend my time fostering the best new artists around. Soon enough; myriad music stuck in the brain and that began a life-long pursuit; an endless passion for the art. I wonder whether children/those interested in music are being given a good start.

I confess, for children, toys and the latest must-have gifts are great: that is what Christmas is all about, surely?! This day will fade and we will be back into the normal, day-to-day routine. Not only is music a great way of fostering interesting and forging musicians of the future; it has huge substance and meaning. I remember the first items of music I was given as a child. A red boom-box (or tape-recorder, as we’d call) had a dual-cassette feature (that was very advanced in the early-1990s) and I would use that to soundtrack races around the block – on the back of a go-kart my grandfather built as a present. The likes of T.Rex and Glen Miller (I had a broad taste!) would blast out of the speakers and create limitless joy. Not only did that humble gift provide an outlet for the music I loved: the memories have remained in mind and, in a way, carried on a love for music. It can be that easy and low-key. You do not need to make lavish gestures but music, in so many ways, can do more than create a hobby: it can enrich lives and give someone a purpose. This Christmas is nearly over – in terms of buying gifts – but, going forward, do not underestimate the importance of music in someone’s life. So much of today’s sounds are on streaming sites and digital means. That is all well and good but there is something special and pure about music’s beginnings.

Record players might sound like an expensive gift but they can last for years. As an accompaniment; a record bag with a few vinyl would open eyes and minds; a great start for a child and, for those already committed to music; a treasured and valuable possession. I have asked for vinyl this year – in addition to a book on The Beatles – and asked for them so I can enjoy these items years down the lines. They not only provide entertainment and get memories flooding back; there is that nourishing, fulfilling side. I listen to an L.P. and can lose myself for that time. It is there when I need lifting and provides inspiration and guidance. Even a retro/old-fashioned music gift – a cassette player and tapes – is a charming and original choice. Listen to all the greatest musicians around and they all say the same thing: music, physical and audio, came into their lives from a young age. Not only did they experience a decades-spanning soundtrack but were given record players, vinyl/tapes. From there, they continued that love and chose to follow music as a career. It sounds like I am trying to force people into a music career but there is that integral link between early exposure/nurturing and continued commitment. One need not spend a lot of money buying vinyl and a record player to make a musical impact. As I say; it can be something more basic or music being played around the house.

PHOTO CREDIT: Getty Images

In my thirties; I am still searching for new music and, if a chance for gifts comes along; I am scouring the electronic aisles for vinyl or a rare find. The pursuit and hunger for music does not end when you get older. It is important we provide music upbringing to children because, as studies have shown; there it helps develop memory, motor skills and personality:

“Research undertaken by a team of researchers in the 1990s showed that the exposure to music from early childhood onwards helps children to speak more clearly, develop a larger vocabulary, and strengthen social and emotional skills. The psychologist Howard Gardner already argued in 1983 that music intelligence is as important as logical and emotional intelligence. This is because music has the ability to strengthen the connection between the body and brain to work together as a team. For instance, when dancing and moving to music, children develop better motor skills whereas singing along to a song helps them to practise their singing voice. In general, the exposure to music supports children in their development process to learn the sound of tones and words…Many studies have investigated the importance of music in early childhood development since the 1950s.

 Two facts that are widely accept are that children do not express music in the same way as adults and that the years from birth to the age of six is the most important period for a child’s musical development. This is because even the youngest toddlers receive the tones of music and unintentionally differentiate in frequency, melody and stimuli. According to researchers, the early years of childhood are critical to learn to unscramble the tones of music and to build up a mental organisation system to memorise the music. This means that, like language development, toddlers develop their musical skills through imitating and memorising rhythms and tones of songs such as clapping to a beat and singing in tune. Without this ability children would not be able to develop their musical skills”.

A lot of these facts are already known but many are depriving children of a basic music upbringing – let alone any developed and sustained exposure. There are other reasons why the gift of music can enrich a mother/father-child bond:

“Further research also indicates that parents develop a stronger bond to their children when they enjoy music together. This way music is not only a tool that contributes to the growth and development of a child but it also helps the family to spend quality time and have fun”.

One can apply the same arguments and science to adults. Emotions and life is more complex as you get older: the mind develops and, psychologically, there are more challenges put in the way. Music’s place and importance become more focused and essential. Most adults have a love of music and listen to it on a semi-regular basis. Music has the power to help anxiety and depression; to make one feel less alone; to provide someone the drive to do more in life and take on new challenges. A single record/music gift can make a gigantic impact on someone’s life. I can chart my pursuit of music from my childhood and the upbringing I had – the music I heard and the gifts I was given. Even this far down the line; I have been inspired to rekindle a (long-forgotten) push to record music. I initially quit because of nerves and a lack of finance but I have stoked the fire back up – maybe not something sung; perhaps a samples-album or electronic-based recording. As we open our presents with fever and expectation, we will hang on to some of the gifts whilst some might last only a short time. Music is a gift that keeps on giving and does a lot more than provide aural stimulation. For adults and children, it can inspire a career and develop the mind; it can improve mental-health and provide direction; it can unlock memories and do so much more. It might be too late for this Christmas but, going forward, if you are looking for a gift idea or a surprise for someone special…

NEVER underestimate the power of music.

FEATURE: We Are the Resurrection: Why Manchester Will Play a Huge Role in 2018

FEATURE:

 

We Are the Resurrection:

IN THIS PHOTO: False Advertising/PHOTO CREDIT: Getty Images

Why Manchester Will Play a Huge Role in 2018

________

THEY say all the most exciting things…

IN THIS PHOTO: Stevenson Square, Manchester/PHOTO CREDIT: Unsplash

happen in cities! That is true but, from a musical perspective, most of the attention goes towards London. I can understand why excitement would be levied towards the capital: it is a bustling and energised city that draws you in and compels the mind. It is the way of things, where the record labels and media are based, depends on where they focus their time. That has been the way for a long time because there has been no real challenge and questioning. It can be difficult straying from London and look at music from other parts of the U.K. The problem is, as we head into 2018, that focus cannot be rigidly trained on London. I am one of those guilty of obsessing too much on the artists in the capital; promoting all the best new bands/artists coming through. The things is...there are other areas out there that are far more intriguing and exciting: Manchester is at the top of the list. I have always loved the city and, from a historical perspective; you cannot quibble with the legendary music that has come from the city. Over the past few days, I have been listening to a couple of documentaries on BBC Radio 6 Music: interviews with the brothers Gallagher. One, by Steve Lamacq, was with Noel – as he talked about his solo work this year and how he will move in 2018.

IN THIS PHOTO: Liam Gallagher/PHOTO CREDIT: ES Magazine/Ben Rayne

The other, by Matt Everitt, was with Liam. He was chatting about his first musical experiences, the end of Oasis and his debut (solo) L.P., As You Were. I am a fan of Oasis and, during the 1990s, it was that classic battle between working-class Oasis and the middle-class Blur. The Britpop battle that raged in the middle of the decade enthralled the nation and was one of the last great chart battles we have seen. Blur were considered the intellectual, cerebral type – based near the capital (Essex, actually) – whilst Manchester’s Oasis were the tougher, more accessible band. Blur won that battle in 1995 (when Country House pipped Roll with It) and, in the long-run, Blur won the war. Oasis’ best-two albums (especially Definitely Maybe) defined the early-1990s and, come their legendary gig at Knebworth; they were born legends and destined for the history books. One of the reasons I am mentioning Manchester is because of the North-South divide we are seeing. Maybe there is not the classist split there once was – there are plenty of working-class artists in London – but there is still that assumption the best and brightest are from London. I, as I have said, am culpable to an extent but I listen to artists like the Gallaghers and am charmed and stunned. I am not saying London artists – or from artists elsewhere – are boring but there is something special and different about Manchester artists.

