FEATURE: The January Playlist: Vol.1: Decorations Down, Hangovers Easing…

FEATURE:

 

The January Playlist

IN THIS PHOTO: The Vaccines/PHOTO CREDIT: Getty Images

Vol.1: Decorations Down, Hangovers Easing…

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THIS is the first Playlist of 2018…

IN THIS PHOTO: Dream Wife

and is no short supply of quality tunes! Dream Wife, Laura Marling and The Vaccines are armed and ready. Throw in Kendrick Lamar, Cardi B and Bruno Mars – and it doesn’t stop there. MGMT and Rae Morris have released new cuts; there are some hot offerings from the world of Rap and Pop; a smattering of underground treasures mingling with those big-league bangers.

It is a great way to kick off a new year and, as this week proves, one that is ripe, ready and ambitious! I have been looking at all the tracks released this week and compiled them into a post-Christmas stocking guaranteed to get the music juices drooling…

ALL PHOTOS (unless credited otherwise):  Getty Images

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Dream Wife – Hey Heartbreaker

PHOTO CREDIT: Aidan Zamiri

Flying Lotus – Quarantine

Laura Marling – Don’t Pass Me By

The Vaccines – I Can’t Quit

Sea Girls – Heavenly War

A Perfect Circle – Disillusioned

Arlissa (ft. Jonas Blue) – Hearts Ain’t Gonna Lie

BØRNS (ft. Lana Del Rey) – God Save Our Young Blood

Bruno Mars (ft. Cardi B) – Finesse (Remix)

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Ferris & Sylvester – London’s Blues

Charlie Puth (ft. Boyz II Men) – If You Leave Me Now

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Rosie Carney – K.

PHOTO CREDIT: Deborah Sheedy 

Chloe X Halle – The Kids Are Alright

HOTO CREDIT: Pascal Le Segretain/Getty Image

Sidney Gish – Where the Sidewalks End

PHOTO CREDIT: Hester Konrad

Lil Durk - India

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Soleima – Low Life

[MV] MAMAMOO (마마무) - Paint Me (칠해줘)

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Prelow – Goes to Shit

Dave East - Legendary

Tofer Dolan – Electric Heart

Plies - Rock

il Xan – Wake Up

Tyga - Boss Up

dodie – Party Tattoos

DON BROCO– Come Out to LA

Youngr – Ooh Lordy

Camila Cabello - Never Be the Same

James Blake – Vincent

Justin Timberlake – Filthy

Kendrick Lamar (ft. SZA) – All the Stars

Lilly Ahlberg – Bad Boys

Liam Payne and Rita Ora – For You

MGMT – Hand It Over

Rae Morris – Push Me to My Limit

TRACK REVIEW: MALORY - Nuclear Brandy

TRACK REVIEW:

 

MALORY

 Nuclear Brandy

9.6/10

 Nuclear Brandy is available via:

https://soundcloud.com/malory-official/nuclearbrandy

ORIGIN:

London, U.K.

GENRE:

Alternative-Pop

RELEASE DATE:

15th November, 2017

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YOU need only look at the title of MALORY’s latest song…

before bad memories and visions come flashing into the mind (the hangovers of recent celebration)! I will talk about titles and visuals in a minute but, right now; a hint at some trends and scenes that will define 2018; bonding with producers/others; getting big names before you; making your identity seen in a packed market; how to keep momentum going – and why I am focusing on female Pop artists for the first reviews this year. I said, last year, I would stray away from London and concentrate more on the North. My sights are definitely set on areas like Manchester but, as the year begins; the artists from the capital are pitching and shouting loud. MALORY’s latest single arrived at the latter stages of last year but she is already making waves and plans for the coming weeks. There is nothing to suggest northern artists will not take ground and make a big stand in 2018. I am hopeful the balance will shift and there will be a greater movement away from London and up to the North. I will talk, actually, about that now and why I am in London now. MALORY is an artist drawn to the city and compelled by all the colours and vibrations one finds. I am drawn to it and fascinated by all the mix of people and the variations you can discover. It is the place a lot of musicians go to find that spark and get their music heard. MALORY stands out because of the way she evolves her music – I will come to that later. Whilst I hope MALORY performs in the North this year; I know London is a place where her creative juices can flow. Although there are some great artists doing work in other genres; I am looking at the alternative vibes of Pop and seeing what is happening right now.

Pop is going to take a big slice of the pie and it is interesting seeing how the genre will shape and develop. Last year, there was that mainstream dominance and need to foster the traditional, unerring themes that have persisted for a long time. Of course, there were some great songs and original angles but there was not a big explosion to suggest things will change. The likes of MALORY suggest things are changing. There is an appreciation of the mainstream and popular tastes – in her sounds – but much more identity and intelligence than most music. One gets big production and radio-friendly swing but overriding everything is a determination and innovation impressive to see. Female artists have, in my mind, always provided more depth and beauty than their male counterparts. In modern Pop; the way female musicians are fusing other genres and sounds into the pot is deeply impressive. MALORY is someone who picks up little shades here and there and knits them into her own quilt. She knows what it takes to fit into the mainstream but realises how a fresh and unique dynamic will get her there quicker. There are too many who throw in a plastic song with aimless hooks and generic choruses – without realising that will only appeal for a short time. The songs that resonate and persist take risks and challenge the mind. London, in a way, is more practical and better suited (compared to the North) for modern Pop artists. Areas like Manchester have some great Rock/Alternative acts but London seems to be the place the hottest new Pop/Alternative-Pop acts are performing. Not only can the primed and hot youngster make a stand and inspire people: her music has that special ingredient that is hard to put the finger on. I have been looking around music for artists who will remain in the mind and compel me to remain with them. I hear great artists who have a brilliant sound but it starts to distil after a while. MALORY is flexible and creative enough so she can retain her identity and focus but change her style and lyrics between tracks. That means there is always something fresh and intriguing for the listener.

Titles and visuals are an interwoven and integral part of music. I ranted enough about photos last year – how few artists have them available; how music is a visual medium – and why acts who do not consider visuals will struggle to get attention. As a journalist; I look for acts that have an appreciation of the visual side of music and put out regular photos. MALORY has great press photos for Nuclear Brandy that demonstrate what the song is about and stand in the mind. Her previous single, Rapture, has its own look and style; the switch and change between songs extend beyond sound and influence – the visual aspect of each has its own skin. I love artists who throw themselves into photos and create something imaginative. I will come to this more in the conclusion but, if one can hone and create a great song-title; that can open the window in terms of visual creativity. I am hooked and interested in titles and wonder how much effort artists expend with regards the wording. Rapture has that familiarity to it, I guess – Blondie is a band who has that title in back-catalogue – but Nuclear Brandy is very much its own beast! I look at a title like that and am already interested and compelled to dig deeper. What amazes me is the title is not the only interesting thing about the song. The music is deep and interesting; the words are clever and simple at the same time. It is down to the listener to project their own images but the song has a physical and instant sound. MALORY creates that title and, when one sees the images of her swigging from a brandy bottle; you trip into your own mind and imagines what is to come. The song, as I will investigate, is not simply about alcoholic dysfunction and disorder. The Stranger Things-meets-Blast from the Past story of two lovers caught in a 1950s post-apocalyptic bunker is not your average tale! One would see the photos and press images and assume it was going to be a hangover story.

The pictures suggest revelry and chaos; a certain abandonment and reckless side of youth. Given the approaching Christmas and New Year – when the song was being conceived – maybe that was a sign of what was to come. Instead, and what makes it stand out, is the fact you have those impressions going in and are subverted. That is one of the reasons why modern Pop female are interesting: there is more energy and intellect expended when it comes to their stories and lyrics. A lot of modern artists are writing about love and relationships in a very rigid and boring way. That has been the case for a while but I wonder whether the scene is getting too hung up on commercial avenues and predictable songs. MALORY is part of the new breed that goes the extra-mile and pens something wonderful. The 1950s-set story and the brilliantly candid images make her pop and burst from the page. That sensation is continued from the speakers and, when one thinks about it; it is not only her titles that stand out. The whole story and nature of the song emanate from a daring and bold voice in music. It is hard and a gamble projecting something original and fresh and get into the heads of popular radio stations. Even though things are changing; there is that demand for accessible and common sounds. MALORY knows this and has taken the risk, regardless. Her upbringing, musical tastes and influences have guided her own style; she knows the best artists go against the pack – there is that huge possibility things can wrong and people will not react. The reason MALORY has succeeded and is getting acclaim is the fact she covers all the bases. The music and lyrics are fantastic; the images and look is striking and fresh; the production is incredible. An artist who has a lot more to say and sense of desire – this will be rewarded in a very productive and promising in 2018.

