FEATURE: In Your Honour: The New Year's Honours Playlist

FEATURE:

 

In Your Honour

 IN THIS PHOTO: Ringo Starr (who has received a knighthood in the New Year's Honours list)/PHOTO CREDIT: Scott Gries/Invision/AP

The New Year's Honours Playlist

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IT was about time Ringo Starr was recognised…

IN THIS PHOTO: Bee Gee Barry Gibb (who also received a knighthood)/PHOTO CREDIT: Getty Images

and given a knighthood! Paul McCartney got his long time ago and I wonder, because the Queen feared he might reject such an accolade – she was reluctant including Starr in her list of honoured figures. I am delighted he has been dubbed a ‘sir’ and it recognises what an impact he has made to music. That was not the only music-related honour announced. Musicians Marc Almond and Wiley were OBE and MBE respectively. Their music, in its own way, has changed the world and it is only just they should be mentioned. I am thrilled surviving Bee Gee Barry Gibb has been awarded a knighthood – I suppose it is less an award and more of a noble rite of passage. Those most inspiring and influence deserve the sort of recognition and honour most of us envy! Gibb’s Glastonbury set saw him enthral crowds and show that he still has that magic touch – years after the Bee Gees called time. Not only that but actor-cum-musician Hugh Laurie has received a CBE. He has provided so much to the world of entertainment – his music is a part of that. I am really pleased he has received the CBE and I know it will mean a lot to him! In honour of those musical figures who will have been singled out in the New Year's Honours list; a playlist that collates their finest moments that help remind us…

 IN THIS PHOTO: Hugh Laurie (the musician and actor is awarded a CBE)/PHOTO CREDIT: Getty Images

WHY their accolades are richly deserved.

FEATURE: How to Win Fans and Influence People: 2017’s Trends and 2018’s Promise

FEATURE:

 

How to Win Fans and Influence People

 PHOTO CREDIT: Unsplash

2017’s Trends and 2018’s Promise

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I am looking forward to 2018…

PHOTO CREDIT: Unsplash

because it provides a chance to shed off the bad of this year. That sounds all-negative but there have been some bleak times in 2017. In terms of work, personal life and happiness – as I have revealed before – it has been a very challenging and forgettable one. I am not prone to the tradition of resolutions – they get broken and it seems rather meaningless if you do not enforce them every day of the year – but having resolve is a different thing. Rather than a promoted, cliché list of well-meaning, half-arsed resolutions; it is better adopting a utilitarian, sentient approach that looks at the entirety of life – rather than narrowing down to diet/love etc. It is good having aims for a fresh year: the desire to change is something few of us are compelled to do. Sticking with those aims is harder than one might think. I feel, given the Satanic-sized log of 2017; I have no choice but to take a rather drastic and severe approach to the year ahead. Few of my concerns and goals revolve around anything as poultry as dieting and exercise. Music has been the saving grace of my year and something that has brought pleasure and fulfilment. I am going to dedicate my time to journalism, of course, but take a different approach.

PHOTO CREDIT: Getty Images/Press Association

Rather than spend hours at a laptop typing pieces; the need to get out and engage with the people is paramount. Having London on my doorstep means there is an easy and convenient link to all the biggest venues and artists coming through. With drive comes ambition – I am keen to include bigger acts into my repertoire rather than fledgling acts with less of a visual eye (and music that has fewer fans and will get me less exposure). Making my site more multi-media and cross-platform is not only a good way of adding social catalyst and meaning – it means my work gets to more people and is afforded a more visual/audio angle. I love the way my site looks but I limit myself in terms of scope. I will include more videos and features; looking at classic albums and launching a new interview feature; plotting a new all-encompassing website and trying to rival the big sites in music. Personal development is on a par with personal enrichment – something that is evident in the wider music industry. Whilst it is important to aim high and be ambitious as you possibly can; looking after your health and mental well-being is equally crucial – one cannot be a sustained and energised success if the mind and body are flagging. Health and happiness are solid goals but prone to entropy and the unpredictable winds of life. One need not take big steps but making small changes here and there can make a big difference.

PHOTO CREDIT: Unsplash

One of the things, to me, that has defined 2017 is a sense of exhaustion and strain. I have heard a lot of great music but, worryingly, there have been so many social media statuses that border on suicidal. Artists are being pushed/pushing themselves to the ragged ends and that is creating scars (mental and physical) that makes me worry too much pressure is being put on the shoulders. I am determined to give myself more downtime and care less about numbers, visibility and popularity. To remain relevant, one must remain prolific and consistent: if that comes at the expense of your passion and health then that means the long-term repercussions will be telling. It is counterintuitive taking a more relaxed approach to music but, for musicians and journalists alike; quality will increase and you will be healthier and more relaxed – if it means you are not mega-massive on Spotify and on BBC Radio 1’s playlists, then so be it! Although the modern market suggests an every-hour-of-the-night-and-day mandate is the way to get big and noticed – we need to collectively counteract and highlight the effect it is having on the mind and body. I feel, creatively and intellectually, music is as hungry and curious as it will ever be. The biggest aims for 2018 should revolve around the work-life balance and ensuring there is adequate room for relaxation and recharge. I will come onto the trends (musically) of 2017 – and where next year’s music will go – but want to highlight why small, grassroots personal improvements can go a long way.

IN THIS PHOTO: Flinders Street station, Melbourne/PHOTO CREDIT: Unsplash

Among my smaller goals for next year (not resolutions; part of the overall plans) concern relocation, travel and sociability. I want to move to London or Manchester – both have their own advantages but it is a case of whichever bites first! – and see more of the world. I have not been abroad for years and, among my go-to locations, are Melbourne and L.A. Both are expensive trips but ones that, for musicians and writers, are essential. So few artists I know are holidaying and giving themselves chance to see the world and detach from the industry. Travel, as they say, broadens the mind: the creative portals are replenished and cleansed; you get chance to unwind and get a greater understanding of the world. The 2017 Brexit/General Election debacles, in part, have arisen from a lack of understanding – not realising how different people live and why the issue of immigration is not really an issue (that negatively impacts our togetherness and identity). Other plans I have (next year) revolve around personal relationships and love. I want to be in a relationship and prioritise those who have been there for me – discarding and ignoring those who offer nothing but stress, hate and annoyance. Too many artists/people are concerned with making big changes and racing too far ahead. Addressing smaller things that are impacting life negatively need to be tackled and remedied.

IN THIS PHOTO: Rews are tipped for big things in 2018/PHOTO CREDIT: Elaine Hill

This year has been a good one for music but one that has been defined by a certain rigidity. There has been, like all years, a variety of wonderful albums from all genres. What I have found is little to suggest Rock, Alternative and Indie sounds will claim any stronghold next year. The Pop scene has got a lot of press but I have found the sort of sounds coming out pretty dour and threadbare. Apart from promising artists like Lorde; there is too much infantile, commercial and cliché Pop sounds dominating the charts/radio. Hip-Hop has had an impressive year and given more weight and attention – Grammy nominations and some stunning L.P.s mean it will continue to grow and inspire next year. One of the best things I have seen come out of 2017 is the sense of variety, ambition and quality of newer artists. The mainstream has been good and produced stellar work but it is the fresh acts – getting play on the finer radio stations and making their presence known on social media – adding promise, health and vibrancy to the music scene. I am seeing more Electronic artists splicing other genres into the mix; Post-Punk/Alternative artists revert to the 1970s and 1980s – even though they have not reached the giddy heights yet – and a pleasing blend of progressiveness and heritage. Artists are not abandoning physical formats and sticking rigidly to Spotify: I have seen a lot of C.D./cassette releases and (artists) putting their music onto vinyl.

PHOTO CREDIT: Unsplash

If the dogma of the mainstream is to continue as normal; the maxim and mission statement of the underground is transverse and expansive: push boundaries and take bigger risks regarding sounds, convention and limitations. I will not get into all the trends we have seen regarding the business side of the industry – I will write a piece touching on that this weekend – but there is a definite split between the mainstream and underground; one which leads me to believe, ironically, there is going to be greater integration and balance in 2018. I have mentioned health and mental improvement: how we need to take more care and not be slaves to the digital demands and whip of music. There is no stigma attached to detaching (slightly) from music; finding the opportunity to see more of the world. There has been a lot of isolation and division in the country: creating a more inclusive and connected music world has to rank high in the collective psyche. Whilst there have been some interesting anomalies and patterns emerge from 2017: I am more interesting seeing how much will change in the coming weeks/months. There is an inherent and inescapable link between politics and society – how they have fared, changed and charted – and how musicians react. This one has seen some bad decisions and terrible decisions by those elected and nominated to rule – I feel this year’s most consistent and coherent sounds have come from those artists slightly under the radar.