IMAGE CREDIT: Getty Images

Listen to Liam and Noel talk and they are funny, open and refreshing. There is something addictive about them: the way they joke and play; the frank revelations and the way they describe their time with Oasis. I am not prone to huge sentimentality but I miss the heyday of British Rock/Pop and what happened back in the 1990s. Not only were Oasis celebrated but other northern bands like Pulp. In fact, just before then, The Stone Roses captivated the scene – and made an impression on Liam Gallagher – with their two albums, The Stone Roses and The Second Coming. The former was released in 1989; the latter in 1994. Ironically, it was their debut that made the great impact: the latter was less a second coming and more someone returning to work after faking their own death. By that, I mean their debut was such an immense work, they were unable to follow it up – the sophomore arrived in 1994; during a time when the likes of Blur and Oasis were forging their path and defining popular music. The 1990s was a fantastic time for northern music but I feel, since then, there has been s steady decline. That is not an indication of quality: the media has shifted its focus away and settled in London. Maybe that is because of the way the media/mainstream has shifted. There are more middle-class artists in the spotlight and working in the media – they tend to proffer artists who are like them and they can relate to. Because it is harder for working-class writers to get media jobs: there are far fewer working-class bands proffered and visible.

IN THIS PHOTO: PINS/PHOTO CREDIT: Andrew Benge 

This is a big problem that needs addressing. I am worried few working-class artists will get exposure and the scene will become too homogenised. One of the most exciting things I am witnessing is the revival of northern music. It is not as fast and hard as you’d like – the stubbornness of the media is a sticking point – but I am hearing a lot of great Manchester artists come through. We have all heard PINS and how well they are doing at the moment. They have a unique sound and have impressed critics with songs like Serve the Rich and All Hail. I am excited to see where the band goes and what they can achieve in 2018. They are a force to be reckoned with an offering an alternative to the rather limited and limp Rock scene happening in the South. Another group I have been looking at for a long time is False Advertising. I have been charting the trio for a year-or-so now and am impressed with the progress they are making. Like PINS; they have a unique take on Rock/Alternative and add Pop/Punk elements into the fray. They are worth keeping an eye out for and following next year. I know they have released a run of singles in the past – I feel an L.P. will arrive in 2018. They are making steps towards the mainstream and show what energy and innovation there is in Manchester right now.

IN THIS PHOTO: Maddy Storm/PHOTO CREDIT: Getty Images

Josey Marina made impressions in 2016 and was tipped for big things this year. She released her single, Heavy, earlier this year and looks set for a fruitful and productive 2018. Maddy Storm and Little Sparrow are two artists I know will make big headway next year. The former is a songstress who produces emotional songs that are reverb-rich and released her debut E.P., To the Sun, early this year. I know she is planning new material and gearing up for a busy 2018. I will follow her progress and can attest to her wonder and talent. Little Sparrow just released the track, Tender, and has impressed D.J.s like Chris Hawkins with her entrancing beauty and spellbinding vocals. Little Sparrow shows what a contrast is coming from Manchester right now. Larkins are hot property and being tipped as a breakaway band to watch. Songs like Tale of Cassandra recall Vampire Weekend whilst the ballad, Sapphire, is a tender and more restrained thing. Like False Advertising; they offer Punk-Pop physicality and colour. Heather, Ciara; Hugo and Charlie have been on the scene a while but Pale Waves are a band who have climbed steadily and made festival appearances in 2016 and this year.

IN THIS PHOTO: Pale Waves/PHOTO CREDIT: Getty Images

I know next year will be a big one for them as they continue to gain traction and respect. Their sound fuses the 1980s Pop of Madonna to the richer and deep sounds of Talking Heads. If you want to return to something more fired and dirty then Cabbage and The Blinders are worth your time.  Cabbage are from Mossley and, like Pale Waves, have been getting a lot of love and respect the last year – and they look set to carry on in 2018 and produce wonderful music. The Blinders are fresher but are a band who have produced some great sounds; have incredible tightness and are a fantastic live proposition. Manchester Evening News, BBC Radio 6 Music and other local sources are boosting the profile of Manchester’s music and ensuring the artists doing great work are getting the coverage they deserve. I hope the popular media makes efforts to collate all the great Manchester acts working at the moment because, as you see/hear the acts I have laid out – there is so much great and varied music in the city right now. I feel London has been grabbing headlines too long and there is a need for honest, ground-level music that comes from hard-working, relatable bands. I mentioned how working-class bands of the past – Oasis and The Stone Roses – captivated the nation decades ago: the time is right for the new breed of Mancunian artists to strike and impress. I have just touched the tip of the iceberg - but there are so many more great Manchester acts out there doing sterling work.

IN THIS PHOTO: Cabbage/PHOTO CREDIT: Getty Images

I have not included artists on the outskirts – such as The Orielles – who are getting great radio-play and respect. It is time to recognise the way music is changing and the need to embrace artists that talk about what life is like. One of the biggest drawbacks of modern music is the lack of artists detailing what is happening in the country; how life is for working people; something that goes against the proliferation of middle-class artists. I am not suggesting we will see anything like we did in the late-1980s/1990s when the biggest and most influential artists from the North. Manchester played a vital role and, with that drive, helped usher in Labour and changed the country. The people were united and it was one of the best times for music. We might not be in for another season that recalls the genius of Oasis and The Stone Roses but I would suggest something fantastic could happen. Few can deny Manchester is a vibrant city and, when you listen to the music, there is something instant and nuanced – the artists stick in the mind and get the heart racing. I hope the media pays attention to what is happening in Manchester and realises London’s stronghold needs relinquishing. Music lovers like me prefer the gutsier, expansive sounds of Manchester; music that reflects the nature and personality of the people there – some of the most intriguing and nicest folk around. The music of the city has guts and brains and, after a year that has provided little joy and unification; it is high-time we…

IN THIS PHOTO: The Manchester skyline/PHOTO CREDIT: Getty Images

KICK the Manchester resurrection into the mainstream!

FEATURE: Paper Priests: Why Drug-Related Deaths in Music Are a Wake-Up Call

FEATURE:

 

Paper Priests:

ALL PHOTOS (unless stated otherwise): Unsplash

Why Drug-Related Deaths in Music Are a Wake-Up Call

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I’LL admit...this is not entirely festive or…

especially uplifting but, considering we all have enough Christmas-themed music and food in our bloodstream; I wanted to end my scribbling day by looking at something a bit more sobering and alarming. We have all read about the toll drugs have taken over the years. Drugs and music have had an uncomfortable association for decades. You would have to go back to the start of the twentieth-century to find any music that, in some way, has been clean and drug-free. By that, I mean there have been no artists/genres associated with drug-taking, We all adore and love artists like The Beatles and The Doors but, ever since the 1960s; some of our most-loved and institutionalised musicians have partaken in drug-taking. I am not saying that is a good thing but it is impossible to think of a band like The Beatles without L.S.D., cannabis and, well…who-knows-what coming to mind! So many of the biggest artists from music’s history have at least experimented with drugs. Sure; there are many who have remained clean and free from temptation – unwilling to wander the dirty back-alleys of abuse and recreational activities. Some artists claim drugs have helped unlock a part of their brain that leads to creativity and opens their minds: others claimed (certain drugs) ruined them and cut their musical lives short. In any case: one can never see any validity or excuse for taking drugs or elevating them to the role of Saviour and God.

Whatever an artist can do on drugs they can do clean – the same goes for alcohol, too! Unfortunately, in 2017, we are no closer to getting a grip on the drug situation. Whilst we do not have the flagrant and unabashed promotion of weed and blissed-out free-love (like we saw in the 1960s); that does not mean, behind doors and in bedrooms; artists are creating music without the ‘influence’ of drugs. This year, at least two high-profile musicians have been taken from us because of drugs. Chris Cornell was found hanged following a Soundgarden gig. The official toxicology report found lorazepam (Ativan) and headache medication. It is the former, an anti-anxiety medication, that many felt contributed to Cornell’s death. The coroner found drugs did not contribute to his suicide but his wife, and those close to Cornell, noticed a change in the fifty-two-year-old days before his death. He was slightly off and not himself; Cornell was heard slurring during the band’s final performance – clearly, there were drugs in his system hours before his death. Whether increased anxiety and stress meant he upped his dose; whether he was self-medicating to mask his depression – who can claim his death was free from any drug toxicity?! I know the drugs we are referring to here are prescribed but that brings an issue of anxiety and depression.