Jamie Evans is the studio wizard much on-demand and has been picked up by a lot of artists. I was watching a film about The Beatles last night (Ron Howard directing) and it looked at the way the band evolved and grew. From the leather jacket-clad scruffs to the suited Pop band who changed the world. It was not only the music and genius of the boys that got them that far: it took an outside voice and another body to help get the music promoted and the look just so. I am not saying there are connections in terms of sound – nobody will ever match the heights of The Beatles – but the way the guys were inspired by Brian Epstein (their manager) and producer George Martin got them from local hero status to the platform of rulers. Evans has taken the terrific ammunition from MALORY and helped load, lock and shoot. The way he has brought out little angles and suggestions from the music; his own impressions have gone into the palette and there is that close bond between artist and producer. I am not suggesting Evans has taken over and is the dominant force – MALORY is very much in command – but the hook-up has worked wonders. It is a fresh perspective and the trust between them shows. If she had self-produced or gone with another producer; maybe the song would lack that magic and intoxicating. Nuclear Brandy, on paper, is a challenging song with a lot going on and so much detail. Getting that right and ensuring it all hangs together is not as easy as one might envisage. It takes a lot of care to ensure the lyrics flow and the vocals stand out. The song relies on the dynamism of the composition and the production has to ensure things are crisp and clean – without being too polished and commercial. On top of that; the artist needs to feel comfortable and free to express their own thoughts.

The two have worked closely and concocted something heady and scintillating. The distorted synths and melodic stabs parabond with tribal drums and beautiful vocals. Evans and MALORY have that professional friendship and respect for one another. I can only imagine the conversations that occurred during the recording. The same way the hungry and excited Beatles rocked up and wanted to change things: there is that agility and excitement in MALORY. She has found a producer who recognises the immense talent and vision and has managed to channel and hone that into something remarkable. The natural talent of MALORY blends into Evans’ experience and affinity. I hope they work together again because, when one finds that free and easy relationship; that is not something that should pass by. I am not certain whether there is an E.P. coming in the approaching weeks but let’s hope MALORY and Jamie Evans continue to work together. The reason MALORY has managed to grab the hearts of producers and the public is the fact she wants to deliver music that has its own skin and colours. That words ('colour') seems rather pertinent when it comes to her sounds. It might sound a bit odd and pretentious if one associated songs with certain shades and tones. One might assume there is a bit too much brandy being consumed when talking about purples and greens. Those are the colours that define the new track. If Rapture was, in MALORY’s own words, blacks and reds; this is a more positive and colourful approach. The black-and-red motif might suggest blackjack, gamble and hatred. It is interesting because, when we see colours put together (I know, technically, black is not a colour…) each of us has our own views. We could think of cards and casinos; bloodshed and depression; newspapers and the media (that old joke about what is black-and-white and read all over…) or something to do with the heart – the redness being darkened by impurity. It is harder to broaden when it comes to purples and greens.

There are easier couplings with red and black: green and purple do not sit together as easily so it is interesting finding out why MALORY suggest those colours. I guess there is less to do with the thematic associations and emotions: it is about the sound and something more adventurous, free and less suffocated. It is more welcoming but, I guess, complicated at the same time. It is something to dissect; that is for sure. I have listed to Nuclear Brandy a lot and can hear suggestions of love and togetherness against the possibility of destruction and dissolving hopes. That seems very appropriate for a time when it seems like we are all living in a bunker. If the song is a post-apocalyptic look at past decades: now, we are at a time when the button can go off and the world can change in a heartbeat. That constant fear and nervousness is not something the globe has witnessed since the Cold War – back in the 1950s and 1960s. That battle between communism and capitalism; the division and not knowing whether a bomb was going to be dropped. Now; we have two made leaders baiting one another with no real reason. There is not an ideological imperative or a struggle for power. It is petulant and immature personalities boasting, fighting and poking – almost like two guys at a urinal comparing penis sizes! Green is envy and jealousy; purple suggest flowers and something romantic. Purple is a secondary colour of blue and red - so depression, love and blood can stem from that. A greenish-brown comes from mixing green and purple. That provokes other possibilities but I am pleased MALORY uses colours to define her music. I wonder what colours will come from her next track?! Will we see oranges and pinks? Will there be a brew of white and yellow? Nobody can tell but that, in a way, makes it easy thinking about songs. If you have an idea of colour and scheme; that can get the mind working and lead to something different.

ARTWORK CREDIT: Taylor Torr

I have gone off-track a bit but Jamie Evans, knowing how MALORY works, has helped paint the room and get the colours on the wall. That means we get a very imaginative and detailed song that comes to life from the very off. Before I come to look at the song itself; I wanted to look at why it is important to get music out to the big names. MALORY has struck the heart of tastemakers like Chris Hawkins, Sir Terry Wogan and John Kennedy. The great taste and influence of these D.J.s should not be taken for granted. Wogan might be gone but he knew a great artist when he heard one! The current influencers are not here to suggest commercial acts who are easy on the mind – they do not challenge it – and do things like everyone else! They look for something special that will remain in the mind and public consciousness. It is hard knowing what D.J.s and critics want but, looking at MALORY; she has managed to strike a chord with a broad taste and mindset. I have been looking ahead and wondering what it is that will define 2018. I mentioned Pop and how it will transform; why female artists are going to take more of the acclaim. MALORY has her own voice but she follows in the footsteps of innovative artists that have managed to change the face of music. I love the way she fuses sounds and takes a different approach to lyrics. It is no surprise prolific D.J.s have taken her to heart and realises what a potential force she is. That acclaim and kudos have reached The 405 and Metro; it has got the Radio X and BBC Radio 2. The momentum she got from Rapture has continued and, with Nuclear Brandy, more eyes and ears are trained her way.

Not only has MALORY got the ear of D.J.s and tastemakers there; she has supported George Ezra and played BBC Introducing Hype Park. The twenty-three-year-old has made big moves already and is not taking it for granted. It is a great time for her and I expect that love to expand as we go through the year. Who can say what the mainstream wants but, from polls and articles; I feel there is going to be that desire for intelligent and new Pop artists. Something colourful, bright and inventive is required at a time when we are still pushing generic and commercial sounds. MALORY will get more bodies behind her and see her stock rise. That will take her to new places and I cannot wait to see how far she can go. The fact she has some big names behind her should give her the confidence to keep recording and experiment. She has something that gets into the mind and creates fascination. She does not need to conform and change anything about her music. What I feel will happen is a slight tweak when it comes to production. Jamie Evans has brought something unique from the music. I hope they work together and, when it comes to the studio, push technology and fuse new ideas into the pot. The vocals and lyrics are sublime; the colours and visuals are perfect. The studio and sonics will be the only changes, I feel, as we progress through the year. Female Pop artists will be a big currency because they are daring and looking to get their name out there. There is sexism in the industry so the need to get acclaim and not be overlooked is paramount. That will manifest in huge sounds and some of the most inventive and nuanced tracks we have heard in years. I am confident MALORY will be among the chasing-pack and defining where music is heading.

The initial seconds are cosmic and transporting. It is like aliens are communication and satellites tuning; machines translating and electronic notes reaching out to the stars. I listen to the mad-for-it beats come into the fray and back the balletic and nimble vocals. I hear bits of Tori Amos, Kate Bush and Björk in the delivery and style. MALORY has her own brand but I can detect the influence of these artists. The same beguiling mixture of sweetness and passion; the way the voice skips and contorts – ensuring the words get straight into the heart and head. It seems the heroine is witnessing a dead-end town where people are going underground. Rather than a literal underground: the people seem confined to narrow ambitions and their normal way of things. It is a rather placid and unimaginative routine that numbs the soul and fails to foster any sense of hope. MALORY can see this and discover the folk who are not quite what they seem. There are paranoid liars and those tying up their two left feet; a sense of unease and idiocy that might extend beyond suburban confines. I am, as I can imagine MALORY is/was, living in an area of the country where minds are not exactly sharp and there are no dreamers – people who want to be exciting or have any real hope. We look at news stories of impending doom and think the inevitability of destruction is not as bad as the boredom and horror of a suburban life. Even though Nuclear Brandy has its heart back in the 1950s; the lovers and observers of the track seem to connect directly with the present. The young songwriter has cast her mind back but, in many ways, has one part of her brain in the current climate. I was fascinated diving into the words and the sort of visions. Maybe there is a sense of people wanting to retreat and hide from life. They are doing that without provocation and destruction: squirreled and sequestered from anything vaguely interesting.