I hope next year will see greater prominence given to personal development and reconnaissance of the mainstream – so there is an easier path and access for new artists to get their music heard. I feel the hegemony of Pop and commercial sounds will wane: more innovative and ubiquitous Pop artists will make a bigger dent. I have mentioned Lorde as a Pop exception rather than a rule – more like-minded artists will come through and steal some focus from the hollow and streaming-focused (more concerned with notching up numbers as opposed to creating something meaningful). Not only has the likes of BBC’s Sound of…2018 suggested Pop has overtaken Grime/Rap (when it comes to the newcomers) but those included are not your average chart-pining type that need others to write their songs and leave no memory in the mind. I am excited seeing how Pop evolves and what kind of music is coming through. Female musicians are going to have a big say in how 2018’s music mutates. Hip-Hop/Rap stars such as Cardi B, SZA and Princess Nokia have the talent to create year-defining music – it will be encouraging seeing these male-dominated genres shift (slightly, mind) in the right direction. Whereas some genres might take a bit longer to revive and strike – Rock and Alternative among them – I feel quality will be a defining trait for 2018.

IN THIS PHOTO: Tinashe/PHOTO CREDIT: Getty Images

Not only will the mainstream Pop newcomers place more emphasis on durability and meaning: there will be, I reckon, less dependence on the biggest mainstream stars and greater faith and belief in the new generation. The biggest shifts that need to occur – and I hope will – is to provide a bigger focus on genres like Hip-Hop; the improvement and diversification of Pop; women having a bigger say in music – parity, equality and compassion being right at the top of the tree. Maybe I am naïve but I know there is that will and desire for change – how much of that will be fulfilled has yet to be seen. The rise of new Pop; the stronger role Hip-Hop will play; the speculated albums of 2018…all things to look forward to. Apart from Jack White, Billie Marten and Cardi B; there are rumours of new Florence + The Machine material. Popstars like Tinashe will bring new stuff out whilst Tom Misch, Robyn and Jorja Smith are signalling – speculation concerning Vampire Weekend, The Vaccines and The 1975 releasing are rife.  Those aforementioned artists, between them, are making me excited about 2018 already: throw into the fact we always get out-of-nowhere surprises and epic albums arriving means it will be a fascinating, versatile and quality-focused year. It is hard to predict which of the rumoured albums will worry the poll-makers this time next year (as they announce their favourite albums of 2018). I feel Jack White will be near the top – that urge for mainstream Rock/Blues is palpable; he always provides something strange, delightful and genius!

IN THIS PHOTO: Tom Misch/PHOTO CREDIT: Getty Images

If this year hasn’t been quite as strong as 2016 – the best albums of that year are finer in my view – there have been some important discoveries, trends and albums released. It has been exciting, unpredictable and ever-moving; artists treading new ground and some fantastic future-stars revealed. I am hopeful for the New Year and know there will be some important shifts and big accomplishments. It is important, for myself as much as artists out there, to concentrate on the self: music will only be strong and at its very best if you are healthy and happy (as can be). It may sound idealistic to suggest some positive-thinking is all one need – when I know the reality is far more complex. As we bid farewell (almost, anyway) to the eventful and memorable 2017: a fresh year arrives and, with it, plenty of hope and prediction. It is impossible to know exactly where 2018 will take us - but I have every confidence we will see big improvements, shifts and steps…

 PHOTO CREDIT: Unsplash

IN the right direction.

TRACK REVIEW: JoAnna Lee: Drinking by Myself

TRACK REVIEW:

 

JoAnna Lee

PHOTO CREDIT: Alex Hopes 

Drinking by Myself

9.5/10

Drinking by Myself is available via:

https://www.youtube.com/watch?v=BRh2GAdn5kM

GENRES:

Soul; Pop; Country; Folk; Singer-Songwriter

ORIGIN:

Austin, U.S.A.

RELEASE DATE:

27th November, 2017

The album, So Free, is available here:

https://open.spotify.com/album/0N9yLdATHTm9zSiF7qZd4Q

_________

THE penultimate review of the year…

takes a looks at JoAnna Lee and her fantastic music. I will speak about her soon but, right now, there are a few subjects that come to mind. She is based in Austin, Texas – so there is that eagerness in me to explore the state. I wanted to look at singers who combine Country and the Singer-Songwriter sounds; the songs that warm the heart and provide comfort in the winter; the right mixture of artists when growing up; the way songwriters like JoAnna Lee can evolve and make an impact; why the U.S. is providing more range and fascination – a bit about taking a chance and going for it. It has been a while since I’ve looked at a Texan artist. JoAnna Lee has been in the state for a while but it is the perfect place for her. I have reviewed a lot of L.A. artists but it has been a long time since diving into Texas. Most of my reviews – when looking at Texas – concentrate on Austin. It seems like a place many gravitate towards and provides the right mixture of passion, opportunity and intrigue. Local sources like Austin Monthly have named their artists, they feel will make a dent in the coming months. Earlier in the year, the publication listed Bee Caves, Jackie Venson; Otis the Destroyer and Tele Novella as artists to keep an eye out for. You can do your own research but each of those artists has an eclectic and varied sound that sticks in the mind. One of the common threads is originality and power. You do not get anything predictable and safe when it comes to Austin-made music. ‘Older’ bands from the city, like Spoon and The Octopus Project, have inspired the people and showed what Austin is made of. Many of us, when thinking of cities outside L.A. and New York often head to Nashville. It is a Mecca for Country stars so one might assume JoAnna Lee would head there to hone and expand her sounds.

I am interested in her music and feel she is in a better place. There is more variation around her and a broader scene compared with Nashville. Not only does she get those great local musicians around her; there are incredible venues and scenes to compel the mind and provoke the pen. One listens to the voice and hears the music flow and knows the people, surroundings and music of Austin seep into her bloodstream. I have been waiting to discover an artist that differs from anything out there; gets into the mind and motivates the senses. Austin is a wonderful city to expand your horizons and hone your skills. From Red River District’s The Mowhawk through to Parish in Congress Ave District; Strange Brew in South Manchaca; the wonders and reputation of Antone’s – so many different spots to cut your teeth and get people talking. I am not sure whether JoAnna Lee has played these spots but possible venues she could visit in 2018. Unlike areas like Nashville; there is not a dependence on one genre and flavour: you get every genre imaginable sparring and interweaving. That means musicians are more confident when it comes to writing and their music is deeper and more nuanced. JoAnna Lee has moved from smalltown U.S.A. and developed into a strident and ambitious artist. I hope she remains in Austin - and does not feel the need to go somewhere like L.A. or New York. One of the best things about Austin is the fact you have California located on the West Coast not too far away; New Orleans and Nashville are fairly nearby – not walking-distance but an easy flight. Texas does not need to rely on close-by states because, aside from Austin, there are cities like Houston and Dallas – big areas that have their own music scene and characteristics. Austin artists have that freedom because they can tour conveniently in big parts of the U.S.; they are situated in a warm and multicultural region; there is the rich history and reputation many take to heart.

I am not usually a big fan of Country and Singer-Songwriter unification but, if done right, it can result in some terrific music. JoAnna Lee is someone who has a broad palette – more on that later – but her new single has that ache and soothe – one is put in mind of contemporary Acoustic/Country artists and some of the legends of music. I am not sure how much of one’s upbringing enforces their own music but there are distinctions between JoAnna Lee’s childhood fascinations and what she is making now. I have been listening to a lot of her older material and can see how the music has shaped and grown. There is more confidence and colour in the present tense; the ability to switch between genres and assimilate more passion. Drinking by Myself is a track of loneliness and reflection; it has plenty of charm and emotion but it never wallows and sinks into a pit – energy and kick are at the heart of the track. Modern artists who combine sounds like Country and Singer-Songwriter are still sourcing from the older icons but are ensuring the forms are pushed forward and kept relevant. It is always hard breaking barriers and trying to compel those whose tastes are quite rigid. Rather than compromise ethics and sell out your instincts; artists like JoAnna Lee are blending in modern production and big choruses with gorgeous vocals and lyrics that can be understood by all. That might sound quite vague but they are components that mean that people like me, who do not usually go for such sounds, are drawn in and hooked. I feel one of the big problems with certain genres/sounds is we get this stereotyped impression and do not really venture too much into things. That would be a mistake with regards JoAnna Lee – she is someone who has a very modern and broad sound; she never loses focus and mixes her own D.N.A. with that of Austin.