IN THIS PHOTO: Chris Cornell/PHOTO CREDIT: Getty Images

Lil Peep is another big artist who was claimed this year. He put his first mixtape out in 2015 and, later that year, he released two more – Crybaby and Hellboy. The openness with which Lil Peep connected with fans meant emotional nakedness and frankness were common currency. When I heard about his death – the fact he was barely in his twenties – my first reaction was one of shock and surprise. Such a promising talent seemingly wasted his life and needlessly took a huge gamble. Reading stories, articles and testimony made me think less about personal culpability and looked at a reckless and unregulated industry that let something like this happen. Naturally, we cannot safeguard and protect everyone but I wonder whether certain genres are guilty of glamorising and normalising drugs - and substance abuse., too That may seem naïve to many – Hip-Hop and Rap have often been linked with excessive drug-taking and addiction – but is it something that needs greater scrutiny given the circumstances surrounding Lil Peep's death? I will give more thoughts in a bit but I wanted to bring in an article The Guardian published in November:

“This permissiveness has claimed a talented victim in Lil Peep, a New York-born 21-year-old rapper who died this week of a suspected overdose. On his Instagram in the hours leading up to his death, he said he was taking magic mushrooms and “honey” (a kind of super-concentrated version of marijuana, turned into a wax); another picture sees him with an unidentified substance broken into pieces on his tongue. He is also filmed dropping bars of Xanax, the anxiety medication that has become perhaps the most fashionable drug in 2017’s rap scene, into his mouth”.

IN THIS PHOTO: Lil Peep/PHOTO CREDIT: Getty Images

That use of ‘honey’ gets me thinking about drugs as bling and accessory. Not all rappers and Hip-Hop stars fall into my condemnation but it seems the braggadocio associated with taking the ‘coolest’, latest drugs have led to needless loss of life. Whether it is a way of numbing hidden pains or gaining a twisted degree of acceptance from your peers – it is a madness and fuc*ed mindset that is permeating the bones and rotting the flesh of Hip-Hop. It is neither cool nor wise taking drugs and, whilst I sound like a preaching parent; how many deaths does it take to send a clear signal out?! The thing is: the human cost of drugs makes no bigger impression on those who take drugs as gun-related deaths do to those who own guns. There is a numbness and blind-spot that places the ability to get high above protecting life. That might be over-simplistic but is this a new phenomenon? Are these ‘designer drugs’ something that has come into music over the last few years? The same Guardian article goes into a bit more historical detail:

“Around the turn of the century, rappers increasingly started dabbling in designer drugs, too, particularly ecstasy. Eminem recorded two songs from The Slim Shady LP while high on it, while mentor Dr Dre suggested on Bad Intentions, “take an X pill, how the sex feel?” A little-noted detail is that the civic euphoria of Jay-Z’s Empire State of Mind is powered by the drug: “MDMA got you feeling like a champion / The city never sleeps, better slip you an Ambien”. Kanye West sees “a whole party melting like Dali” after dropping molly, rap’s now-favoured name for ecstasy (also namechecked by the likes of Tyga, Rick Ross, Rihanna and, infamously, Miley Cyrus). In their songs at least, there are no comedowns, only the dizzy, meaningless highs...

 …But at the same time, prescription drug addiction took hold of the US – last year, 91 people a day died of opioid overdoses. Thanks to a robust marketing campaign, sales of the opioid painkiller OxyContin grew from $48m (£36.5m) in 1996 to $1.1bn in 2000; in 2012, 282m prescriptions were made for it – a bottle for every American. Its popularity has tailed off slightly, but other prescription drugs – often used recreationally – have joined it, arguably in part thanks to the inadvertent marketing by rappers, who have swapped uppers for downers”.

It seems, in the years since the century’s turn, the need to level and mellow has, in a small way, substitute the desire to get high. That, again, might seem like a binary explanation but I wonder how much of the drug culture revolves around credibility and street-savviness; how much is tied to psychological issues – and whether history and traditions mean drugs are a natural part of an artist’s life. This year, given the death of Lil Peep; a fellow ‘Lil’ was foolhardy enough to rhapsodise drugs. He took to social media and proclaimed Xanax is “the new wave”. Not only was that declaration shared online and seen by thousands of people – it stupidly canonised a drug that is used to treat anxiety. There is nothing wanted or fun when it comes to anxiety. There are young and impressionable people who saw that tweet and would have reacted to it.

If they see a popular rapper highlight the joys of a certain drug/medication; how long before people are trying to procure Xanax and take it without any thought for their wellbeing? There are those who feel dislocated and depressed who need very little encouragement before they embark down the path of drugs – if their favourite artist says it is a good way to love; why would they not follow the same assumption?! It is all well and good judging someone like Lil Pump Lil Peep but they are both very young – Lil Pump is seventeen. Those charged with looking after the artists – the record labels and studio heads – appear more like pimps than priests. They are more concerned, when idiotic tweets come out, whether their star has enough medication and supply to get them by – or get them high. Is there any part of the marketing strategy that places concern on the artist themselves?! Do these men call someone like Lil Pump and ask after their health? It seems like there is little positive enforcement from those around some of the upcoming rappers. Maybe the older kings have avoided the worst effects of drugs and managed to maintain a career in spite of its effects. Artists like Snoop Dog have been boasting about weed-smoking and drug-taking for years. He is not the only one responsible: there is such a casual approach to drugs it seems like it is part of the fabric.

A lot of Rap/Hip-Hop artists live a pure and clean life – not wanting to associate with the worst elements of the genre – but there are too many prominent stars that are projecting a vile culture that needs to be stamped out. There have been other deaths in music related to drugs but, this year, the demise of Lil Peep has been the starkest warning. This sense of belonging and fashion; almost school-like where people are trying to fit into cliques – it is leading astray vulnerable people who need guidance and care rather than drugs and destruction. I realise other genres and artists are caught up with drugs but there is nothing as rampant and visible as the drug culture in Rap. This extend to Hip-Hop and is largely a male-perpetrated ill – few women are seen in the music news after overdosing. That is not a surprise as, along with the glamorisation of drugs, there is that never-ending sexism, materialism and violence. These sides have never gone away and, in many ways, drugs are all part of that persona. To many people; the death of a young rapper is not a big deal but it is worrying to see such a nonchalant attitude come out. How many other deaths will it take before there is greater strictness concerning drugs? We cannot regulate social media every hour of the day but tweets that promote drug-taking should be met with swifter force and punishment.

The year has seen suicides of artists such as Chester Bennington and Chris Cornell: there is so much depression and anxiety in the music industry - that is only being realised when we hear about the deaths – and self-harm – of some big names. Whilst I admit a lot of the drug-taking we see in Hip-Hop/Rap is an attempt to ‘fit in’ and ‘belong’: can we say deaths of artists like Lil Peep were because of that? His overdose followed a rather worrying that, for the final time, brings me back to that Guardian article:

“But perhaps these rappers’ ennui goes wider than mere Xanax, and into a numbing effect of our wider culture. One of the most chilling aspects to Lil Peep’s death is that his cries for help were so public, and yet went so unanswered – perhaps as a result of the paradoxically distancing effect of social media. He wrote on Instagram hours before he died: “I need help but not when I have my pills but that’s temporary one day maybe I won’t die young and I’ll be happy?” But we’re inured to see Instagram as performative, not real, and its inherently aspirational vibe along with the sheer visual noise of its scrolling feed drowns out individual torment. That Spotify named its playlist Tear Drop, selling back these artists’ real pain, doesn’t help”.

IN THIS PHOTO: Lil Pump/PHOTO CREDIT: Instagram

There are other factors to consider when looking at drug deaths – whether social media is creating greater distance and less empathy – and if artists like Lil Pump need to take greater responsibility and show better judgement when taking to social media. The death of Lil Peep is something that should not only shock the worlds of Hip-Hop and Rap but create a ripple through every genre of music. Those who digest the daily confessions and happenings of stars like Lil Peep probably did see his death coming but the fact he felt medication and drugs were the only options – a lack of societal support and humanity from those around him – exposed a putrid wound that needs cleansing and bandaging. It is clear there needs to be change and a more human, consistent contact between labels and their artists. Dispense with the drugs-are-cool assumption and start treating artists like human beings.