Perhaps the overarching mantra is getting out of that toxicity and brain-dead boredom. The people are outside sipping on the lethal nectar; the candy is being eaten and the teeth chipped – the words swoon, fly and hum. Building in some backing vocals to emphasise certain points makes the song an endlessly inventive, romantic and pioneering song. They may sound like odd words to use but I immerse myself in the beauty and am helpless to resist the charms coming through. The production heightens every note and brings certain instrumental elements to the fore. Nuclear Brandy continues to work the mind and get the imagination conspiring. The beats start and stop; there are twinkling notes and the song seems to go through phases. It is a restless thing that has an anxiety and desire to change. Colours are fading to grey and the lovers dance for one another. Maybe they are trapped and feel constrained by their environment. There are so few options and places to go; uninspired and trapped by the unadventurous and disengaged nature of the people. The landscape is not compelling any drive and I can feel the heroine desperate to embrace something real and promising. There is a bliss hiding out below and, perhaps, escaping from the worst of it. Maybe there is that comfort in being in a rut and not having to engage with an exciting world: perhaps it is the proximity of the city and the way we can all get there and run from the miasma of the suburban lifestyle. The sirens blare and the flowers “never die” – we’ll “always smell the roses”, it is said. That contrast between the beige and boring; to the vibrant and vivacious; the bunker-life safety and the need to run from it and go to a more promising environment. I can relate and many can connect with the depression and lifelessness that comes from living somewhere closeted and limited. By the end of the song; you are provoked to listener again – there is a lot going on and it has that addictive quality. Not only does Nuclear Brandy get you thinking and considering your own life; there is an instant weight and authority that means the song gets right into the head and stays there. You will be singing the track and taking it wherever you go.

MALORY has made big statements with Rapture and Nuclear Brandy. I am excited seeing where she goes from here and whether more material will arrive. I feel an E.P. is the next step and a way to get a body of work out there. The singles have gained radioplay and opportunity but, from here, there is a chance to make a big leap. The momentum is with her and there are many making predictions. I feel MALORY will mix it with the biggest newcomers and lead the charge of female Pop songwriters. There will be gigs around London but I feel a larger remit is on the cards. She will get to other parts of the country and take the music further North. The current single has that imagery of suburban life and whether it is worse than nuclear fall-out – the way it deadens the mind and people learning to die; rather than learning to live. It is a viewpoint and reality we can bond with and, in the song, that last cocktail, the nuclear brandy blend, is the way out. Rather than succumb to that miserable eventuality; getting out and doing something in life is essential – making a break and doing something exciting is key. I get that from the song and can certainly appreciate the sentiment. Many will also relate and, when MALORY starts touring again; many will flock to see her. I know she has a date at The Finsbury on 19th February; where she will be playing alongside some incredible new talent. Check her Facebook page for that information and make sure you get down there! It is going to be a great year for her and I, for one, cannot wait to see how far she goes! The music already out there proves there is nobody quite like her. Nuclear Brandy blows the mind and, whether you capitalise her name (I chose ‘MALORY’), she stands out and is someone who will not pass by the biggest tastemakers. She’ll hit the road, record new music and prove how in-demand her music is. Even though we are only just in January; I am confident we are listening to an artist who can be…

ONE of 2018’s breakaway stars!

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Follow MALORY

Facebook:

https://www.facebook.com/maloryofficial/

Instagram:

https://www.instagram.com/maloryofficial/

Twitter:

https://twitter.com/maloryofficial

SoundCloud:

https://soundcloud.com/malory-official

YouTube:

https://www.youtube.com/channel/UCZZsrK19ss3bCTVnN3iuo1Q

Spotify:

https://open.spotify.com/artist/7lvI3xLIepHdLT85UbGWmi

INTERVIEW: VAZUM

INTERVIEW:

VAZUM

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THERE are not too many Detroit-based artists…

that leap to mind! Perhaps, if one thinks back, that task would be less stressful – from Motown and Garag...there are choices and idols that leap to the brain. In 2018; one would struggle but, listening to the music of VAZUM; you can hear the sort of quality and imagination coming from the Michigan city. I have been speaking to Zach Pilska - who plays under the moniker of VAZUM. He talks about the hot-off-the-press E.P., VAZUM, and what themes compelled the songwriting; if there is a standout song – and the artists that have influenced the sound.

I ask about President Trump and whether he was an ‘inspiration;’; what the music scene is like in Detroit; whether we might see VAZUM play in the U.K.; how the music comes together; what plans there are for the remainder of 2018 – whether Detroit’s social and economic situation is improving at the moment.

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

I am doing well. Thanks for asking.

It’s extremely cold in Detroit - single-digit temperatures. Been staying inside working on demos. Winter seems to be a good time to do that...

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

I am a drummer and play in a handful of Detroit-based bands. I’ve been writing music for a while - but it wasn’t until recently when it clicked. A recent break-up inspired me to follow my vision. I recorded an E.P., put a band together and started playing shows as the singer/guitarist.

How was your Christmas? Did you manage to spend time with family?

Yes. I spent time with my parents and brother. I did my annual visit to church. The priest said Christmas has become an exercise in nostalgia - and that resonated with me. There is an idea in everyone’s minds of what Christmas is supposed to look and feel like - and I think that applies to music as well.

People want to feel something from listening to music.

VAZUM’s self-titled E.P. is out. What can you reveal about its themes and inspirations?

Betrayal and trust are recurring themes as well as confrontation. The first song, Fall Guy, is about being literally thrown out of a bar. Big Bulp Lie is about the lure of the American Dream and how that can lead to a lifetime of misery...

Other songs are more positive. Agafia touches on the peace that comes with being a loner and disassociating from society.  

Is there a particular song from the E.P. that is especially inspiring or relevant?

I think the last song, What a Lovely Time, speaks to the unpredictable world we live in. These are the best and worst of times. As technology advances, does our quality of life improve along with it? In some ways ‘yes’ and some ways ‘no’. The Smartphone has an incredible amount of power over our lives and, perhaps, it’s time to start moving away from that.

It reminds me of the halcyon Detroit days when The White Stripes, The Dirtbombs and The Von Bondies ruled the roost! Are these bands that have inspired you? 

More so The Von Bondies than the others...

I’m friends with those folks and have been influenced from watching them play - mostly in their other bands including The Hounds Below and Pony Show. 

The city has become more socially deprived and violent since then. Is Detroit’s sense of unrest influential regarding your music?  

In a lot of ways, the city has improved…

There are new people moving in and new businesses opening.  In terms of being influenced by Detroit; the Jazz scene has had a lasting impression on me. I spent a good amount of time going to jam sessions and sitting in; as well as listening to different players. There’s a certain amount of bravado the Jazz-cats carry with them - and some of that attitude has rubbed off on me.

Zach. You write and record the song – utilising a band for live sets. How did you meet the band? What is the live scene like in Detroit?  

I’ve become friends with people in other bands in addition to the ones I play with. When it came to putting a band together, I had a whole roster to choose from - and personnel changes from show to show. Michael O’Connor, who is one of my good friends from FUR and VSTRS, has helped me along the way from the demo process with providing feedback. He naturally was a choice for the band. Detroit has a healthy music scene. There’s a lot of bands from all genres. Ther are several different scenes and, unfortunately, they don’t overlap as much as they could.

But; there is always something to do… 

Does the presidency of Donald Trump impact your songwriting an ambition? What is the impression of Trump in Michigan right now? 

People seem to be very angry these days...

The chorus of What a Lovely Time is aimed at Trump: “You ignorant, prejudice; bigot, bully”. He is all these things and, as a result, people are very defensive and have their guard up.    

Can you tell me the artists you grew up listening to?  