Maybe it is a bit narrow referring to JoAnna Lee’s music as Country. She has Folk strands and puts together some Pop undertones to create something fulsome and evocative. What strikes me is the way one is transported into a safe world and drinks in all the tones/layers. I have heard too many predictable and safe sounds this year: the fact JoAnna Lee broadens our horizons and has a unique flair means one is more invested and sustained. I am eager to see where she heads next year and whether her music will continue to build. I will talk about her album in the conclusion but I have been digging into Drinking by Myself and what could have compelled the song. There is a desire to find sanctuary and companionship but a certain sense of clarity. The words and themes of the song are familiar to anyone who is a fan of Country but there is a wider remit. It is about a woman going through some tough times but dealing with them in her own way. If one listens to other songs in her cannon; there is a lot of personal revelation and exposure. The young songwriter is unafraid to reveal her pain and let the listener into her heart. That is a commendable attitude and reason many of us should turn her way. This year has been important and successful. She has accrued a local base and getting attention from other parts of the U.S. That is in no small part because of the way she reminds one of some music greats but fuses that with something unexpected and fresh. The electricity, physicality and drive one hears in JoAnna Lee’s music is enough to get the body moving and the brain working – the songs stay rooted in the head and you are fascinated to hear the next song. I will speculate where Lee will head next year but, right now, it seems she is near her peak.

That sense of quality has not arrived overnight: her upbringing and incredible music past means she has changed her style and incorporated new elements over the years. One of the things that stands out regarding Drinking by Myself is the way it infuses the heart. The song has some hint of isolation and desire but there is a sound and flavour that gets one warmed and smiling. The track never lets up its yearning and searching; it smiles and dances but there are harder, darker tones working underneath. All of this is a potent brew from a talented young songwriter. She never drags the listener into a shadowy, tough place but, at the same time, gets them thinking and looking at myself. The most memorable aspect of JoAnna Lee’s music is the voice. It is a sumptuous bouquet that has love and tenderness but has that sharpness and independence. Lee is a musician that cannot be pegged and defined easily. I am curious about her beginnings and will explore that in a minute. What drew me to her current track is the way it hits you the first time you witness it. The song is a big and anthemic number but one that reveals more stories/possibilities later down the line. The year has been challenging for many of us and the weather is turning. In the remaining days of 2017; we will look to keep warm and safe; make sure we are happy and insulted. Music is a great way to ensure that and, if you are looking for an artist who can inspire all of that, JoAnna Lee is your girl.  Reviews and media opinions share my sentiments and have backed her for big things. What, then, is the reason behind such a rich and variegated sense of songcraft? We can talk about the modern scene but we rarely look at where artists came from in terms of their musical tastes.

Stevie Wonder is a name that has been associated with JoAnna Lee. She was raised on his music and, whilst her classmates were listening to Pop and the chart sounds on the radio; the aspiring songwriter was digging into crates and listening to older records. She grew up in a household with the legends of music. Wonder is an artist that made an impression and spoke to a deeper part of her. That blend of Soul, Gospel and R&B can be heard in the work of JoAnna Lee. She has elements of Stevie Wonder and projects a similar sense of confidence and bravery. Although Stevie Wonder’s lyrics look at different areas of life, I can hear the way he has inspired Lee and made her music stronger and hungrier. If she was to follow the same path as her peers; one would hear something more mainstream and generic. The music would be quite flat and try too hard to get into the charts. That would leave me a little cold but I would still give the music time. Instead, the music one hears from JoAnna Lee is full of life and rich imagination. You get a glimpse of Wonder’s music but that is a stepping-stone to explore other avenues of music. JoAnna Lee crafts her own path and explores ground few other songwriters tread. I wonder whether upbringing and the exposure to good music when young is, at all, partly/entirely responsible for the route songwriters take. You could argue a musician changes their sound and style over time but there is every evidence to suggest what you listen to as a child dictates the way your music will come out. I wonder, too,  which other artists were present in the varied household of JoAnna Lee. With Stevie Wonder as a base; one imagines other Soul artists and contemporaries were played alongside him. For a youngster growing up in a fairly isolated part of the U.S. – not close to major cities in terms of music – a lot of her education and exposure to life would have come through music.

I can hear shades of Etta James in JoAnna Lee’s sounds and feel she was quite an important guide. Motown, Soul and R&B all swam in her head; she used this foundation and has put all of these aspects into her music. After those big artists got into the soul; she performed in wine bars and coffee shops around Oregon. It might be unfair to class JoAnna Lee’s music as purely Country and Singer-Songwriter. There are Rock elements and Pop suggestions; a bit of Folk and some nods to Motown. Nurture and the earliest memories of music are vital and can make a huge difference to a songwriter. I was brought up with so many different decades and genres; that has made me a more curious and open-minded writer – the reason I explore various parts of the musical world. If JoAnna Lee had a narrow and strict musical education then that would reflect on her own music. Regardless of the influence of Austin; the sounds would be less interesting and fail to stand out from the crowd. Instead; there is that fusion of new and old; all these sounds working around one another; an artist who has learnt so much from music – willing to give her all to the world. She graced the stage at the age of three and was raised in a family who played instruments and had that love of music. Her grandmother played piano and grandfather played the harmonica. Generations of the family took to music and that motivated JoAnna Lee to investigate and follow in their footsteps. It is clear there is a certain sense of inevitability when it comes to the passion that flows through the Austin-based songwriter’s soul. Having all sorts of instruments and artists in her mind as a child; there is no way she would follow another career and not be affected. That important and glorious exposure has made her a much stronger writer and more inventive performer.

It is because of all this past education and modern desire that means JoAnna Lee will be a big fixture of 2018. I feel she will continue to aspire and build what she does. I have mentioned a few artists that have got into her mind and helped forge who she is. We have a mainstream scene that has little of the magic and potency one hears in JoAnna Lee’s music. I think we should proffer and celebrate artists like her. Here in the U.K., we are talking about Pop and how the tastemakers are backing the newcomers to do sterling work. Grime and Hip-Hop were big last year and it seems like tastes are shifting. I am not sure what the predictions are regarding U.S. music but I feel the mainstream will change and incorporate new ideals. What I hope is the best new artists (like Lee) are given more oxygen and chance. She has carved out a name for herself in Austin but there is a big country out there to explore. The only way she is going to get into the consciousness is for the big publications and stations to do their part and realise potential when they hear it. Few would argue there is anything more the young songwriter can do. Her current L.P. has so many different sides and pleasures that every listener will find something they like. She has been playing local gigs and pushing her work out there; making sure every song has a different sensation and vibe. In terms of promotion and work; one cannot ask any more from her, for sure. I feel that determination and dedication is why JoAnna Lee will do wonderful things in 2018. It is hard predicting what sounds will rule in a year and which artists will stand aside. We can only take the word of journalists as a guide – it is not an absolute and sure-fire thing. I have been listening to U.S. music and the new artists coming out. JoAnna Lee is in a wonderful city and part of the U.S. that can foster her needs and hopes.

PHOTO CREDIT: Alex Hopes 

The first notes of Drinking by Myself as the vocals from JoAnna Lee. There is soulful strength and intensity but the sound is very much that of JoAnna Lee. If anything, I caught a glimpse of singers like Dolly Parton. That might be me leaping to conclusions but the initial seconds are a curious blend of Country, Soul and Motown sounds. It seems the heroine has been drinking alone and getting drunk. “If I only knew what men were thinking” she tells us. It seems too many have let her down and, through her life, offered little promise and faithfulness. The vocal instantly goes from that strident introduction to something soulful, soothing and classic. One hears that influence of Etta James as the heroine lets the lights down and asks these searing questions. I was invested straight away and compelled to see where the song goes. The heroine does not let the tears roll: instead, we get a mature and resolved woman looking around and asking where things go from here. If the man was honest from the start – and he was taking the relationship seriously – then JoAnna Lee would not be sitting by herself. It seems he was playing games out the trap and one of those guys who feels the need to lie his way through a relationship. That has created the cracks and distance; sees the lovers estranged and disconnected. It is a sad and emotional revelation but one that can lead to revelation and clarity. Although the heroine is drinking alone; one feels it is not a destructive measure: she is looking for company and would be drinking with her guy if he were straight and open with her. He is cowardly but she is not going to let that gets into her flesh. She is standing strong and determined not to let it fell her. The boy has been ostracised but she still has respect for him.