Maybe – because the issue of drugs and fashionability – have been present for decades; it is impossible to make too much headway and effect any real change. The worry is the problem will continue and it does not matter is there are a few deaths every year – so long as artists have a ready supply to get high (or low, as it appears) on. The New Year should see music write a list of resolutions: among them should be greater awareness of drugs in music – not just Rap – and what a toll it is having. It extends to social media and the way it is used; how artists feel they can open up without getting any help…it is troubling to see. I hope something good comes out of the deaths of musicians like Lil Peep and Chris Cornell (although the circumstances of his death are slightly deferent) raises questions and helps lessen a problem that is causing…

A toxic and disturbing stink.

FEATURE: Risk Strategy: Is Modern Music Lacking Gamble and Evolution?

FEATURE:

 

Risk Strategy:

PHOTOS (unless stated otherwise): Unsplash

Is Modern Music Lacking Gamble and Evolution?

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I might squeeze another article out before the day is done…

PHOTO CREDIT: Getty Images

but that phrase – with the last three words – makes me think of an artist who, in a fairly simple manner, took big strides and risks with his music (Day Is Done is from Nick Drake's album, Five Leaves Left). I have put quite a shift in this year - but I am not willing to put the laptop to bed and end things here! Maybe my productivity signals a lack of social and sexual options but it is actually a matter of curiosity and intrigue. I am always looking to examine crannies and avenues of music few others explore. The album above, from Captain Beefheart, is hardly a record you can accuse of being predictable, formulaic and average. It is a rather pioneering, exciting and unusual album that, even by his standards, explores new ground. I have been looking at the records critics deem the very finest of 2017. Aside from masterworks by Thundercat (Drunk) and Kamasi Washington (Harmony of Difference) – the best of the rest are exceptional but albums you could probably expect in any other year. I am casting my mind back to a time when a record arrived that really changed the world. It may be a lot to ask of any artist – making something that differs from anything around – but I feel the times are changing. The political situation, here and around the world, is tense and there are more changes and shifts than we have seen in a long time.

My favourite albums of the year have been defined by their solidity and consistent – rather than any true originality and evolution. The music, in all cases, is incredible but I could not put my hand on heart and say these are any better/different to previous years. Modern music is fantastic and always inspiring but I wonder whether we need a boost or injection that compels other artists to follow suit. I listen to an album like Harmony of Difference and love the way it changes perceptions of Jazz and brings other genres into the mix. It is an expansive and experimental album that engages the senses and activates every part of the self. The same can be said of other L.P.s but this year has not seen too many breakaway recordings. Maybe that is fine, I guess – if there is a batch of world-class albums that what does it matter if they are not especially mind-blowing?! I feel the issue still lies with the mainstream and how labels/radio stations want their music. The finest stations out there prefer a sea with different-coloured fish and interesting coral: the most-popular options, mind, prefer their fish limpid, grey and easy to catch. I have been looking back at my vinyl collection and what constitutes a genuinely pioneering record. The albums I clasped for were Paul’s Boutique (Beastie Boys), Revolver (The Beatles) and Blue (Joni Mitchell).

IN THIS PHOTO: The cover to Beastie Boys' Paul's Boutique/PHOTO CREDIT: Getty Images

The latter is renowned for its exceptional songwriting and incredible vocals. It is a personal and immersive collection of songs that gets into the mind and remains with you. Perhaps it is the Beastie Boys’ landmark record that stands out. Perhaps it is harder to replicate the sample-heavy album in today’s climate. Back then (in the mid-1980s), few artists were trying anything as daring and challenging as that. Hip-Hop contemporaries like De La Soul and Public Enemy were equally ambitions when it came to samples and the way they delivered their messages. Despite the fact every act was trying to convey something that balanced original and commercial; they brought in a range of sounds and shook up the music scene. Say what you want about the 1980s but artists from that time – the best of them, anyway – pushed the envelope and did not follow arbitrary rules. The sounds that came out of the time are responsible for what we hear now. The same can be said of the 1990s. Then, in that wonderful decade; we witnessed incredible revelations and music-changing albums. I feel the issue around royalties and expense are putting artists off chasing borrowed sounds – there have been artists that have taken the chance and gone for it. I wonder, then, if limitations and rigid statuses are putting off musicians from going after samples?!

That is not the only way musicians can genuinely shock the music world. The finest albums of 2017 have seen expectations subverted and genres spliced; so many unexpected moments burst from the speakers. I loved the latest releases from Lorde, Thundercat and Laura Marling. I listen to the albums that released and never feel like I’ll play them decades from now. I guess time is the only way I can be sure but there is something about classic albums that hits you upon the first listen. Aside from the Jazz endeavours of Washington and some incredible Hip-Hop records this year – I have not been moved or had my thoughts altered in any way. In order to subvert expectation and remain in the mindset decades down the line, I feel something monumental needs to happen. That would involve risks and, if you have an established career; is that a chance too big to take?! Modern music is a busy and bustling environment so it is hard for artists to really make a statement and alter the senses. Back in the 1980s, when albums like Paul’s Boutique came out; critics were not expecting anything quite like that – it struggled to gain positive reviews and only got recognised as a work of genius years down the line. Can any modern artist afford to take a leap like that and risk losing critical appeal? That would be a huge blow to the career and could ostracise them from their fans.  

I am not suggesting anything as paradigm shifting as a sample-fused exploration that ranks among the greatest albums of all time. The truth is that, when you look at the list of best albums ever – as deemed by a critical wisdom of crowds – and the most-recent entry might be in the early-2000s. There are few albums (on the list) that come after the end of the 1990s. One cannot say it is a matter of tastes changing and the industry expecting certain sounds from artists. There is that issue of rebelling against expectations and doing something nobody else is. Is it easy, when we have covered so much musical ground, to craft an album that does not sound like something else?! Perhaps we have come too far and created too much music; there are so many new artists it can be difficult distinguishing the promising from the plain. I am seeing sparks and potential in every genre and it might be easy for me to sit here and judge others – without contributing anything to recorded music myself! I feel there are musicians that produce engrossing, year-defining music but there are few following suit. The biggest takeaway from each year is a sense of hit-and-miss. It has been a good decade or so since a record has come along and really blown the socks off.

In a couple of days; I will write a piece that pitches a yet-to-be-recorded record – a sort of fantasy line-up in terms of sounds and songs. There is a collective yearning for something out-of-the-blue and mesmeric to shake things up. I cannot quibble with the quality and variation in music – especially when it comes to new artists – but there are few pioneers that are changing the structure of music and making bids for the history books. The most impressive band I have heard in recent years is Melbourne’s King Gizzard & The Wizard Lizard. I have mentioned the guys a lot this year and featured them in various articles. A new song, The Last Oasis, has just been released and it follows hotly from a couple of other new songs. The band is promising a new album before the end of the year – having released four others so far in 2017! I do not know what form the album will take but the fact they are so prolific is a fountain of refresh in an industry where it can take artists years between releases. That is not to say the Australian band lack focus and quality. They have full control over the substance and consistency. From an infinite loop of a record to one with four songs of equal length; experimenting with micro-tunings and created new Progressive-Rock genius – each record sees the guys change and do something completely different.

IN THIS PHOTO: The cover to King Gizzard & The Lizard Wizard's album, Polygondwanaland/PHOTO CREDIT: Getty Images

Polygondwanaland, the band’s current album (and fourth of the year), was released free-of-charge. The band said fans can sell the record and bootleg it – they even made the master-tapes available to the public. Not only are King Gizzard & The Wizard Lizard switching genres and styles: they are reinventing marketing, release and promotion. This is the kind of risk and reaction I am looking for! There are few other artists doing things like them so I hope, next year, more artists will look at the way they record and release music. It is not gimmicky or novel: bands who challenge the way we perceive and share music should be applauded. Maybe it is an end-of-year fatigue but I have that desire for explosion and glory. There are artists out there who are capable of creating decade-defining albums but I wonder whether commercial pressure and fear of isolation are limiting their horizons. Maybe it is cost and logistics holding back some of their ambition and vision. Whatever it is; there are a lot of people yearning for a change. Maybe something monumental will not arrive in 2018 but there is nothing to suggest a once-in-a-lifetime album could not come our way. I have faith there is potential out there but it is the case those artists (who can unleash something majestic) need to…

TAKE that leap forward.