My dad played The Beatles, Talking Heads and Bob Marley a lot while driving. Then, I started watching MTV and got into the grunge bands. Smashing Pumpkins left a lasting impression: they were abrasive but had a dreamy aspect that I immediately connected with (especially on Siamese Dream). I later learned Billy Corgan’s intention with that album was to create an idyllic childhood he never had.

I feel like I lived the ideal he was envisioning and, in effect, that album was the soundtrack to my younger years. 

IN THIS PHOTO: Bent Knee/PHOTO CREDIT: MullenLowe U.S. 

Who are the new artists you recommend we check out? 

Bent Knee from Boston. I played a show with them recently. They weave intricate arrangements and parts together seamlessly. The singer has an incredible voice.

Another band (worth checking out) I played with recently, Sphaeras, who are from Singapore. They’re an all-instrumental group and also play complex music but are masters of their craft and make it look easy. 

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

Smashing Pumpkins – Siamese Dream

This is the ‘perfect’ Rock record from start to finish. Crazy amounts of guitar overdubs, expressive drumming that mirrors the vocals; different types of songs, from epic jams to sappy ballads.

Depeche Mode – Violator

Another ‘perfect’ record from start to end. I began listening to Depeche Mode as an adult and they have become the most important band of my adulthood. I saw them this past summer and they are truly on a higher plane or frequency.  

Blur – 13

Different sounds from song to song - but it all sounds like the same band. Another album I can listen to from start to end.

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

The market is over-saturated. Exploit what is unique about yourself and follow through with your vision unapologetically. 

Don’t second-guess yourself and just do.  

Can we see you perform anywhere soon? What gigs do you have coming up? Any plans regarding U.K. dates? 

I’m playing in and around Michigan for the next few months. I would love to take VAZUM overseas. A band I play drums with will be going to Spain this spring.

We may make it to the UK, too.

2018 is here! What do you have planned in terms of goals and ambitions? How did you see in the New Year? 

I’m working on new songs and plan to begin recording soon. I’m aiming to release another E.P. or album in the summer or fall. 

I’ve had my share of decadence and inebriation over the past year and decided to begin New Year’s prudently with a good meal and a good glass of wine. 

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). 

Thompson Twins – Lies

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Follow VAZUM

Official:

https://www.vazumrocks.com/

Facebook:

https://www.facebook.com/VAZUMROCKS/

Instagram:

https://www.instagram.com/vazum_rocks/

SoundCloud:

https://soundcloud.com/vazum

YouTube:

https://www.youtube.com/channel/UC4F1kh22e7OrDCgpzY9ljiw

INTERVIEW: Katharsis

INTERVIEW:

PHOTO CREDIT: Lidia Huerta 

Katharsis

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HER recent Apple Water session gained a lot…

PHOTO CREDIT: Ben Macconachie

of praise and attention. I was keen to speak with Katharsis about that performance and whether we can expect material from her soon. She discusses artists who inspire her and moving from rural Germany to London. I ask how inspiring the city is and whether she has plans concocted for this year.

There are visual elements to Kathasis’ work so I ask whether photography and cinema have helped fuel her music; whether there are any gigs coming soon; a couple of new artists we should watch out for; the albums that mean most to her – and how she saw in the New Year!

_______

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

Hey. Thanks for having me! My week’s been good, thanks.

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

I’m a singer, songwriter and producer; originally from Germany but I’m based in London now - and I’m about to finish my degree in Songwriting. I’d describe my music as a mixture of Classical influences, R&B and Electro-Pop - but I listen to a lot of different stuff, so I try to incorporate a bit of everything!

Lyrics are super-important to me so, whatever you hear in my lyrics, comes from personal experience.

How was your Christmas? Did you manage to spend time with family?

It was nice, thank you! I don’t get to see my family a lot - so coming back to my parent’s house makes me appreciate home more.

Your Apple Water session was put online last month. What was that experience like?

It seems like it has got a lot of great feedback…

It was a bit scary, to be honest. Haha. I am a massive perfectionist, so actually putting things out there for the world to see was a bit nerve-wracking. At the same time, it feels good to finally be able to show everyone what I’ve been working on - after going through a bit of a rebrand last year…and, yeah, the response has been great.

I can’t wait to put out a second live session later this year!

I know you are hinting new music for this year. What are you working on right now? What kinds of themes are inspiring your songwriting at the moment?

My debut single is being mixed and mastered at the moment. I think it’s my favourite song I’ve ever written, so I’m really excited to share it - I can’t give you the name yet but it’s gonna be out at the beginning of February!

I’ve also got a few more tracks lined up for 2018. I’m always inspired by love and human interaction: I find the power dynamics in relationships very interesting. I wanna get behind what makes people tick.

Mental-health is also a big inspiration to me.

PHOTO CREDIT: Lidia Huerta 

You moved from Karlsruhe, Germany to London aged eighteen. What compelled that decision and was it hard adapting to a city style – as you hail from a more rural landscape?

After I finished school; I spent a gap-year in London and completely fell in love with the city…so I decided to return.

Where I’m from, there’s not much of a music scene if you’re not in a Metal band - as cliché as that sounds! There was nowhere for me to play my music. It was difficult at first: where I’m from it’s really quiet and green; so I think the hardest thing to get used to was all the noise, actually!

PHOTO CREDIT: Aileen Lekschat

How inspiring and important is the city? Do you get a lot of motivation and guidance from the people and vibe of the capital?

I met a lot of amazing musicians and songwriters here that made me see music in dimensions that I didn’t really think about before. I learn a lot from them all the time: it’s really opened up musical horizons; if you wanna put it that way. It also makes you feel less alone in the music business - which is pretty cut-throat, of course. Having friends that know and share your struggle helps.

I also get a lot of inspiration from going to gigs and London is, of course, the place to be for live music.

Having a Classical upbringing; it is fused with R&B to create something unique. How important is your childhood tastes and early experiences to the sounds you produce now?

I started playing the piano when I was five and continued having lessons until I was twenty; so Classical music has always played a big part in my life. When I was in elementary-school, my older sisters would give me self-made C.D.s with noughties R&B on it: Nelly, Kelly Rowland; Alicia Keys and all that…and I would listen to them all day. Maybe, subconsciously, they’ve found their way back into my music today?!

As I said; I take a bit of everything…so it’s hard to tell!

PHOTO CREDIT: Lidia Huerta 

Which artists were most important to you when you were younger?

Funnily enough, I only listened to Rock, Pop-Punk and Metal when I was a teenager. I also fronted a Pop-Punk band through high-school. I really loved bands like Paramore, Jimmy Eat World and Lower Than Atlantis back then.

I still do but, of course, the music I make now is very different from that…

Listening to your work; it seems like visuals and imagery are part of who you are. Are photography, image and aesthetic beauty as important to you as music and sonic inspiration?

I think the music should always come first: no video or photoshoot can replace a great song that people connect to. But, you’re right. I really like getting artsy with photos and videos and making sure there’s imagery to go with my music - especially because I write songs from situations or images that get stuck in my head.

I also love artists like Lady Gaga - who push boundaries with their fashion and art!

IN THIS PHOTO: IDER/PHOTO CREDIT: Lottie Turner

Who are the new artists you recommend we check out?

I am really in love with IDER right now. They are two girls from London. Their style is so unique and their harmonies are gorgeous.

I also really love a band called ISLAND. They’re releasing an album this year - and I’m super-excited to hear it.

IN THIS PHOTO: ISLAND/PHOTO CREDIT: Melanie Tjoeng

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

Paramore - Riot!

I was thirteen and had just started singing in a Rock band – and I didn’t really have a lot of role models. So; seeing Hayley Williams front a band of boys with massive vocals like that was really encouraging.

Jimmy Eat World - Futures

A timeless album for me. I think I can listen to in ten years’ time and still love it.

Lapsley - Long Way Home

Hearing this album was eye-opening; because it was unlike anything I’d heard before. I would say it’s one of my biggest influences now.

PHOTO CREDIT: Thomas Brooker

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

It’s hard to not freak yourself out these days with social media; seeing everyone’s highlight-reel all the time. But, I’ve found it’s important to focus on yourself and your own path and to try and not compare yourself to everyone all the time.

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

I will be supporting the amazing Malory at The Finsbury on 19th Feb. We’ll be playing some brand-new songs and it’s free entry, too!