It is sad to imagine the heroine get drunk alone and envisage the man cheating and playing around with other girls. She is kicking herself for not seeing the truth right away. Those foolish moments of trust disguised the lines he fed her. I get a lot of Etta James in terms of the melody, vocal delivery and composition. This might be JoAnna Lee’s version of I’d Rather Go Blind.  That song looked at the heroine declaring her love and saying she’d rather go blind than see the man walk off with another girl. Here, there is less trust and dedication but the same intensity and emotion. This was no ordinary, shallow love: the two were stronger and deeper into things; it seemed like things would run longer and remain. I was following the story and – even though I watched the video – imagined the way she paced the floor and looked around. JoAnna Lee is in the room drinking wine; she is questioning her decisions and wondering whether other girls are being hurt by her former suitor. The strings wind and twang; there is something Folk-like and soulful about them – they entwine and delicately move around one another. The heroine is getting drunk and thinking about the men who have done her wrong. The need to find direction and discover why things have turned out the way they have is urgent. The melody and chorus is gorgeous and sublime. One cannot help think of classic Soul artist and modern Country. It is a fantastic combination that gets right into the heart. The gravelled, whiskey-soaked vocals unite with tender, soft tones and give the song two sides. You have the pontificating, passionate woman who wants to make changes and stop trusting those who cheat on her. On the other hand; there is the sense of loss and heartbreak that sees her medicating that pain with drink. By the end; you are on the side of the heroine and hope things work out for the best – the song is a sobering experience and one that will enforce the way she goes forward regarding men and trust.

So Free is an album as liberated and unshackled as its title suggests. One gets the feel of a young woman unburdened by the strains of doubt and love. Maybe there have been relationships that have dragged her down and caused too much sadness. I know she has gone through trials and chores but has emerged a stronger and more rounded human. It is worth listening to the record to get an idea of where she grew up and the sort of people she encountered. Based in Austin; the people there have inspired her to keep working and aiming high. The album looks at love and life in new ways and, in terms of sounds, draws from the childhood appreciation of Etta James and Stevie Wonder with all the sparks and sides of Austin. It is a compelling brew that one cannot ignore or argue with. I might not have done the album full justice but that is because it needs to be heard and properly investigated. Take some time out – on a cold and damp day – to get into the record and see what it is all about. Even if JoAnna Lee has experienced heartache and hardship: the music aims to warm the senses and get the listener into a safer space. That is what all great music should do I guess. We are all fallible, finite beasts and not immune to the unpredictable aspects of life. Because of that; we look for nourishment and stability wherever we can find it. I am not saying JoAnna Lee can cure all problems and fears with her music alone! She makes things a little easier to cope with. Drinking by Myself is a song that, on the surface, sounds quite exposing and lonesome but never damages the mood. You hear a song that looks at a transitional time and the strength that comes from realisation. It has been interesting reviewing it and how it all came together.

I would like to see the U.S. media take more time promoting JoAnna Lee’s music and taking it to new audiences. I am not sure what her touring plans are but she has the chance to get to various part of the country. I hope she gets to L.A. and Nashville; explores wider afield and ensures the country falls for her sounds. Maybe she will come to the U.K. next year? That would be great and I know she will get plenty of attention here. Perhaps money and a lack of time mean she will stay in America but I feel she could find new fans over this way. We do not have artists like her here – who do the same thing – so we could benefit from her presence. That will be down to her but 2018 is a vital year and one where she will get big focus. So Free is an album that proves what a stunning talent JoAnna Lee is. I have every faith she will transition from a celebrate Austin artist to one of the brightest musicians in new U.S. music. Ensure you support her music and dedicate some time to see what she is all about. Few artists like her exist in modern music so we need to preserve and promulgate them as much as possible. It has been a busy and exciting year for the young artist: the next year will see, I assume, more music and that drive to get to as many people as possible. A passionate and modest talent who wants people to involve themselves with her music; a striking voice and unique star in the music sky…

WE all need to follow.

_______

Follow JoAnna Lee

 Official:

http://joannaleemusic.com/

Facebook:

https://www.facebook.com/joannaleemusic/

Twitter:

https://twitter.com/joannaleemusic

SoundCloud:

https://soundcloud.com/cutmorerecords/sets/joanna-lee

YouTube:

https://www.youtube.com/user/JoAnnaLeeVEVO/videos

Spotify:

https://open.spotify.com/artist/5XafLLr98rg0ANFPv12KFK

FEATURE: Pro Bono? Is the U2 Frontman Right About the Music Industry?

FEATURE:

 

Pro Bono?

 PHOTO CREDIT: Martin Schoeller (for Forbes) 

Is the U2 Frontman Right About the Music Industry?

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APPARENTLY; modern sounds are “very girly”.

IN THIS PHOTO: U2/PHOTO CREDIT: Getty Images

Those are not my words - they emanated from U2’s esteemed lead, Bono. There is a tinge of irony hearing those words from a band-leader who has not produced anything truly raucous, masculine and essential in a fair few years. U2’s latest record, Songs of Experience, has been backed by many critics and, yes, it does have passion and shots of urgency in it. One gets the sense of desperation and alarm when listening to the record: you never feel like the songs are addressing vital issues and speaking for the nation. The songs are not overtly angry: they are not girlish or feminine, either. It is as well the current U2 record has commanded kudos – many seeing it as the best album the Irish band has produced this century – but I wonder whether the comment from Bono is a hype move – a marketing tool to get people invested in Songs of Experience?! There are truisms and clichés on the record; so I wonder whether Bono should be talking about originality and inspiration in music – rather than judging whether there is enough anger in music? I get a little aggrieved when people like Bono make this kind of statement: proclaiming the industry too soft...and there is no real righteousness and indignation. He went on to say the only real anger is coming from the men of Hip-Hop – and that is not a good thing. I feel that quote has been taken out of context: he does not mean it is bad to see Hip-Hop put in the spotlight: it is a poor show seeing only one genre take the initiative (when the whole industry should be...).

PHOTO CREDIT: Getty Images

I wonder whether, as the title of this piece implies, Bono’s remarks are for the public good?! Is it wise to make statements when you head a band who are being accused, in some quarters, of lacking the spark we know they can produce?! I have been clenching quite frequently this year when reading about various musicians making statements in the press. The furore and smog of Morrissey’s latest clanger is still hot and being punted around. Whether his remarks were isolated and misrepresented – he claimed some abuse victims, when speaking about Harvey Weinstein and Kevin Spacey, knew what they were getting themselves into – or not; it has not been a great time for the biggest musicians. We ended them to lead the way and provide guidance; rather than come out with ill-advised opinions and sweeping statements. I wonder whether Bono’s comments hold any clout. One can argue the predicted revival of Rock has been rather damp and homogenised. The fiercest albums of the year – Royal Blood, Queens of the Stone Age and Foo Fighters among them – have not concerned themselves too heavily with political issues and societal cancers. Queens', to be fair, flexed their observational muscles a bit but there was never that sense of an all-out-aggressive and pumped-up record. The Disco edges added kick and swagger but lacked the teeth and motivation of earlier albums.

IMAGE CREDIT: Boneface 

I have not heard an album this year that coherently and impressively articulates the anger and frustrations of the people. Eminem’s Revival was plenty angry enough but remains scattershot, diluted and bereft of the wonder we know he can summon. I wonder if it is a case of – to flesh out Bono’s remark -  music being angry AND good?! I don’t think it is a bad thing Hip-Hop and Rap are carrying the torch for the disaffected and riled – Bono did not mean to slate them; only to suggest they are the only visible voice of rebellion – because the genre has struggled to get proper mainstream acceptance. The closer (Hip-Hop) gets to the mainstream, the better for music as a whole. While the genre(s) is largely male: it is not the case the men are the only ones capable of standing out. That is the role Hip-Hop has always played. The genre, alongside Rap, is for the minorities and the poor; the people who have to struggle to get attention and are trampled underfoot. The finest poets of Hip-Hop established themselves as the voice of those who had none. That has not changed in the modern day – even if there is not the same quality and innovation as past decades – so one should not be shocked Bono should make such a remark.