FEATURE: My Britain: The Fume of Sighs: An Alternative (Musical) Christmas Message

FEATURE:

 

My Britain:

ALL PHOTOS: Unsplash

The Fume of Sighs: An Alternative (Musical) Christmas Message

________

THE last couple of pieces today…

will look at some things that have been on my mind for a while now. Riding high into the spotlight is the way the country has been divided this year. This is the equivalent of my (Alternative) Christmas Message – with a musical flavour and component. The pieces I will write before the end of this year will round up the best of the year; the videos and new albums; maybe a piece about the most disappointing records – a few other things sprinkled in. I have been looking back at the year and noting the splits and cracks that are running through the spine of the land. I think music has made an impact and helped change things but, even here, there are separations and gulfs that need to be counteracted and addressed in 2018. If one looks at the political fabric of the U.K., we can see so much disagreement and argument. People cannot get on the same side and the General Election result has shown has divided we are as people. I feel slightly aggrieved as I voted for Labour and wanted us to remain in the E.U. That combination of votes is common in people my age and situation – the younger working-class- and we have had to rally against the Tory-voting public who voted Leave. The ‘majority’ meant Labour were in with a shout of gaining power but, rather than that sensible option materialising; we have seen the Conservatives on shaky ground; the P.M. has lost confidence and her cabinet have gone through changes and shifts – including unceremonious and embarrassing exits.

The elected elite who have been charged with running the country have made questionable decisions and shown they have little idea of what the people want and how to keep Britain dignified and progressive. The smoke is clearing and, whatever arguments are levied, you cannot help notice the people of this country do not want to be part of the world. Call it ‘xenophobia’, ‘racism’ or ‘stubbornness’ – it shows we are not as evolved and loving as we make out. It is a sticky political situation – so I shall not wade into the swamp wearing good trainers – but I feel we have made a real mess of things. I am not saying a clear Labour win would radically solve the issues we have with the NHS, Europe and the U.S. The Americans have hardly had a smooth year so it seems two of the most powerful and influential nations on the planet have set a hugely terrible example. My wish for 2018 is that the musical landscape does not follow the same one as the political. One of my biggest concerns is how centralised and nationalised music is becoming. The divisionism we are seeing between the public and areas of the nation is starting to seep into music. The more influence streaming services exult; the more, I feel, music is losing its tangential qualities.

Music is at its best and most inclusive when sentient and broad-minded. I think too much of our music revolves around London: everything gravitates towards the capital and artists elsewhere tend to get a minor acclaim. I am writing a piece tomorrow that looks at Manchester and how the city, next year, will gain more ground and respect (that is my hope). My dream is we adopt a more structured and disciplined musical cabinet that employs those who put parity and quality above all else. Although we do not have a bespoke musical government; one gets the impression that would be a good way of solving so many issues. One could have someone (a minister) designated to look after venues and their health; others who involve international music and make it easy for artists overseas to play in Britain; others who preserve older music and bring it to new generations – someone who looks at sexism and racism in the industry; is charged with strictly regulating the industry and it operates. If our own government is making a hash of things – who thought privately-educated toffs would be disconnected from the voice of the masses?! – it seems music has a big role to play as we head into 2018. The year needs to start better than this one ended. We have seen the Grenfell tragedy and the immense loss of life; how it could have been prevented and the ineffectual reaction by our government.

There has been terrorism and domestic issues; weakening foreign ties and a creaky, ill-advised move away from Europe – if we ever get around to leaving the European Union. Music has not been exculpated from problems and responsibility. We have seen more and more accusations feed into the entertainment industry: who knows how many musical figures will be accused and named next year? Another problem I have seen is how few national and international artists have been brought into a rather London-centric scene. I know I am guilty of promulgating London artists but they are the majority – those we have pushed into the forefront and want exposure. There is that assumption people will not take you seriously if you are from outside London. I am worried artists are having to fight hard to get recognition and being overlooked. We need to start broadening the scope and looking at the extent of great music in the U.K. Naturally, for a nation that seems intent on isolating itself (always good for an island!); should our music industry incubate and exclude those on the outside? I know we have foreign artists play here but I have been looking at the mainstream media and seeing more and more British artists proffered. It is always good promoting the home-grown but that should not come at the expense of international musicians.

There are great artists in the U.S. and Canada; Australia is always fertile whilst lesser-known countries for music – Sweden, Germany and France among them – do not get a sniff. I have mooted the idea of a musical government – should this extend to foreign sounds? The same way we have various departments looking after domestic and international quarters; should we have a mirrored musical cabinet that has an assigned Foreign Minister? I feel our media needs to be more conscious of the great worldwide scene and assimilate that into the British saucepan. The only way our own music industry is going to grow, inspire and compel on the international stage is if we welcome those in from other countries. Venues and fans, of course, have a welcoming bosom but the media is more reluctant when it comes to foreign musicians. The reason my five-part series of acts to watch in 2018 was British-heavy was the fact the national media have taken a similar approach – their rundown of artists to look out for has fewer international names than you’d hope. If P.M. Theresa May has been banging on about bringing back our blue passports and promoting the ‘Christian’ ethic of the nation – laughable and slightly ironic considering how keen we are to push others away – music could instil Buddhist/Christian tendencies to its practice. I feel the industry is getting too closed-off and concentrated on London. If the rest of the U.K. and world has to shout louder to get some seating-space; should that be something we need to tackle next year?

I feel there are key topics that need expunging next year. There is rife sexism and racism; there is the North-South divide (combine with the U.K.-world split); venues are suffering and there are too many key areas seeing deprivation and financial stress; the mainstream charts need restructuring and organising – so that certain genres are giving exposure; less reliance on Pop acts and the same sound we are all growing bored of. It is not going to happen overnight – or in a year – but it is clear there needs to be a proactive and together approach to the problems in music. This piece is not designed to sermonise and accuse: I wanted to show how much love and support there is in music. Although, creatively, there are fewer risks being taken than I would like – more on that later today – there is a definite community that embraces one another and shows compassion. I have seen so many musicians share the work of others; venues go out their way to support the best local acts; a host of blogs and writers sharing music and supporting upcoming acts. This Britain of ours is a kind-hearted country that has lost its way a bit. Maybe that has always been the way but, against political distress and balkanisation; the music industry needs to counteract that odious smoke and show greater resolve.

If we can get rid of the problems and imbalance in the industry; promote that warmth and sense of unification I know there is. Music is a huge and broad industry that is hard to properly police and regulate. Although problems and drawbacks are present; the combative wave of affection and love is a good way of remedying. I know many will want a happier and more settled year to the one we are saying goodbye to. We have lost some great musicians – including Tom Petty and Chris Cornell – and there have been problems, for sure. This Christmas; we will see the survivors of Grenfell provide a message to the people. It is this year’s Alternative Christmas Message and is an apt and timely one. The fire might have dampened by the smoke still lingers in the air – a fetid and carcinogenic smog that has blighted the country. The music industry has not faced anything as challenging and monumental as this but there is a collation of smaller conflagrations that, together, make me a little worried. All the good that has come from this in music has provided heart and encouragement. The artists and writers; the D.J.s and producers (and other creatives) who have helped provide a wonderful 2017 of music should be congratulated. I know the music world will continue to grow, evolve and strengthen. There are so many great artists coming through and predicted albums that will certainly get people excited. Despite some of the problems and division we have seen – in music and the country as a whole – we should be proud of producing a year that has seen…

MORE good than bad.  

INTERVIEW: Hamish Anderson

INTERVIEW:

 Hamish Anderson

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THE video for U has been around for a couple…

of months now  - but it is a great time to speak with Hamish Anderson! The Melbourne-based artist has created a fantastic song. It is from his acclaimed album, Trouble (2016) - a record that has been getting into the ears and hearts of critics and fans. I ask Anderson about the song and the people he worked with on it; whether there is going to be any more material next year; what his gig schedule is looking like – and whether there are any albums that have made a big impression.

I ask whether Anderson grew up in a musical household; the differences between Melbourne and the U.S. (where he divides his time); what he has planned for next year; some new artists to watch out for; whether we will see him in the U.K. – how he got into music in the first place.

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

Hi! It’s been good so far, thank you. I’m currently at home in Melbourne Australia for the holiday-season.