2018 is here…

PHOTO CREDIT: Ben Macconachie

What do you have planned in terms of personal goals and ambitions? How did you see in the New Year?

I spent New Year’s Eve at my sister’s place eating lots of great vegan food. Hehe.

I wanna take better care of my health this year. Career-wise; I wanna make and release loads of music and grow as a person!

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

I’ve been listening to Table for Two by Elli Ingram a lot lately - the lyrics are super-smart!

________

 Follow Katharsis

PHOTO CREDIT: Lidia Huerta

Official:

https://www.thisiskatharsis.com/

Facebook:

https://www.facebook.com/thisiskatharsis/

Twitter:

https://twitter.com/thisiskatharsis

Instagram:

https://www.instagram.com/thisiskatharsis/

SoundCloud:

https://soundcloud.com/thisiskatharsis

YouTube:

https://www.youtube.com/channel/UCElTIV8PbRuFAf-huxwB3mA?view_as=subscriber

FEATURE: Lorde, the Good of Israel... Why Rabbi Shmuley Boteach’s Accusations of Bigotry Are Dangerous and Misguided

FEATURE:

 

Lorde, the Good of Israel…

IN THIS PHOTO: Lorde/PHOTO CREDIT: Getty Images

Why Rabbi Shmuley Boteach’s Accusations of Bigotry Are Dangerous and Misguided

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FOR someone who preaches love and togetherness…

IN THIS PHOTO: Rabbi Shmuley Boteach/PHOTO CREDIT: Getty Images

labelling one of music’s biggest names a “bigot” is a rather contradictory and ironic move! Lorde recently cancelled a concert in Israel because of the tensions and conflicts (Israel has( with Palestine. This boycott is not a new phenomenon: as I will discuss; music figures have passed the opportunity to play Israel fearing (performing there) would send a bad political message. Rabbi Shmuley Boteach put out a full-page advert in The Washington Post following the New Zealand-born singer’s decision to pull out of her planned date in Israel. Lorde decided to cancel because of the poor treatment of Palestinians. Rabbi Boteach claimed her “jew-hatred” was part of a wider idolatry and mindset by Western artists. The New Jersey-based preacher poured scorn on Lorde and claimed that, as a twenty-one-year-old, it was a surprise finding someone so narrow-minded and bigoted. One can write-off the ramblings and misinformed delusions as a way of kicking up prevarication and serving a personal agenda – it does worry me how such accusations will impinge on the music world. Back in July; Radiohead took to the stage in Tel Aviv and were met with protest and derision. It was done and was seen as a deliberate contravention of the boycott of Israel called for by Palestinian civil society and adhered to by leading cultural figures.

IN THIS PHOTO: Jonny Greenwood/PHOTO CREDIT: Getty Images

The band’s guitarist, Jonny Greenwood, has an Israeli wife - so was aware of the situation and complexities present. The protests and abuse - the band had plastic bottles and debris thrown at them – was upsetting and affecting for a group who were only trying to bring their music to the people! Many peddled the line that Radiohead were anti-Semitic and supported the mistreatment by Palestinians: given the same accusation has been levied at Lorde (who showed pacification and boycotted); one can hardly win, can they?! There was the suggestion, after the furore surrounding Radiohead, people conflate Zionism with Judaism. Israeli governments, successive, have claimed to represent Jews in general – something seen as injurious and factually floored. A Time to Speak Out: Independent Jewish Voices on Israel, Zionism and Jewish Identity states:

“Moreover in the United Kingdom those who claim to speak for British Jews collectively (or allow that impression to go unchallenged) tend to reflect only one position on Israel’s conflicts: that of the Israeli government. In reality, however, there is a broad spectrum of opinion among Jews in Britain – just as there is among any other Jewish population in the world – on Israel and on Zionism. Many Jews refuse to view these subjects through a narrow ethnocentric lens. They base their opinions instead upon universal principles of justice and human rights. And they refuse to accept that Israel alone offers a viable identity for Jews.”

PHOTO CREDIT: Getty Images

Radiohead were not supporting the apartheid and civil war happening in Israel. One cannot label every band who takes a stand – either by performing and showing they are there to bring love to the people; boycotting as a stand against the violence in Israel – an anti-Semite. Many who protested, as was noted by critics, waved their flags at Radiohead’s gig but support the governments of Prime Minister Theresa May and President Donald Trump. How is oppression and bigotry in the U.K. and U.S.?! How can they support flawed and divisive regimes and brand a band like Radiohead, who do not support hatred and division, as bigoted?! Some see Lorde’s boycott as a political move. She is a from New Zealand: a nation that has not been involved in the conflicts between opposing sides in Israel. The nation does not support the hostilities and so, to brand one its most-popular artists a bigot seems rather suspect. I can understand why some would see a boycott as a political move, were they British or American – powerful nations making a conscious decision in regards the struggles. Musicians, by and large, do not have a strong opinion regards Israel and what is happening. They are there to play music but, if they feel performing a gig would send a bad message and would stir trouble – why should they put their lives and fans at risk?!

IN THIS PHOTO: Jerusalem, Israel/PHOTO CREDIT: Unsplash

Radiohead made a stand and took that decision – it was not done lightly and did not suggest their playing meant they supported oppression and those living in occupied territories. They were not backing the militant, blood-shedding fighters and the conflicts there. Other commentators have suggested a boycott is only justifiable when those worst affecting are calling for a boycott themselves; when a musician’s boycott has the chance to bring about change and improvement. I will come to look at Lorde’s case-specific omission but, in the past, actions seen as rebellious and ill-advised have yielded backlash. Paul Simon recorded with Ladysmith Black Mambazo (for his album, Graceland) when there was apartheid in South Africa. White artists were not performing in the country and it was seen, if they did, they supported the violence and racism there. Simon recruited Ladysmith Black Mambazo because he backed the black artists and population who were being killed and marginalised. That, at the time, was seen as taking an unwise stand – given the tension between different nations and governments – but his boldness and unwillingness to conform to foolish ideologies broke ground and helped bring about change. Israel is a different situation but one where making a stand either way is going to cause derision. Radiohead performed because they knew about the conflicts and divide and were not saying they were in support of the violence – they simply wanted to bring their music to people who were fans; those who wanted an end to bloodshed as much as they did.

IN THIS PHOTO: Rabbi Shmuley Boteach (in 2010)/PHOTO CREDIT: Getty Images

If one labels Lorde a bigot then they have to look back ant every other artist who has boycotted any country, ever. Faithless boycotted Israel in 2010 in solidarity with the Palestinians. Not only did their boycott, and subsequent ones, send a message musicians are unwilling to visit a nation that allows a race/group of people to withstand such brutality and hatred. It raises awareness of the situation there - when news focuses on domestic affairs and pays comparatively little time to Israel-based news – and shows nations like the U.K. and U.S. do not condone that sort of behaviour. Should a band/artist act on behalf of their government and make that call?! It is down to the judgement of the individual but I do not think anyone who plays/boycotts should be labelled as a bigot and conspirator. Radiohead’s decision to perform was met with derision by high-profile figures like Ricky Tomlinson, Juliet Stephenson and Maxine Peake – an open-letter was signed by South African archbishop Desmond Tutu. Poets, musicians and celebrities added their signature to an appeal that urged Radiohead to reconsider. Many saw Radiohead’s decision to ‘support’ apartheid as a double-standards: they are keen advocates of freedom for Tibetans.

IN THIS PHOTO: A boy in Palestine, Jordan/PHOTO CREDIT: Unsplash

Although Radiohead have not faced much heat and commercial disadvantage since that concert; it is still a controversy that highlighted the risks artists are taking playing in Israel. I can understand the desire to reach fans and not exclude people who are opposed to the violence present. Radiohead are not world leaders; nor are they saying they back the violence. Perhaps a certain self-respect was lost (by Radiohead) but one cannot question their motives. Given the years-long boycotts and pressure exerted by public figures – can anyone blame Lorde for pulling out of her gig?! If she were to attend and be met with protests; that could cause her physical harm and she would be exposed to who knows what! Lorde actually asked her fans what she should do and was unaware of the troubles in Israel. She did not want to offend and was hardly coming out in the press with anti-Semitic views! It was a decision based on feedback, research and caution. She did not want to inflame tensions and provoke any criticism and violence. She made the right choice and, other than a social media post saying she was cancelling the concert; nothing else was said on the matter. Following the reaction Radiohead gained when they performed; Lorde had no other choice but to back out.