PHOTO CREDIT: Unsplash

 I agree there is not enough genuinely fresh and memorable Rock/Alternative music around. The likes of IDLES and Wolf Alice are a rare breed that does not epitomise the industry. Maybe the up-swing is around the corner – I think it will not happen for a few more years – but I wonder whether it is a case of patience and waves? The reason we had legendary bands like Oasis and Rage Against the Machine in the 1990s was (because) there was an outlet to be heard. Those bands are passionate and angry in different ways – Oasis a more positive and all-come-together vibe – but there were more working-class journalists that supported their music; they could thrive and evolve because the scene was set up for them; keen to welcome them in and stacked with like-minded artists who can challenge them and push their creativity. The reason we do not have the same angry, awe-striking bands is down to the way the industry is structured. There are comparatively few working-class writers in the bigger publications – most newspapers and magazines look for interns; those in paid jobs tend to come from more privileged stock – and there is less visibility regarding magazines. The likes of NME – once the natural destination for proper, big bands – is digital and losing its edge. Maybe there is a lack of talent and desire but I feel the cessation of masculine, angry music is the lack of understanding writers – those who have the same background, and therefore, are likely to spot potential when they hear it!

IN THIS PHOTO: Oasis/PHOTO CREDIT: Getty Images

It was the ‘girly’ part of Bono’s remarks that cheesed me off somewhat! He is making the assumption that, A) angry, proper music is being made by men and, B) anything that lacks a Molotov firebomb is wimpy and effete. U2, as I said, aren’t exactly N.W.A. or Slipknot, are they?! An ageing Rockstar – albeit it one who has helped shape music for the better – should not really make generalised, unsubstantiated remarks when his own output lacks real spirit and charge. Anger and aggression are only valid and purposeful when they have depth and speak to the people: if it is personal vitriol, or has no way of connecting with the people, then there is no point putting it onto the page. (Do we really need to hear that all the time?!). Before I take the defence against Bono; I agree we need to open the legs of music a little more – it is wearing a cardigan, sitting shyly and reading a book at the moment! That is not to say it should rip off its knickers, lay on its back and, well…you can finish the rest! Where we are now – in terms of pertinent, potent Rock – is light-years detached from the strength evident in the 1990s/early-2000s. I do not believe there is a lack of potential and ammunition out there (I hear a lot of independent acts who can provide hope) but we need to look at the structure of the industry and the artists we elevate to the highest positions.

PHOTO CREDIT: Unsplash

The dominance of privileged, middle-class artists at the forefront means many artists are concerned they will not gain acceptance and promotion from taste-makers and the public. It is not a case of Rock’s new attack being right on the horizon: the air is so thick with smog and cloud we cannot see the horizon right now. You cannot expect things to take a complete about-face without any structural changes and questions being raised. IDLES are a great working-class band who possesses anger and solid songs. They are never going to be on the same level as, say, Ed Sheeran whilst music (the charts, at least) favours the wealthy and commercial. I am encouraged by the likes of Wolf Alice and IDLES but one would be pushed to rattle off a list of fellow artists who could overpower the mainstream and provide a resistance. That is not their fault but that of the labels, media and, I guess, public. Music is becoming more insular and personal than any other time. Shows like Top of the Pops and the charts meant people would eagerly tune in and watch as the best artists in music played their latest song – we would go out and buy that and, in turn, that would build a market and compel others. Now, we do not have a music T.V. option and the charts are less relevant than ever. Streaming services make it easier to gain access to music’s bountiful bosom - but most people are ignoring the charts and proffering their own tastes. Social media has its benefits but is less powerful (when it comes to leading a rebellion) than a cohesive and populist chart/T.V. show.

IN THIS PHOTO: Wolf Alice/PHOTO CREDIT: Getty Images

There are angry, manful and primaeval artists ready to rampage and slake but, until the doors are open and the rose-coloured glasses are cleaned – how likely are they to get anywhere near the dinner table? I know Bono has not put as much thought into things as me but maybe he should. In order to give any credence to anything the likes of him say; one needs to dig deeper and look at the argument from both sides. If the ‘best’ Rock/Alternative artists out there are concentrated on their own lives and issues; do we need to look elsewhere, until we can transform music for the better, for something concrete and physical? I think, when Bono talked about the ‘girly’ side of music, he was not meaning it is a sexist way. Music, unfortunately, has not been overrun with female-made sounds nor is it too florid and sensitive. I think – I hope – he meant there was too many Electronic/Electro-Pop acts and artists who favour texture and colour over a kebab to the face? Music can only grow and survive if we welcome new artists and foster their personality. I disagree things are girlish and weak: anger, impression and spirit can come from different sources and genres. It is awfully close-minded and offensive to suggest anything that strays from Rock and Alternative sounds is, by omission, inferior and pointless. Music goes through stages and, whilst we saw a prevalence of harder sounds in past times; now, there is a wider market, and with that, one will find a less concentrated and one-channel sound...

PHOTO CREDIT: Unsplash

I think, in many ways, we are in a better position than we were decades ago. New artists can have a say and do not need to rely on a record deal; new sub-genres are coming and there is far greater choice than ever before. The recent this feature is less succinct than one would hope is because you cannot challenge/address Bono’s comments without justifying your decision – and looking at the flip-side of the debate. Maybe his was a flippant and misconstrued remark but I do agree with the assumption there needs to be a kick up the backside of the industry. Whether we can reach the same peak as the 1990s remains to be seen – I suspect not; for many reasons – but that is not to say all hope is lost. A lot of the older, established order have passed their best days and are not in the position to inspire the new generation. The most essential and energised albums, in the Rock milieu, are from newer acts; those closer to financial and personal struggle than those who are more comfortable and successful. Struggle and hardship compels great music with stature: if we are augmenting musicians who are so removed from that way of life they cannot authentically rally and protest – are we ever going to see change?! I disagree with the term ‘girly’: maybe ‘demure’ is a better term?

PHOTO CREDIT: Unsplash

Most musicians have anger in their hearts – one cannot look at the world and the way politicians are mismanaging huge issues – and not feel a sense of disgust and aggression. The reason Pearl Jam and The Who (two bands Bono named-check when looking at better days) managed to articulate and define the feelings of the masses and isolated alike was the willingness of the industry and public to open their arms (and wallets). We have a lot of angry artists playing but I feel a lot of that anger is less creative: many are angry because they cannot get their voices heard and have to fight so hard to get noticed. One cannot rationalise a remark like Bono’s without querying why we are in the position we are in right now. I agree with Bono that we need those big, epic-sounding artists at the forefront: that is impossible when there are so many issues and oversights being ignored. Rather than condemn Bono as foolhardy and offensive – maybe a thesaurus would have been a good Christmas present! – we should use it as a chance to review and challenge the contemporary order. If, as I suspect, he feels Pop, Folk and Electronic music is taking too much of the pie – what can we do to make it so the music industry has better quiet-loud, genre-mix balance? I love a lot of the less ‘masculine’ and experimental music around but feel there are valid reasons why we are seeing fewer Rock heroes/heroines emerge – that go beyond talent and quality reasons. I disagree with the way Bono expressed himself; him saying music is girly: I do agree with the fact there are fewer exciting and society-defining artists that will stick in the mind decades from now. Overriding that is a complex issue - but one I feel we need to tackle...

 PHOTO CREDIT: Unsplash

AS soon as the New Year’s Day hangovers subside!

FEATURE: Outsiders, Inside: Great Alternative, Rock and Indie Albums from 2017

FEATURE:

 

Outsiders, Inside

PHOTO CREDIT: Unsplash

Great Alternative, Rock and Indie Albums from 2017

________

THEY might not accrue the same sort of hype and celebration…

PHOTO CREDIT: Unsplash

as the big names of the mainstream – but that is what makes these artists so good! I have been thinking about the best Indie, Rock and Alternative albums of the year: the sort of record that possesses more depth, intrigue and power than your average chart-bound offering.