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

My name is Hamish Anderson. I’m a twenty-six-year-old singer/songwriter and guitarist from Melbourne, Australia.

U is your new single. What is the tale behind the song?

I wrote U whilst on tour in the U.S. in 2015.

The song was written very quickly, pretty much all at once - and I knew I wanted it to have a dreamy-Soul feel to it. I wanted to put two songs together with the B-section of the song - and having a different groove and feel to the first half of the song (I was definitely influenced by a lot of Paul McCartney’s songs with Wings (from the 1970s) when I did that).

The video looks kind of dreamy and interesting! Did you enjoy the shoot?

I had a great time making the video.

The video was directed by Nicolas Wendl and produced by my team at Juel Concepts. We’d worked with Nic before on the music video for my single, Little Lies. I knew I wanted the video to have a Laurel Canyon, 1970s-type of feel and for it to be a simple concept. The typewriter in it is mine and it’s really how I write music when I am not in transit. I basically (just) wrote out a bunch of keywords that I wanted to pull from for look, feel and tone - and then gave it to my manager and her team and they ran with it.

The song features Chris Bruce (Doyle Bramhall II) on bass, Aaron Sterling (John Mayer) on drums and Jerry Borge (Jonathan Wilson) on keys. How did you come to work with the guys? Was the song recorded, essentially, as a live recording?

I got very lucky to work with some really amazing musicians on my album. The producer, Jim Scott, brought in Chris Bruce - who I was a fan of as a bass player and guitarist. Jerry and I had been playing live together for a while; so, I knew I wanted him on the album. I was a fan of Aaron’s and was introduced to him through a mutual friend. 

We recorded the song and (pretty much) the whole album live with everyone in the same room playing together - and then would do a few overdubs after; depending on if and what the song needed.

U is the current release from your debut album. What are the themes and subjects that go into the record, would you say?

The album is, basically, a snapshot of what’s been happening in my life over the past three years: relationships, friendships; being away from home and starting again; relocating to a new country.

Do you have a favourite song from the album? Is there a cut that stands aside from the rest?

It’s always hard to pick but, at the moment, it’s definitely U. I’m really proud of how it turned out and I don’t get tired of listening to it (which is rare).

Can you tell me how you got into music? Was there a particular artist or album that sparked that passion?

The album that made me want to play the guitar, and be a musician, was ‘The White Album’ (The Beatles) by The Beatles. I remember hearing the song Back in the U.S.S.R. I’d never thought about guitars or music before that - but I’ve thought about them every single day since hearing that song.

‘The White Album’ is still one of my favourite albums of all time.

Were you raised in a musical household? What sort of music did you grow up listening to?

My dad and mum were always playing music around the house when me and my sister were growing up - and my dad’s vinyl collection was particularly inspiring to me. He introduced me to The Beatles, The Rolling Stones; Led Zeppelin, Eric Clapton; John Lee Hooker, Bob Dylan etc. - all my favourite artists still to this day.

Melbourne is your hometown. What is the music scene like there? Are nations like the U.S. tempting in regards opportunities – or do you prefer the vibe in Australia?

Melbourne has a great music scene but I’ve just found more success and a place to fit in in the U.S.

I’ll always love Melbourne and Australia but, at the moment, the U.S. has been a really great place to be, musically. I love being in L.A.; being surrounded by so much creativity - and to be able to go out even on a Monday night and see great bands playing Rock and Roll.  

IN THIS PHOTO: The Record Company

Who are the new artists you recommend we check out?

The Record Company, The Teskey Brothers and Ruby Velle & The Soulphonics.

IN THIS PHOTO: The Teskey Brothers/PHOTO CREDIT: Nick Mckk

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

I would say, don’t follow trends...

I think, because we live in the age of social media, it can be really tempting for certain musicians to change their music and style to fit in with what is going on and what’s popular. I think it's always better to make the music that you love and that is true to you - and just be who you are.

What tour dates do you have approaching? Where can we see you play? Will you be playing in the U.K.?  

The first half of the year, I’ll be playing shows in the U.S. and then, in May, I’ll be heading across to Europe to play for the first time. No shows currently booked for the U.K. but, once it gets closer to the European dates; I hope to try and work out some U.K. shows.

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

Over Christmas; I’ll be back home in Australia - so I’m looking forward to having a little break before getting back to work early in 2018.

What ambitions and aims do you have for 2018?

More gigs, more festivals; more recording and releasing new music!

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).

Here Comes My Girl by Tom Petty and The Heartbreakers (what a chorus!)

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 Follow Hamish Anderson

Official:

http://www.hamishandersonmusic.com/

Facebook:

https://www.facebook.com/hamishandersonmusic

Twitter:

https://twitter.com/hamishkanderson

Instagram:

https://www.instagram.com/hamishanderson1/

SoundCloud:

https://soundcloud.com/hamishandersonmusic

YouTube:

https://www.youtube.com/channel/UCP4rzgLbtOB4wYBAiCqhcGQ

Spotify:

https://open.spotify.com/artist/3POH5YUeAlpiT9URlf9g0P

TRACK REVIEW: Little Sparrow (ft. Robin Dewhurst) - Tender

TRACK REVIEW:

 

Little Sparrow (ft. Robin Dewhurst)

Tender

 

9.6/10

Tender is available via:

https://www.youtube.com/watch?v=W21bt7TJDWE

GENRES:

Folk; Singer-Songwriter

ORIGIN:

Manchester, U.K.

RELEASE DATE:

7th December, 2017

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THERE is something appropriate about…

reviewing Little Sparrow’s latest track on Christmas Eve. Featuring Robin Dewhurst; it is a song that talks about familial importance and putting things into perspective – it is almost like I know what I am doing! I will mention the song’s origin in a minute but, before then; a look at a few different subjects. I want to look at the collaborations one finds and the perfect blend; the support of radio stations and getting important bodies behind your work; I’ll talk about inspiration and how real-life is still the best source of inspiration; Manchester and how it is an area I am more and more excited about; Folk songwriting and how the voice is an asset that cannot be overlooked; music in 2018 and launching a fresh assault; how the best artists always develop and overcome anything that comes their way. I am tired of scrolling through Spotify of a Friday – when I am collating the songs together for my weekly Playlist – and seeing all the songs that cram as many bodies into the pack as possible! There is such a nauseating, commercial aspect to songs that bring artists together. Gone are the days of Kiki Dee and Elton John; Kirsty MacColl bringing something magical to Fairytale of New York: some classic duets that have lasted through the years. Even if it is an instrumental incorporation; I feel too many artists, these days, are joining forces so they can get a credit on a song – and, therefore, get some heat on streaming services and a bit more recognition. The best collaborations, whether vocal or instrumental, is when there is a great story behind it – or when the artists bring something unique into the song. I am not sure how Sir Elton John and Kiki Dee found one another; whether Kirsty MacColl knew The Pogues before stepping into the studio – the way the voices connect and blend is sublime. We do not really get a lot of collaborations now that are essential and seem perfectly-suited. Some are quite well-judged but too many suffer. It is odd we have not seen a modern-day classic, in that sense.

I am seeing new music fare much better in this respect. Little Sparrow (Katie Ware) is synonymous with her voice and the way she can own a song. Bringing someone into her magical and heady world might seem like a problematic transition and modification. Could anyone, regardless of their bond with Little Sparrow, adapt and assimilate their talents into the fold?! That is something that has been answered by Robin Dewhurst. He is a pianist and composer and, as I shall talk about, met Ware in a very special situation. Although the predominant element of Tender is Little Sparrow: one gets something different and unexpected coming out in the song. Those used to Little Sparrow and her Folk-cum-Singer-Songwriter machinations might take a little while to absorb something I have not heard from the young talent. It is not a huge departure but one can hear new angles and inspiration coming into her music. With more material promised for next year – more on that in the conclusion – I wonder whether the Little Sparrow/Dewhurst unity will provide further progeny?! That would be exciting to see, for sure! Their meeting is a rather special and unusual one; they work together really well and they seem natural and comfortable together in a musical setting. It is wonderful seeing them collaborate and produce a song that has a very personal message – one that can be understood and appreciated by everyone out there. If you hear two artists come together (or more) that sound completely in-tune and brilliant; that can lead to something remarkable. Against the proliferation of aimless hook-ups and jam-packed songs: finding something pure and perfect like this – with Little Sparrow and Robin Dewhurst – is a breath of fresh air. Not only, in Tender, do we get two musical talents fuse their voices (literal and musical) into a great song; there is something ultra-Christmas and wintery about their names alone (we have a Little ‘Sparrow’ and a ‘Robin’ flying together!).