PHOTO CREDIT: Andrew Whitton

She would have, if she went ahead, garnered bad press and that would have a detrimental impact on her fanbase and commercial platform – and damaged her wellbeing and health. The young songwriter has never, as far as I know, been to Israel so has no idea how bad the situation is. The fact rabbi Boteach went to such extreme lengths to condemn Lorde and single her out is inflammatory and vicious. She is no bigot and is not making any negative statements. The decision is not an easy one but, when other artists have pulled out of Israeli concerts; they have not been greeted with bile-filled spreads in U.S. newspapers. The fact it even made it to print makes me question the integrity and compassion of the editor. Freedom of speech is justified but (his words) step into libellous territory; designed to spark hatred and judge an innocent musician – somewhat ironic given his tirade and the points he was strictly underlining. Rabbi Boteach’s comment are, given past decisions, sexist, ageist and personal. Paul McCartney performed in Israel in 2008 – he played there as part of the nation’s sixtieth anniversary. Militant activist Nakri Muhammed threatened him with death following that decision: McCartney played in the country because he and his friends supported Israel. Whether you see the South Africa comparison as a false analogy or not; it is clear there are complexities and opposing sides. Boycotting Israel is seen as illegal under French law (according to the French appellate court of Colmar; others see (boycotting) flimsy and ineffective). John Lydon, in 2010, responded to criticism against him by claiming he will not boycott any Muslim country because none of them has a democracy – so you cannot have an issue with the violence there! That comment came in light of Elvis Costello’s decision to boycott playing the country. Gene Simmons felt boycotting was a waste of time: directing anger at Arab dictators was a better course of protest.

IN THIS PHOTO: Madonna/PHOTO CREDIT: Getty Images

Other public figures who have shown their support (by boycotting/protesting) include Elton John, Leonard Cohen; Lady Gaga, Rihanna; MGMT, Madonna and Alicia Keys. Riverdance performed in Israel back in 2011. Madonna’s The MDNA Tour visited Tel Aviv in 2012. She said the concert was designed to promote peace – even offering six-hundred tickets to various Israeli and Palestinian groups. Scarlett Johansson promoted SodaStream in 2014 – an Israeli company that operated in a West Bank settlement. SodaStream is a peaceful cooperation and employs Palestinians and Israelis. There are no easy answers and ‘right’ decision when it comes to playing Israel and what refusal/participation says about your political allegiance. There have been artists who have played as support of the innocent and refuse to be cowed. Those conscientiou-objectors are not willing to play in a country that allows the sort of cruelty and violence aimed at Palestinians. Lorde’s decision was not a rash one or based on any prejudice. She was urged by fans not to attend and, when announcing that decision, rationalised and explained everything. There is an irony when one hears a rabbi, who espouses faith and love, expressing such hate and contradictory values. According to the Talmud; gratuitous hatred is the most vicious form of hatred - and the rabbis denounce it in the most extreme terms.

PHOTO CREDIT: Unsplash

In their view, the Second Temple was destroyed as punishment for this sin (Yoma 9b; cf. Story of Kamẓa and Bar Kamẓa, Git. 95b). It is equal to the three paramount sins of idolatry, fornication and murder (Yoma 9b). Torah explicitly prohibits hatred of one's fellow in the verse "Thou shall not hate thy brother in thine heart" (Lev. 19:17). Hatred is understood by the rabbis as essentially a matter of mental disposition, as implied in the phrase "in thine heart." Torah explicitly prohibits hatred of one's fellow in the verse "Thou shall not hate thy brother in thine heart" (Lev. 19:17). Hatred is understood by the rabbis as essentially a matter of mental disposition, as implied in the phrase "in thine heart." One who expresses hostility to his fellow through word or deed, although he violates the commandment "love thy neighbor" and injunctions against injury, insult, vengeance etc. is not, according to most rabbinic authorities, guilty of the specific sin of hatred referred to in Lev. 19:17 (Sifra, Kedoshim; Ar. 16b; Maim. Yad, De'ot 4:5, Sefer ha-Mitzvot, prohib. 302; Ḥinnukh 238). The Talmud is emphatic in its denunciation of hatred. Hillel taught that the essence of the entire Torah is, "What is hateful to you, do not do to others". I wonder how one who lives his life according to Jewish teachings can so blatantly and explicitly pour hate and scorn on one he does not know?!

PHOTO CREDIT: Getty Images

Those interpretations and explanation of hate should, if rabbi Boteach practices as he preaches, make him pause for thought. It is preposterous calling someone like Lorde a bigot. She has no hatred and prejudice in her heart: her music is designed for everyone and she opens her soul to everyone. Her touring and endless schedule means she plays to Israeli and Jewish audiences; she does not discriminate and the fact Lorde felt bad and gutted to miss the gig means it was not an easy decision – as the accusatory and toxic article (by rabbi Boteach) seems to suggest. He would do good to look inside himself and attack an innocent young musician who was pulling out of a concert – she did not kill anyone or commit any huge sin. It is appalling such a tirade was provided the oxygen of national press – I wonder why The Washington Post allowed the article to go to press. The only person who has come out of this with dignity and respect is Lorde. She has not engaged in retaliation and name-calling. Her reasons (for calling off the concert) are sound and she has the right to change plans without being accused of bigotry and hate. Other artists, who have difficult decisions to make regarding gigs in hostile areas, might make a bad decision if they fear a ‘wrong’ choice will see them assaulted in the press! Lorde should be proud of herself as she has come through a difficult time and not broken under pressure and scrutiny. The Washington Post piece is the opinion of one (ludicrous) human but I fear this kind of thing is doing damage to artists who have done no wrong. Let’s hope lessons are learned and people like rabbi Boteach…

PHOTO CREDIT: Unsplash

THINK before they speak!

INTERVIEW: Yazzy

INTERVIEW:

 Yazzy

________

SHE made the news last year after conducting a mass singalong…

following a cancelled Adele concert. I have been speaking with Yazzy about that experience and what it feels like to have inspired so many people; which artists she takes to heart; the albums that mean the most to her – whether she has anything exciting planned for this year (so far).

Yazzy talks to me about her new E.P., Illusion of Love (Live in Studio), and which song from it stands out; what she did for Christmas (the interview was completed in December); the new artists we need to check out – and how she turns heartache and failed love into something hopeful and inspiring.

________

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

Hello! Absolutely amazing, thank you. It’s currently Christmas week and me and my siblings were given a puppy!

I hope you had a lovely Christmas, too! 

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

My name’s Yazzy. I’m an eighteen-year-old singer/songwriting based in gorgeous North Devon. I’ve been writing, performing and recording since the age of ten.

I am a full-time musician; I sing for a lot of charities including Children's Hospice South West and ChemoHero (of which I am a patron). I gig three/four times a week. I describe myself as over emotional and over-excitable.

If you were to meet me, you’d notice I’m very chatty, bubbly and giggly…and my music is very emotional and heartwrenching. Haha!

Illusion of Love (Live in Studio), your new E.P., is out on 3rd January. Can you tell me about the themes and ideas that inspired its creation?

So…Illusion of Love is an E.P. written about love, heartbreak and life experiences. 

Is there a song on the E.P. that stands out to you? Which one makes the biggest impression?

For me; it’s Heal Me - as it’s not written about boys, love or heartbreak. Its written about a very dark time in my life where I was completely lost, unmotivated and didn’t believe in myself.

I’d lost the spark - and this song is written about wanting my mind to be healed.

It seems heartache and personal conflicts are a part of your ethos and songwriting. Do you think music is a positive way of turning something hard into a positive moment?

I think songwriting is a positive way of making something good out of something bad. A lot of my songs are written about bad experiences in my life - but at least I can turn around and say: “Hey; well at least I got a song out of that”.

Music, really, is like therapy: it’s there for you to pour your heart into.

You started writing and recording music aged ten. Was there a single moment where you decided this is what you wanted to do? How do you think your music has developed since then?

The moment, for me, when I knew it was what I wanted to do was when I was ten. I’d written my first couple of songs and recorded them in my friend’s dad’s garden-shed on a little Dictaphone. He used to burn them on C.D.S (for me) for me and mum to listen to in the car.