Here are twelve records I recommend you add to your collection as soon as possible. They all bristle with energy, fascination and outsider-kick – from some of the best songwriters in music right now…

ALBUM COVERS: Getty Images

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The National - Sleep Well Beast

Release Date: 8th September

Label: 4AD

Critical Snapshot:

“Some will fault the National for not evolving their sound more radically, or speaking more explicitly to the political moment. But Sleep Well Beast is what it is: an emotional battlefield, beautifully drawn, familiar and true. Berninger voices a panicked, depressive insomniac who might be any of us, trying to hold it together while everything falls apart” – Rolling Stone

Stream the album here.

Manchester Orchestra - A Black Mile to the Surface

Release Date: 29th July

Label: Lorna Vista Recordings

Critical Snapshot:

“Manchester Orchestra have always been earnest, though; it’s just that, until now, they’ve been hamstrung by their own impulses. By consciously interrogating everything they do, they’ve created something that doesn’t need a condescending suffix to justify its existence. It’s a new high-water mark for the band, and one well worth the pain to reach” – Drowned in Sound

Stream the album here.

Julien Baker - Turn Out the Lights

Release Date: 27th October

Label: Matador Records

Critical Snapshot:

“…By the end of the album, she’s landed on another cluster of paradoxes: “I’m better off learning how to be/Living with demons I’ve/Mistaken for saints/If you keep it between us/I think they’re the same." The way she sings it, you’d believe she’s telling her secrets to you and you alone, all evidence to the contrary. You’d believe that loving your demons—not banishing them—might just be the secret to that evasive grace” – Pitchfork

Stream the album here.

Fleet Foxes- Crack-Up

Release Date: 16th June

Label: Nonesuch; Warner Bros.

Critical Snapshot:

“Ultimately, Crack-Up is an album about purpose, mutual support and reconciliation, nowhere better expressed than in “Third Of May/Odaigahara”, the complex, nine-minute song quixotically chosen as the first single. The title refers to the Goya painting celebrating resistance to Napoleon; but it’s also, apparently, the birthday of Skyler Skjelset, Pecknold’s bandmate, co-producer and lifelong best friend, separation from whom has clearly triggered the undertow of betrayal and regret coursing beneath the album’s surface. “Aren’t we made to be crowded together, like leaves?” muses Pecknold over miasmic strings, pounding piano and guitar. It’s as if, trapped in the quicksand of fatalism, he’s urgently seeking resolution through the reflection of his life in others: “To be held within one’s self is deathlike, oh I know/But all will be, for mine and me, as we make it”. And as Crack-Up confirms, things often work out so much better when we work with others” – Independent

Stream the album here.

Robert Plant – Carry Fire

Release Date: 13th October

Label: Nonesuch Records Inc.

Critical Snapshot:

“Plucky folk ballad ‘Season’s Song’ stands out as one of the album’s highlights as well as acting as the perfect example of Plant’s intention on merging the traditional folk rock sensibilities with an epic orchestral landscape. This is a familiar trait that flows throughout the album, which acts as a melting pot of abstract ideas thrown together by Plant and his band, from the jangly African guitar lines of title track ‘Carry Fire’ to the more industrial rock and sonic experimentation of ‘Bluebirds Over The Mountain’.

While ‘Carry Fire’ showcases some of Plant’s best and most confessional lyricism, there’s no denying that this is an album that stands out most for its lusciously complex musical structures and influences, allowing for it to purvey an other-worldly quality” - Clash

Stream the album here.

The War on Drugs - A Deeper Understanding

Release Date: 25th August

Label: Atlantic Records

Critical Snapshot:

“…And that lack of articulation, that inability to identify the source of pain and the path to redemption, becomes another of the record’s themes. But all that happens beneath the surface, almost subliminally; it’s the impossible sweep and grandeur of the music that tells the real story, of how a rush of sound can take us somewhere we can’t explain” – Pitchfork

Stream the album here.

Phoebe Bridgers - Stranger in the Alps

Release Date: 14th September

Label: Dead Oceans

Critical Snapshot:

“There’s a ghostly quality from the opening note of Smoke Signals which grabs the attention straight from the start. Like many of Bridgers’ songs, it’s a hushed, contemplative ballad with the singer’s world-weary voice reflecting on the deaths of David Bowie and Lemmy, before namechecking The Smiths song How Soon Is Now. It’s the sort of song that pulls you into an album and demands, in its own very quiet way, that you hear some more” - musicOMH

Stream the album here.

Perfume Genius - No Shape

Release Date: 5th May

Label: Matador Records

Critical Snapshot:

“The “holy shit” factor of Perfume Genius has just shifted locus, then, from Hadreas’s reportage to his art as a whole. On Perfume Genius’s debut, Learning, we had Mr Peterson, a song in which Hadreas’s teacher takes advantage of him and then jumps off a building. Here, we have Hadreas’s desire to transcend his body and self – the no shape of the title – and glorious, inventive, shape-shifting music to match” – The Guardian

Stream the album here.

The Afghan Whigs – In Spades

Release Date: 5th May

Label: Sub Pop

Critical Snapshot:

“It’s worth remarking that, in the years between the Whigs’ breakup and reformation, no one could fill the void they left. Do to the Beast left me doubting that even they could do it anymore, but In Spades is a fitting rebuke to that infidelity. I still hold out hope of hearing McCollum’s guitar on an Afghan Whigs album again, but maybe I’m being overly sentimental. Ultimately, this is the best thing Dulli has put his name to since Blackberry Belle. One look at his discography over the intervening period will confirm just how good that is” – Drowned in Sound

Stream the album here.

The Horrors - V

Release Date: 22nd September

Label:  Caroline Distribution

Critical Snapshot:

“V isn’t a huge reinvention, more a subtle reboot, and a move which has worked out perfectly. The Horrors are hardly new to making brilliant albums - they did that with their previous three - but V is better than them all” – The Line of Best Fit

Stream the album here.

Wolf Alice – Visions of a Life

Release Date: 29th September

Label: Dirty Hit

Critical Snapshot:

“Rosewell (Ellie) favors melodies that feel like shouts even when they're whispers. She grapples with a predatory world that steals happiness and loved ones, and creates demands from within and without. Attention wanders during the wizardy fingerpicking of "After the Zero Hour," but production from Beck bassist Justin Meldal-Johnsen ups the focus throughout, even on the seven-minute title track, which slips from Sabbath sludge into surging space rock and back again. This is music that merges raw physical pleasure and dreamscape explorations. The stakes are high, and the payoffs are real” – Rolling Stone

Stream the album here.

Queens of the Stone Age – Villains

Release Date: 25th August

Label: Matador Records

Critical Snapshot:

“Villains, this deep and danceable delight, ends with two searing six minute tracks: the razor-blade blues of the White Stripes-ish The Evil Has Landed, and a sunrise-of-the-ancients pop finalé called Villains Of Circumstance. These are songs that refuse to be crushed, rounding off a disco-rock album determined that the villains won’t win. Bowie’s gone, it says. Trump is here. Move. Now” – Classic Rock

Stream the album here.

FEATURE: Playing the Long Game… This Year’s Most Disappointing Albums

FEATURE:

 

Playing the Long Game…

PHOTO CREDIT: Unsplash

 This Year’s Most Disappointing Albums

________

BLOGS and magazines are collating and marking out…

IN THIS PHOTO: Katy Perry/PHOTO CREDIT: Unsplash

the albums, songs and artists, they feel, have defined this year. I have seen some surprises and great albums that came out of nowhere; others that have worked their way into my subconscious; some that have hit me straight away – another brilliant year for music, on balance. There have been some records I was expecting big things from, however. When announcements were made – regarding the albums – I prepared myself for something special and impactful. The hard reality is that, when they got here, it was a bit like that computer console-shaped present that turned out to be an air purifier: the energy and happiness fade out and you are left a bit cold (albeit it with some very clear and purified air!). I have been looking at the thirteen albums I felt could have been better; were a little underwhelming – with a critical review that backs up my opinion…

ALBUM COVER CREDITS: Getty Images

__________

Eminem – Revival

am a huge fan of Eminem’s classics – The Marshall Mathers LP riding highest in the mix in terms of albums – and realise he is one of the most dazzling and essential artists in music. His recent output has not been great so, when Revival was announced, I hoped its contents would live up to its title. Too many collaborations and a lack of real focus; lyrics not up to his genius-like standard and too many songs on the album (among the issues). There are some definite highs but Revival a record that could have done with stricter editing and wiser decisions – and more of the Eminem that struck the collective heart back in his heyday!