I am a huge fan of BBC Radio 6 Music and one can only imagine Little Sparrow is, too! She has been backed by the station and I have heard her current single played by them. One of the biggest names who has thrown his weight behind the Manchester artist is Chris Hawkins. I know we have bird-overload here (Hawkins is referred to as ‘The Hawk’ – seeing these three birds fly together is an odd sight!) but it is great something like Hawkins invested in your work is no small honour. I have heard him talk about Katie Ware and pay tribute to a remarkable artist with a voice like no other. I know, as more material comes from Little Sparrow, we will see the station get behind her and more of their D.J.s add their praise. Hawkins is someone I have a lot of time and respect for – the fact he is so excited about Little Sparrow should give her camp a lot of pride. The station is one of the most influential in the country and I think, once you get kudos from BBC Radio 6 Music, you can pretty much sit back. Not to say Little Sparrow will but I know 2018 will see her music taken to heart by them and spend a lot of time on the station. Hawkins and Radcliffe are two D.J.s who have realised the majesty of Little Sparrow but, knowing the kind of music played on the station, other D.J.s will play her music very soon. Maybe we overlook radio and see it as a thing of the past – given the power and dominance of streaming services – but it is still the most important way of getting your music to the masses. Many overlook it or pay comparatively little focus to the medium. It is all about streaming figures and getting (a song’s) figures wracked right up. Something as simple as contacting a radio station or making it more visible to them is a lot more important, in my opinion.

The radio is where most of us discover music – or have done, at least – and its appeal and lure will never go away. More and more of us are tuning in so, if you get your music noted by a big broadcaster, that is something you can be very proud of. Naturally; Little Sparrow will look at the streaming sites and get her music out there but the fact she has some big names invested in her music shows she realises how important radio airplay is. I know this will continue into the New Year and we will hear a lot more of her music in our ears. All of this celebration and BBC Radio 6 Music-backed applause is not as a result of one song or chance: Katie Ware has been crafting her music for years and has built up a solid reputation. One can chart her trajectory and realise she has put her heart and soul into everything released. Since Wishing Tree (the album released in 2014), I have been following the progress or a fantastic songwriter. It is no wonder she is getting into some prominent ears and has gained that appreciation. As I look into 2018; I know Little Sparrow and Shay Rowan (who works with her) will look at stations like BBC Radio 6 Music and BBC Radio 2 and see how her music is received. Hawkins has thrown his weight behind her work and I know he will continue to back her into the coming year. I know local radio – through Manchester and down in London – will turn onto her songs as will some of the big national brands. I will end this review by looking at international possibilities: the overseas market is somewhere I would expect Little Sparrow to explore very soon. Radio, for all its accusations of being a relic of past days, is as relevant and popular as any time in recent memory. With digital options like BBC Radio 6 Music bringing people in; artists need to understand that it is the most important platform in terms of promotion and exposure – Little Sparrow fully understand this.

I said I’d mention how Robin Dewhurst and Katie Ware came together – how Tender came to be, as it were. Last year, she (Little Sparrow) was given a late offer of the chance to play at Kendal Calling festival in the area known as Tim Peaks Diner. Tim Peaks is the brainchild of Charlatans frontman Tim Burgess and is, in their own words: "...is somewhere where - in addition to the scheduled list of quality live artists, D.J.s; book readings, food and coffee - those in attendance can expect the unexpected with surprise treats and secret performances". Hosting the day was BBC Radio 6 Music and BBC Radio 2 presenter Chris Hawkins. Pianist and composer Robin Dewhurst had also been invited to play there. (Robin is the father of Blossoms guitarist Josh Dewhurst). Both Little Sparrow and Dewhurst were then approached by the Tim Peaks F.M. team with the idea of working together to cover a classic Pop song in a totally original style - and then make a recording of it which would be made available as a limited period download from Kendal Calling. The track they were given was Baggy Trousers by Madness! It is a big challenge by anyone's standards but Ware and Dewhurst (assisted by Ware’s cello player, Sarah Dale) produced a wonderfully original reworking of it. They were then asked to perform it together live at Tim Peaks Diner - which they did to great response. They really enjoyed working together and said how it would be nice to do something more - but timing wasn't on their side at that point as the arrival of Katie's baby boy was imminent. They picked up on it again this year, however, and Tender (her own composition) was born. One can see the scenes and imagine that first meeting between Ware and Dewhurst. Having that wonderful setting and magical occasion; it was only natural they would make material together.

The song itself is about the importance of family and the memories they provoke. Ware asked her family and friends for their memories; to provide photos and snaps that they felt were special. Ware compiled them and, with her own family in mind, produced a song – alongside Robin Dewhurst – that summoned up the role of family. It is quite appropriate, at this time of year, the song should come to light. It is a time when people are congregating and we are thinking more about our homes and hearths. In a wider sense; Tender provides perspective and realisation; it is a moment that makes you reflect and look at your own life. Too many songs deal with love and personal concerns: this is a much more open and involving track that brings the listener in and makes them consider life, family and their role. That unique and exciting coming-together of Dewhurst and Ware is something that, I hope, will see fruit blossom in 2018. I know there is an E.P. coming but let’s hope they continue to conspire past that release! We often see bands and songs formulate but never really ask about the formation and inspiration at all. I am interested in how music is written and why artists pen what they do. If a solo artist brings someone else into the fold then it is always good knowing how that happened and where it will lead. So many artists neglect that and do not tell the listener anything – they are supposed to piece it together and discover it for themselves. That is not the case with Little Sparrow and Tender. Real-life inspiration is, to me, the most effective source. From the classic bands of the 1960s through to the present-day acts; those songs that lodge in the heart come from personal backgrounds – it makes a big difference and means you are much more likely to return to that song.

I have spent a lot of 2017 involved with London and the music coming from there. We often forget there are other areas of the country and why it is important looking at other parts. Manchester, as I will write about tomorrow, is becoming more and more popular. The city has always produced world-class music – from The Stone Roses to Oasis – but, in modern times, the focus has been put elsewhere. New acts like PINS and False Advertising are offering female-led Rock/Alternative sounds and could really shake-up 2018. There are some great Pop artists coming from Manchester and brilliant Folk sounds – as typified by Little Sparrow. It is the variation and quality that really amazes me. Consider Katie Ware and the sort of sounds she combines. It is a fulsome and colourful experience that has a trembling heart and swooning high – it takes the mind and body somewhere special. Listen to the likes of False Advertising and you get something more instant and physical. It is a city that always provides the goods and has that astonishing legacy behind them. I love the classic acts of the 1990s and how they changed music - but I realise those days are long gone. The attention is shifted to London and you know Manchester has less of an impact/role than past days. That is no fault of the artists but the way the media is addressing music. The city’s people are different to London and you get something different with Manchester. I know all the biggest labels and radio stations are in London but we overlook the North and how crucial it is. I will expand more on the subject tomorrow but hope more eyes cast the way of Manchester (and Northern cities) later in the year. Little Sparrow shows the quality and variety that is coming from the city; why we should be excited and keen to focus on this part of the U.K.