I thought it was so cool. I knew music was the only thing for me as soon as I started.

PHOTO CREDIT: Emzi Porcupine Hyam

You are still only eighteen, mind! Was your childhood filled with good music around the house? Which artists did you experience growing up?

Yes! my mum has great taste in music.

She used to own a shop and the albums she would have played were from artists such as Eva Cassidy, Amy Winehouse; Etta James, Nina Simone and Sam Cooke. I think you can tell, in the music I write today, that I was brought up with such soulful music. 

IN THIS PHOTO: JP Cooper/PHOTO CREDIT: Getty Images

Who are the new artists you recommend we check out?

JP Cooper and Frances, 100%. I saw Frances live last Easter with my mum. I honestly stood there and cried the whole way through.

Both of these artists are so heartfelt and pure. For me, it’s the songwriting that JP and Frances create that is (just) magic. 

IN THIS PHOTO: Frances/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?

Not including my own; I would say Simply Eva by Eva Cassidy

I grew up listening to it. I sing Over the Rainbow and Songbird at most gigs.

JP Cooper - Raised Under Grey Skies

I love this album as its quite a recent discovery. There’s a few tracks on the album like Closer, The Only Reason and, especially, In the Silence, where the lyrics really resonate with me. This brings me on to my final choice….

Things I’ve Never Said by Frances

I love every single track on the album: literally every track is great but, in particular, Cloud 9, Don’t Worry About Me; Say It Again (because it’s my dad’s favourite song I cover) and The Last Word. I’m convinced The Last Word is one of the greatest songs ever created and, if you love a good cry like I do, it’s the song for you.

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

Stay true to yourself and try not to really listen to anyone else’s opinions. It’s good to get people involved with your music and journey - but don’t let people’s opinions affect how you feel about things.

It’s your journey, not theirs. 

I guess conducting a mass singalong after a cancelled Adele concert must count as a personal highlight?! Did you expect so many people to singalong and participate?! How do you feel looking back at that time?

It was one of the best nights of my life. Even if there were three people there it would have been (just) as amazing. It was just SO nice to be surrounded by people who love and appreciate music. 

You have performed with Jake Bugg and for Camilla and Prince Charles. Have these moments inspired you to aim big and high?

100%. I’d love, one day, for people to be as excited to perform to me as I was to perform to Jake Bugg, Princes Charles and Camilla...

It does make you feel really inspired to aim high because, for example, with Jake Bugg, it’s a completely different life if you get your lucky break. We all start off the same gigging in pubs, busking etc. and the journey is still the same - just on a bigger, more exposed scale with more opportunities.

I’d love to be as successful as Jake Bugg. 

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

I have lots of gigs coming up but, in particular, I have my album launch at The Pier House, Westward Ho! on 5th January! I’m looking forward to that one, in particular, because I’ve organised it all myself - and I’m supported by Giardino Strings (a London-based string quartet).

I know the evening will inspire me so much and start the year off on a high. 

Do you have plans for this year already?

2018 starts with the launch of my E.P., Illusion of Love, on 3rd January - and then the launch evening on the 5th (January). 

What are your aims and ambitions for 2018?

In 2018; my New Year’s resolution is to write at least a song a week. I want to get really creative, write lots of songs and record - release a lot of songs while gaining a larger following.

That’s my aim for 2018.

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).

Frances – The Last Words (Live) – dscvr Ones to Watch 2016

________

 Follow Yazzy

Official:

https://www.yazzymusicofficial.com/

 Facebook:

https://www.facebook.com/YazzyMusicOfficial/

Instagram:

https://www.instagram.com/yazzy_music/

Twitter:

https://twitter.com/Yazzy_Music

  SoundCloud:

https://soundcloud.com/yazzy-chamberlain

YouTube:

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

Spotify:

https://open.spotify.com/artist/58efHjNcVY41Ffa0GqKEQg

FEATURE: 2018: A Stasis Odyssey: Is Artificial Intelligence the Natural Way Forward for Music?

FEATURE:

 

2018: A Stasis Odyssey

ALL PHOTOS (unless stated otherwise): Unsplash

Is Artificial Intelligence the Natural Way Forward for Music?

________

THE title of this piece…

IMAGE CREDIT: Getty Images

refers to the 1968 film directed by Stanley Kubrick – adapted from a short story by Arthur C. Clarke – but, actually, there are comparisons between that Science Fiction classic and exciting developments in music! 2001: A Space Odyssey is about an imposing black structure and the way it provides a connection between the past and the future. When Dr. Dave Bowman and other astronauts are sent on a mysterious mission their ship's computer system, HAL, begins to display increasingly strange behaviour – that leads up to a tense showdown between man and machine that results in a mind-bending trek through space and time. Maybe things are not quite that dramatic and cinematic - but the way man and machine/technology interacts is being explored and evolved. A lot of musicians favour the electronic/digital revolution because it means they can compact and streamline their music into a hand-held device. If you, before, took musicians on the road to provide backing; it would involve ferrying and impractical journeys. Now; many artists can put those backing tracks onto a device and play them at gigs – there are few wage packets and less hauling and work needed by the artist. I will explore the new developments being proposed in music but there are those who prefer things the way they are. There is that human connection and the ability to bond with an audience: music is about the physical revelation and spiritual depth! Songs are written by humans and replacing them with processed vocals and animated figures take away the traditional and obvious joy one would get seeing an actual musician up there.

Many artists see the way music and interaction are becoming distant; the way we play and enjoy music is becoming less physical and connected! Many of us are spoiled and demanding so we always want new music and things right in front of us. A lot of mainstream artists, such as Loyle Carner, feel songs are like chapters in a book: one must wait for them to come together and not be so impatient and greedy. The Internet and streaming mean music can be released instantly and reach millions: people are always on the hunt for something and have lost a degree of patience and discipline. My thoughts have been compelled by an article the BBC wrote that explored breakthroughs happening in the music industry. Developments and advancing music is welcomed: it means we can explore new possibilities and, actually, make music richer and more promising. Technology has been a part of music for a long time but the drive towards new arenas is putting some off. If we continue to explore the limits of modern technology...does that mean the conventional gig risk extinction?! Will we see our favourite artists replaced by holograms (more on that) and watch gigs from our laptops only?! Will we make improvements and steps regarding sound and quality if we remove the physical, human component?! A lot of feedback comes from gigs and the way an artist performs...

Nuances and on-the-fly changes can make a song stronger or different. That decision comes from audience reaction during the gig and it is important having that interaction. We got to gigs (most of us) to experience something real and deep. We bond with the artist(s) and, from the performer’s viewpoint, they want to see the look on people’s faces and get that hit. Many are questioning whether genuine, quality Rock will make a comeback: that is going to be harder to achieve if we feed everything into a machine. It all boils down to those who want to preserve the human element and hear real strings, voices and beats (and other instruments). Whilst I am part of that camp; I am excited by some development occurring. Before I move onto the A.I./holographic point...the technological breakthroughs we have made has provided musicians greater scope and possibility – able to connect with people from their own home. Musicians can record material on a laptop and broadcast shows without having to travel – saving on costs and able to reach more people than performing in a single venue (viewers around the world can log in and watch). In the case of Noel Gallagher’s album, Who Built the Moon? – he recorded and produced a lot of his material on a laptop. Software, laptops and new technology mean artists can produce different-sounding notes and experiment with sounds in a different way.

IMAGE CREDIT: Getty Images

They can create symphonies and huge sounds with the click of a mouse. Were one to attempt that with an orchestra then the cost and logistics of putting that together would be immense. Technology has helped so many musicians reach others and get their music heard: that might not have been possible were they to rely on studios and hiring musicians. Fairly new horizons like block-chain technology mean releases can get sent from the creator to consumer without infringement of copyright and piracy issues. DJ Gramatik become the first artist to ‘tokenise’ himself – meaning fans could buy tokens using cryptocurrency. A lot of these developments are new – so it is hard to know if any problems will arise – but the way music can go from the musician to fan is changing. It is a lot quicker; you can disintermediate distributors and the middle-man and protect the actual product from misuse and any unauthorised copying or distribution. Whilst there are many who want to conserve the heritage and humanity of music; many out there are excited by the greater role A.I. is playing. One of Japan’s biggest Popstars is Hatsune Miku. It is a humanoid singer that has captured the imagination of the Japanese people. It is not a shock such an advanced and technology-focused nation would embrace an alternative in J-Pop. It is, specifically, 3-D holograms that are making the news...