Release Date: 15th December

Labels: Interscope; Aftermath; Shady

Critical Snapshot:

“There are just too many pop stars here (Pink, Beyoncé, Kehlani) wailing anodyne hooks over glutinous beats. Perhaps the biggest problem with Revival – as with many latterday Eminem records – is the struggle of an intelligent fortysomething artist to evolve while somehow remaining true to the demands of his sniggery core audience of alienated males, one he knows he shares with Trump. Listening to Eminem trying to square this circle, it’s just one face palm after another” – The Guardian

Standout: Offended

Björk - Utopia

There are few people out there who have as much love for Björk as I do – I even wrote a piece stating Utopia (before it was released) would be the most important-album of this year. It is a gorgeous, mature and great record but one that takes a lot of time to seep in and compel. I was expecting more fire and innovation – some energy that recalled her earliest days – but the overall vibe is one of soothe, love and personal revelation. There are few of the fireworks and odd touches that have defined her legacy and potency. It is an album that, like a butterfly hibernating for winter, will reveal its true nature and colours in the weeks/months to come, perhaps.

Release Date: 24th November

Label: One Little Indian Records

Critical Snapshot:

“Simultaneously beautiful and befuddling, dazzling and irritating, Utopia has something of Stravinsky or Stockhausen about it. On some level, it may be a work of brilliance, but I suspect it is too far adrift from the rest of pop culture to appeal to anyone but a Björk devotee. If you can dance to it, you have bendier limbs than I. And it's hard to imagine anyone singing along – perhaps not even Björk herself” – The Daily Telegraph

Standout: Future Forever

Arcade Fire – Everything Now

This was a record I was SURE would be a big hit. I was fooled and excited by some early, pre-release albums that were five-star droolers. I heard the title-track and felt it was business as usual for the Canadian band. When the record was unveiled, and I heard all the songs, it seemed I was premature! Its best moments – Everything Now and Put Your Money on Me – are outweighed by some of the worst material they have recorded to date (Creature Comfort, Signs of Life; Chemistry and Peter Pan among them!). No song hits the heady seduce of Reflektor eponymous cut: nothing gets within spitting-distance of Neon Bible or The Suburbs, for instance. I admire the band for experimenting and adding new substances to the mix but, like Chemistry, it is an experiment that has blown up in their faces.

Release Date: 28th July

Labels: Sono Vox; Columbia

Critical Snapshot:

“It's one of the album's strongest moments, matched by "Electric Blue," in which Regine Chassagne's delicate voice floats over a wistful yet hypnotic electro groove…

Much of the rest struggles to stay buoyant. On "Signs of Life," Butler raps awkwardly about increasingly empty nightlife rituals over syncopated handclaps, a thumping house kick drum and a rubbery Tim Kingsbury bass line. "Chemistry" flirts with horn-peppered dancehall reggae but never quite achieves lift-off. "Good God Damn" splashes around in slow, would-be funk and both versions of "Infinite Content" — one punky and distorted, the other slow and countryish — feel like sketches rather than finished songs. "We Don't Deserve Love" ends the album with a whimper. "Just burn it all down," Butler sings, "and bring the ashes to me" - Chicago Tribune

Standout: Put Your Money on Me

LCD Soundsystem - american dream

Did american dream (the lower-case is how it is stylised by LCD Soundsystem) mark a ‘return’ of LCD Soundsystem or awakening from hibernation?! However you view the relaunch of James Murphy’s outfit; american dream, to be fair, has resounded with critics and, largely, been met with positive reviews. It is, with me, the same case as Björk: I am a fan and loyal supporter but was expecting something a little different. call the police, american dream and emotional haircut display the sharpest wit, instinct and intuition of Murphy and are definite highlights. I found nothing else on the album that hit the same peaks. black screen, the twelve-minutes-plus finale, is not captivating enough to demand focused attention whilst opener oh baby could have been moved down the pack – one would think american dream (the song) would be a perfect introduction?! It is, perhaps, a case of disappointment of expectation rather than quality. Given the seven-year wait since This Is Happening; I was expecting a little more – a bit too much, perhaps. It is a fine album – critics have been vacillating – but, to my tastes, a little shy of what we know LCD Soundsystem can achieve.

Release Date: 1st September

Label: DFA Records; Columbia

Critical Snapshot:

“…Too many tracks, however, suffer from a shortfall of melodic potency, and a lack of lateral development, especially in longer pieces such as the 12-minute sci-fi musings of “Black Screen” and the declamatory nine minutes of “How Do You Sleep?”. Both use puttering beats in cavernous spaces, with synths lowering from above, but for such marathons, there’s too little narrative: it’s all vertical, with sounds simply piled on top rather than providing narrative shape; and often, the journey just isn’t worth the destination”- Independent

Standout: emotional haircut

Gorillaz – Humanz

It has been a while since new Gorillaz music really hooked me in. 2010’s Plastic Beach had some incredible offerings but one needs to go back to 2005’s Demon Days to find a consistent and always-astonishing Gorillaz album. With Damon Albarn as a songwriter and contributor; no Gorillaz album could be deemed poor but, on Humanz, there were few songs that stayed in the memory. Whilst the overall sound and tone of the album elicits response: more songs on the same line as Andromeda would have been welcomed

Release Date: 28th April

Labels: Parlophone; Warner Bros. 

Critical Snapshot:

 “…All the masks and cameos aside, this still feels like a Damon Albarn solo project, a place for him to treat the studio like the welcoming arms of oblivion, and for us to join him” – Pitchfork

Standout: Andromeda

HAIM - Something to Tell You

The L.A.-based trio of sisters impressed critics with their 2013 debut, Days Are Gone. That record has the shine and swoon of Fleetwood Mac (and the same knack with melodies and vocals); it has plenty of sunshine and was one of the highlights of that year. Four years on and the sophomore release contains little of that ebullience and quality. There are some great songs on Something to Tell You – Want You Back is one of their best songs – but there are too many off-kilter noises, aimless melodies and songs that do not absorb into the skin. All this leads to a rather muddled and mixed album.

Release Date: 7th July

Label: Columbia Records

Critical Snapshot:

“Haim pairs ultra-smooth sounds with lyrics about love gone wrong that sound more than a little samey on the title track and "You Never Knew." And while Days Are Gone had hooks for days, this time Haim's songwriting just isn't as attention-getting; production flourishes such as the processed backing vocals on "Ready for You" and "Right Now"'s artfully rough guitars threaten to overpower the songs themselves. Moments like these add to the feeling that Haim are more focused on craft than excitement. The ways they refashioned vintage pop on Days Are Gone felt risky, but Something to Tell You offers safer, smaller pleasures” - AllMusic

Standout: Want You Back

Royal Blood – How Did We Get So Dark?

Among the great Rock and Alternative records of the year (IDLES, with tinges of Punk on Brutalism, have crafted a classic) there have been some underwhelming and damp efforts – I will come to another one soon enough. I have not included U2’s maligned album, Songs of Experience, but it has not been a reliable one for Rock. Royal Blood’s second album came after a three-year wait and did not provide any distinction from their eponymous debut – aside from a few Pop harmonies here and there, perhaps. A duo who are lauded as a touring act, one thinks, would do more to evolve their sound and continue to fascinate and amaze. The fact they replicated their debut – which was not exactly world-class and ground-breaking – means it is a huge missed opportunity from the Brighton twosome. Let’s hope the guys learn a lesson for album number-three!

Release Date: 16th June

Label: Warner Bros. Records

Critical Snapshot:

“In summary, this is an album which is trying to be lots of things for lots of people. The sadness being that where Royal Blood appealed to so many because of its abandoned musicality and aggression, How Did We Get So Dark? may run the risk of losing its soul and beating heart in order to please the masses. It will be interesting to see where Royal Blood go from here” – Drowned in Sound

Standout: Lights Out

Beck - Colors

I am not expecting – like a lot of critics and fans – for Beck to return to the genre-fusing, kaleidoscopic pioneer of Odelay! Many expect artists like Beck to preserve themselves in liquid nitrogen and remain a Peter Pan-like presence. Colors is a natural evolution but one that aims too hard for the mainstream. Produced alongside Greg Kurstin and Cole M.G.N.; there is a lot of trial-and-error and patchy (disorganized) quilt-work. It is a big, shiny record that aims to replicate the energy and excitement (Beck felt) on the road – the songs, however, lack great nuance and memorability. Dear Life, that said, is one of the best songs of the year: sadly; the remainder of the album does not hit the same (giddy) peaks...