Before I look at the latest track from Little Sparrow; I will look at Folk and how the voice can get into the head. Katie Ware is a singer you listen to and do not forget! She has that immediate effect and, when you hear one of her songs unfurl, it is only a matter of time before it resounds in the heart and stalks the memory. I am not sure whether she had any formal training but there is so much natural intuition and passion in the tones. I am obsessed with the voice as, I feel, it is the most important element in any song. It is the instrument we ignore and, I wonder…are there any modern-day voices that can rival the legends? There are some modern stars noted because of their vocal prowess but there are far fewer than the past. Maybe it is more difficult standing out from the crowd and adding anything new to music. That said, with artists like Little Sparrow around, there are some that have immense grace and potential. I am loathed to compare her to anyone else because there is the distinct and unique air to her presentation. (Maybe Eva Cassidy or bits of Stevie Nicks?!). It is a blend that, as said, gets into the heart and makes your mind wander and float. Little Sparrow’s music can be considered Folk-based or Alternative. She has strands of classic Folk artists like Joni Mitchell but has a very modern aesthetic. There are acoustic strings in the mix but Little Sparrow employs piano, strings and, as we can see with her latest work; she has joined forces with a fantastic composer/pianist. The song itself follows on from her previous work but there are new elements in terms of lyrics and music. Tender is one of the most personal songs from Little Sparrow – past songs have looked at fantasy and dream-like situations – and I wonder whether a future E.P. will go down the same lines. Katie Ware is someone who can take any song and really make it shine. The way she approaches music and her performance talents are far superior to most artists out there. She takes the basis of Folk and adds aspects of Classical, Soul and Singer-Songwriter to the remarkable blend.

Aching cello and far-off, haunting vocals open the track. One hears Ware wordlessly eliciting and stunning from the shadows. Her voice floats and glides; it gets under the skin and amazes with its beauty. The cello adds something striking and stern. It is a great contrast that means, rather than creating split in the early stages, provides a complete whole and sense of unification. One gets a real emotional hit before any lyrics have been sung.  It is no surprise the recording of this song inspire more material – you can hear how involved and committed Little Sparrow is. Alongside cello work by Sarah Dale; Robin Dewhurst comes in on the piano and provides something balletic, romantic and touching. His performance is as beautiful as Little Sparrow’s voice and gives the song impossible tenderness and grace. It is a shivering and tremulous coda that makes the listener reflect, react and buckle. The heroine comes to the microphone and is in a patient mood: “I sit and wait for you to take your time” is a wonderful line that has a contradiction and clever wordplay. It is oblique and intriguing; the heroine does not mind waiting because of the subject. Maybe it is a family member or someone who is struggling. From the bird-like, angelic sounds of before; Ware’s voice is more concentrated and deeper. It has a conversational, empathetic sound but maintains its beauty and incredible spirituality. The song’s subject goes into the room (of the heroine) and sits upon her bed. They put their hands on head and you can get an impression of what is happening. Whether an older relative or parent; going into that room – I imagine a lot of white and autumnal colours; something quite English and modest – and sitting on the bed. Maybe memories flood back or it is a sense of sitting in a quiet place and absorbing everything. No words are exchanged but one gleams a lot from the movements and footsteps in Little Sparrow’s room.

Tender words cannot say “what I’m dreading to hear from you” – life is “too short for this”, it is said. The subject is too good for this, whatever that may be, and it seems the world is not ready for their sense of dignity and respect. The way Little Sparrow’s voice reaches a high reminds me of Joni Mitchell. One gets the sense of albums like Blue and For the Roses. One hears the spirit of Mitchell swim in the veins of Little Sparrow as she sends shivers up and down the spine (and places you did not know you could get shivers!). The song, as it progresses, is about loss and someone who is not long for the world. They have, perhaps, gone too soon and there is a definite sadness coming from the song. Dewhurst’s piano is respectful but adds raindrops, tears and a comforting shoulder. It is amazing hearing the textures and fabrics unveiled in the piano. So many different emotions and ideas are expressed; they fuse perfectly with Little Sparrow and the extraordinary vocals one discovers. Maybe it is an elderly relative but that bedroom scene gains more relevance – maybe the last time they will sit on that bed and be in that house. It is a raw and heartaching consideration but the song is never too full-on and exposed. If Little Sparrow exulted too many tears and pain from the voice – and from the piano – then that would make the song too forceful and intense. She balances the sorrowful with the serene. You get a nice mature that means you are sad and supportive but never feel oppressed and too depressed. Tender is a fitting title for a song that looks at realisation and age. Little Sparrow is young so was not expecting something so harsh and unexpected to come her way – one learns truth and lessons when they are older. Ethereal backing vocals melt with the foreground and create layers of beauty and light. It is a song that affects you upon the first listen and shows Katie Ware has lost none of her skillset, quality and songwriting ability – it might be the best song she has created! Robin Dewhurst adds his talent to the song and helps produce a song that is as rapturous and epic as it is pure and emotional. I, for one, am looking forward to more material – if it is as good as this then it will see Little Sparrow richly celebrated by the nation’s biggest radio stations.

Next year is going to be a very important one in terms of changes and consistency. I feel new genres will come to light and Pop will mature and alter. I feel Folk has a big role to play and artists that have a more contemplative and soft dynamic. Little Sparrow will release an E.P. early next year and it will be her first release since giving birth. Family commitments are important but she has had to incorporate motherhood and those duties into her regular life. Some women, who work in music, might change their course and priories when they become a mother. Maybe newfound happiness means their music features family heavily and departs from what they usually create. Although Tender has family connections and base; it is a song that includes everyone and does not depart too hugely from her past work. I guess maternal roles and the changes in life will come into the new E.P. but I know Little Sparrow is someone who will not change who she is because she is a mother. It is a nice way of asking whether the music will become too soft and child-obsessed – I know she will continue to produce material that takes the listener into her bespoke, mystical world. The year ahead provides the opportunity for fans and followers to discover new acts and get behind artists who will make a big impact. Little Sparrow has a great and growing fanbase – and fantastic support - and will see her music get out to the people. It already has the support of names like Chris Hawkins - so I expect that sense of ambition to continue. Tender brings Robin Dewhurst to the fold and he adds something very special to the song. I am excited to see where Little Sparrow flies and what she can accomplish in 2018. Here is an artist that entrances with her voice and weaves stunning, original songs that place emphasis on visions and imagination. You do not get the ordinary and run-of-the-mill with Little Sparrow!

I wonder whether international dates will be part of the plan for 2018. Obviously, with a new son; Little Sparrow cannot take the music too far for a long period. I know she will be excited to get her new music out there but how much of a radius can she impose? Will she be able to spend time abroad for any period of time? I know there are plenty of sources and venues in Manchester she can explore but more time further this way is a possibility. I feel she could play at a few London venues and areas like Brighton. There are many fans in the South that would love to see her so I wonder whether that is a possibility. The North is teeming with quality and possibility so she will put a greater emphasis there. I feel nations like the U.S. and France – seems random but they respond well to the sort of music Little Sparrow is playing – would welcome Katie Ware in and give her a home. It is always a case of timing and money when you embark on international dates but is a time where she can strike and clean up. Maybe she will wait for a while longer before going too far but the U.K. is a huge area where she can make an impact. I am pumped and ready to see Little Sparrow grow and come back from a slight break – if you can call pregnancy and giving birth a ‘break’. I shall leave it there but am very glad Tender is out and we are hearing new stuff from Little Sparrow. That meeting with Robin Dewhurst, and what he brings to the song, has provided new impetus and drive to Little Sparrow. 2018 will be another big year for her and one where she can make some serious headway. She is a hard-working and dedicated artist who puts her all into everything. Tender is a beautiful and wondrous song that means, with Robin Dewhurst, Katie Ware’s Little Sparrow…

IS truly back in business!

_______

Follow Little Sparrow

Official:

http://www.littlesparrow.org/

Facebook:

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

Twitter:

https://twitter.com/uklittlesparrow

SoundCloud:

https://soundcloud.com/uklittlesparrow

YouTube:

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

BandCamp:

https://uklittlesparrow.bandcamp.com/

Spotify:

https://open.spotify.com/artist/76pOt19sTF6vhePofq0JTa

PHOTOS (except the single cover): 

Shay Rowan

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

________

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

________

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...

________

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…

_________

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

_______

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.

_______

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

________

 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

_________

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.

_______

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?

________

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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 Follow EnaFay

 Official:

http://www.enafay.com/

Facebook:

https://www.facebook.com/enafaymusic/

Twitter:

https://twitter.com/EnaFay

SoundCloud:

https://soundcloud.com/ena-fay

Instagram:

https://www.instagram.com/enafaymusic/

Spotify:

https://open.spotify.com/artist/7mmr32mIE84ERxHU3uFsfC

YouTube:

https://www.youtube.com/channel/UCKM59Elk6fuRdSKPFYkotVQ