Release Date: 13th October

Label: Capitol

Critical Snapshot:

“At times, it seems as though Beck is grasping at something, anything, to add conflict and tension to this rather effusive album. But all he comes up with are the most well-worn of sentimental platitudes, as in the tropical-inflected “No Distraction,” where he vaguely refers to “what we went through” and “everything that I know went wrong.” In giving no concrete shape to genuine obstacles that he feels he’s had to overcome, Beck fails to give his euphoric, outsized sense of liberation much emotional heft” – Slant Magazine

Standout: Dear Life

Foo Fighters – Concrete and Gold

Another Greg Kurstin-produced muddle – the man does know how to helm some brilliant records, mind! - and signs of a band struggling to breathe new life into their music. Concrete and Gold’s uninspired, lazy title is reflected in the music that does not do justice to the potential and talent of the band. For every fired-up bomb like Run there are forgettable cuts like La Dee Da and Sunday Rain. I was hopeful of a sort of return-to-glory from Dave Grohl’s crew but, like 2014’s Sonic Highways, it is an unremarkable album – in a year when we need Rock idols to step up and lead the way.

Release Date: 15th September

Label: Roswell Records

Critical Snapshot:

“…But Grohl’s music has cried out for, well, coloring and shaping for so long that it matter more that he’s finally sculpted an objet d’art, rather than Another Foo Fighters album. More than just about anyone in the genre, he’s free financially and creatively to do anything he wants. Maybe next time he’ll sing something political — In Your Honor was about campaigning for John Kerry, not that you’d know from listening to it. Maybe he’ll even sing something controversial. It’s about time the guy took a risk” – Consequence of Sound

Standout: The Sky Is a Neighborhood

Katy Perry – Witness

Many might scratch their heads and wonder why I’d include a Katy Perry album in a feature that expressed mild disappointment – contrasted against high expectations and hopes! It is less a reflection on my desires but that of the mainstream: one of its strongest and most-inspiring stars should be producing epic, solid work. Perry has crafted exceptional music in the past – 2010’s Teenage Dream had its highlights – but Witness is an album produced by a singer-songwriter at the end of her creative avenue. There are none of the bangers and chart-ready songs that made her such a star. Sure; there is that big production and energy a-plenty but none of the songs remain in the imagination and will add anything new for her loyal fanbase – who might flock the way of Taylor Swift for new guidance and inspiration!

Release Date: 9th June

Label: Capitol

Critical Snapshot:

“For about half of Witness, Perry appears to be striving for meaning at the expense of catchy choruses. On the other half, it is as if she has lost her nerve and been persuaded to sing choruses that have no meaning. Witness is the sound of someone trying to cover too many bases. Perry has probably done enough to keep the box office machine rolling but it might be time for her to shrink her budget and make that little arty offering that really comes from the heart” – The Daily Telegraph

Standout: Swish Swish

The Jesus and Mary Chain - Damage and Joy

Another established band I hoped would bring some magic and quality to 2017 – that failed to materialise in The Jesus and Mary Chain’s Damage and Joy. Those enamoured of the band’s unique charms and dynamics will not balk: their latest record does not stray too far from a familiar path and contains songs many will already be familiar with. Maybe that is where the split comes: anyone (like me) asking the Scottish band to progress and deviate are short-changed; fans will bond with the business-as-normal sounds. There are some pleasant highs from The Jesus and Mary Chain’s 2017-work but I was not motivated to come back to any of the album’s tracks – it all feels a little plodding, predictable and routine.

Release Date: 24th March

Label: Artificial Plastic

Critical Snapshot:

“Also, any Mary Chain follower will be grateful to hear a new batch of downer-pop from the Brothers Reid just as they’ll be relieved at their ability to reconcile (unlike another former Band of Brothers). “War on Peace” features a blazing, arena-ready uptick in percussion and a chorus of “ooooh, ohhhhh”s, and it’s a pleasure to hear the long-missing Ferreira sing “Yeah, it’s just a bitchhhh” on the prettily dour “Black and Blues.” It’s all very nice. But that’s all it is: nice. The Mary Chain never moves beyond that in terms of lyricism or arrangement. The lack of any real verve on Damage and Joy actually makes their I’ll-be-replaced fears on “Amputation” something of a self-fulfilling prophecy” - Paste

Standout: The Two of Us

Morrissey - Low in High School

His latest scandal – there have been so many over the years – surrounding comments made to a German newspaper about reviled figures Kevin Spacey and Harvey Weinstein have seen many raise eyebrows in the direction of Morrissey – wondering if he should keep his opinions to himself! One could forgive a certain carelessness if the music is stunning and on-point, Morrissey’s latest record, Low in High School, does not hit the same strides as Years of Refusal (2009) and Ringleader of the Tormentors (2006). There is, mind, a few choice cuts that remind us of what Moz can do – Spent the Day in Bed, I Wish You Lonely and All the Young People Must Fall in Love are exceptional and hint at what the album could have been. Directionless anger, overly-suffocating snide and a lack of killer tunes (aside from the aforementioned) mean for all the build-up and promise: Low in High School is a misfire that should see Morrissey banished to the ‘naughty step’!

Release Date: 17th November

Label: BMG Rights Management (UK) Limited

Critical Snapshot:

“‘The Girl From Tel Aviv Who Wouldn’t Kneel’ is an unbearable cha-cha-cha; ‘Who Will Protect Us From The Police?’ is lumpen electro; and least listenable track ‘Israel’ sees him deliver political polemic via the dubious medium of a piano ballad. Moz has become pop’s greatest troll in recent years, and here he’s exhaustive in goading you to hit the ‘off’ button. It’s enough to make you put your head in your hands. Or, indeed, your lap” - NME

Standout: Spent the Day in Bed

alt-J - RELAXER

I may be slightly biased when I say I have never really been a fan of the Leeds band: this lack of excitement is based on quality (lacking) rather than expectation. The boys of alt-J have always been synonymous with experimentation, big, sweeping songs and sound unlike anything else out there. Unfortunately, on their third outing, they sound too much like themselves: a group still lacking any solid identity. Despite RELAXER being nominated for a Mercury Music Prize – their second nod – it is a record that has only a couple of great tracks in the batch (Deadcrush and In Cold Blood are worth closer inspection). Maybe their music is reserved for particular tastes and clans but I was genuinely ready to love and absorb the album – I was left a bit deflated and apathetic.

Release Date: 2nd June

Label: Infectious; Atlantic

Critical Snapshot:

“It would have been easy for Alt-J to continue making albums that followed a standard pattern, and in that regard, Relaxer represents ambition and a willingness to take chances. The downside is that it finds the band in a state of confusion, pulled in all directions and sacrificing a sense of cohesion. Alt-J’s first two records were built off of their comparisons, and on Relaxer they work to forge their own identity. They just haven’t figure out what that is yet” – Consequence of Sound

Standout: Deadcrush

FEATURE: The Hollywood Playlist

FEATURE:

ALL PHOTOS: Unsplash

The Hollywood Playlist

________

THIS year has been a mixed one…

with regards Hollywood and the film industry. There have been the controversies and scandals; directors, actors and film figures being put under the spotlight. Against the tarnish and dirt has been a busy and productive one for Hollywood. Later this year/next I will write about the link between celluloid and vinyl: the way music is interweaved into film and is an integral part. I have compiled a Hollywood-themed playlist that looks at classic films and directors; L.A. and interpretations of its lure; a few songs from this year’s best film soundtrack, Baby Driver; the glitz of fame and the downsides of the business; songs inspired by various actors (John Wayne gets two nods!). It is a comprehensive soundtrack that should please the most ardent and dedicated…

FILM fan out there. 

_________

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'

________

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

________

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

________

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

_______

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.

_______

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...

________

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

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

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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

________

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…

________

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

________

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

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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

________

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?

________

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

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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

_______

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.

_______

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!

_______

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PHOTOS (except the single cover): 

Shay Rowan