IN THIS PHOTO: Roy Orbison/PHOTO CREDIT: Getty Images

Rob Orbison (‘The Big O’) died in 1988 but he is embarking on a tour this year – good work if you can get it! Backed by the Royal Philharmonic Orchestra; ‘he’ will play Cardiff on 8th April. His son, Roy Orbison Jr., hope this landmark will see the hologram play its own Las Vegas residency. Tupac, Elvis Presley; Gorillaz and Michael Jackson have appeared in hologram form and played ‘live’ gigs. Whilst the projection cannot interact with the audience and, essentially, mimic movements like a robot could – maybe this is where music is headed. Some quarters are uneasy having a dead artist resurrected without their consent – and a bit unnerved by the whole concept. Whilst it is a strange experience; many of us wouldn’t have had the chance to watch artists like Michael Jackson and Roy Orbison play. Not only does the upcoming Orbison concert provide a unique collaboration but a demonstration around holograms and what is possible. The concert will have those live musicians but incorporate Orbison’s music in a more sentient and visual manner. The only way we can connect with departed musicians is watching older videos and listening to their music. It is impossible to watch them in the flesh so, in a way, this is a way of making the impossible real. Long-gone artists can collaborate and, like Orbison, they can have their music backed by orchestras.

Maybe the full capabilities and possibilities are years off but it seems holograms and A.I. are here to stay. We will never get rid of real music and abandon the form as we know it: in many ways; A.I. will bring music to new people and places. If you cannot afford to see an artist or are physically unable; they can be projected in your home and you can experience the concert without leaving your room. Some see that as a gateway to the disbandment of live gigs – where performers and fans share a space – and a step towards human disconnection and sloth. The reason, I feel, holograms and A.I.. can transform music is to make the impossible realised. We can get music to far-off places and revive deceased artists; increase the possibilities of what a live show is and, for many living artists, augment their existing music. M.I.A. was at Meltdown last year and pondered the political activism of A.I. – whether something artificial could provide the physicality and humanity needed to provoke revolution and reaction. That is a downside for sure: the fewer human elements available; the less chance we have of inspiring politically-minded music. That is needed in the modern scene - so we have to be aware of that pitfall. Many bands welcome 3-D mapping and virtual-reality. Artists can make their music more interactive and create spellbinding light displays and electronic sets. It means there is not a guy sitting on stage playing a guitar or scratching records.

IN THIS IMAGE: Gorillaz/IMAGE CREDIT: Getty Images

3-D mapping manipulates objects and creates a completely new feel and look. It means that can come into a set and provide fresh depth and layers. These advancements mean the live set is more immersive and, as such, will bring more people in. I have discussed how fewer people are going to gigs and supporting new artists. It is creating genuine concern but the addition of 3-D and A.I. could provide the same spectacle and entertainment as your favourite box-set. Bands/artists who are getting a bit tired and old – and do not want to keep touring – can, like Gorillaz, go anywhere in the world as often as they please. Whilst Damon Albarn and his crew are in the same venue as their animated selves; they do not have to rely on this in future years. They can sit back and take their music around the world without expending any energy. It will be possible, as the band attests, to preserve the music of artists in a more secure and impressive way than V.H.S. and D.V.D. Many of us have old tapes of our favourite artists from childhood. Gone are V.H.S. recorders so, unless they have been released on D.V.D.; we have lost quite a lot of the past. A.I. is, essentially, the modern-day form of V.H.S. Given, it is more advanced but it means we can ensure music from today is available decades down the tracks.

It is clear the possibilities are very exciting and alluring. These advancements are, literally, the future – they will become more commonplace and continue to grow and solidify. The idea of seeing Roy Orbison come to life in Cardiff is a sight that brings mixed emotions in me. I love the fact new people can see the great man live and right in front of them. I wonder whether the success and popularity of these kinds of concerts will mean every dead artist will come to life and feature on a stage near you. The sense of privacy violation and mawkishness is hard to shake off. As this phenomenon becomes more embedded and ingrained; I guess we will see it as normal and natural. We use virtual-reality and A.I. to simulate dinosaurs, sea-life and specimens we could not otherwise view for ourselves. It seems inevitable that the music world would look to venture into this avenue. My reservations aside – whether it will be expensive to sustain and whether the ordinary person has the technological capabilities to see A.I. concerts from home – I feel economic and ergonomic issues will be addressed and resolved.  It will inspire industries like film and T.V. to use the technology and push the boundaries of what is possible on the big and small screen. It can feed into all areas of the art and the classrooms – used as an educational tool and way of bringing the past (vividly) to life.

I feel A.I. and 3-D is a few years from being viable and truly revolutionary - but its practical advantages are inspiring and very exciting. Musicians can take their music further, physically and audibly, and add new levels and elements in. The amount of data A.I. carries and produces means live performances can be enhanced and elevated – in terms of theatrics, technical possibilities and how we can interact with the past. It is not only about projecting an artist, living or dead, in a unique environment: the way we can collaborate with immaterial forms and technologies can change music for the better and open new horizons. From gigs to recordings through collaborations and the way we hear instruments – all very promising and intriguing. So long as we do not let the machines take over too much – and completely replace physical performance/music as we know it – then that is fine. Knowing how far to go and when to stop is almost as hard as anything else. If a balance can be struck - so we understand why human interactivity is why most people go to gigs and buy music - then there is no reason why A.I., 3-D and other forms of innovation cannot have their place. Unlike disturbing system-error codes and man vs. machine battles; our advancement and curiosity will be much more harmonious (than 2001: A Space Odyssey). Artificial Intelligence might not seem like a natural development and next stage but, for many different reasons, it is…

THE future of music.

FEATURE: Pay-to-Play: Is It Time to Put It to Bed?

FEATURE:

 

Pay-to-Play

ALL PHOTOS: Unsplash

Is It Time to Put It to Bed?

________

THE term ‘pay-to-play’ is exactly what you’d imagine!

It can take one of two forms. Either a label will pay a venue to put their artist up – or get a D.J. to spin music from their artists. More commonly, though, it refers to artists (normally independent) paying a venue so they can play a gig. That might sound insane but it is not being limited to smaller spaces. Venues, larger ones, are still charging bands to play; hoping they (the gig/concert promoters/venue) will not lose money and turn a profit. I can see some sense with regards charging larger bands, perhaps. There is a lot of talk concerning the declining live scene and how it is impacting pubs/venues. I see a lot of musicians change their normal routine and travel further afield to get gigs. A lot of local bars and spots are closing and seeing fewer people through the doors. Dwindling profit and a less visible social scene means there is a definite sense of endangerment in some areas. People are spending more money on their own alcohol and staying in; we are choosing to find our own entertainment and there is not the same culture we saw years ago. Many would say the reduction of people in pubs is good regarding public order and the burden placed on the NHS. That is true but we are still seeing rampant drunkenness and many areas are proposing the idea of a ‘drunk tank’ – where lary drinkers can sleep it off without having to go to their local hospital.

If we are as irresponsible as ever; perhaps we are less sociable and happy – binge-drinking a sign of a nation whose psychological health is deteriorating. That is another matter but I wanted to look at whether the shrinking live music scene is forcing many venues into this pay-to-play scheme. Before I go on; musicians Christine Rage explained the concept of pay-to-play:

“Regardless of whether you're booking a hole-in-the-wall club in a small town, or all 18,200 seats at Madison Square Garden, the process for show promotions is the same. All venues owners want a venue usage guarantee and will require the promoter to pay this fee upfront. Smaller venues may allow a promoter or band to share the door fee in the case they can be convinced that there will be enough of a draw. If, however, the band or promoter don't bring in enough fans then they may still owe the venue money at the end of the night. Clubs and promoters like the Pay-to-Play business model because it guarantees they make the money they want upfront and without any hold ups. If the band has no audience, the venue isn't put out financially. Pay-to-Play is essentially scaled down concert promotions when you get to the heart of the matter. Your band can make money with Pay-to-Play the same way that the big name bands do, through sponsorship dollars, merchandise sales, and creative marketing techniques”.

That is a simplified explanation but it makes sense, definitionally. If there are very few people coming out and drinking then how is one to predict what repercussions that has on a bar/venue’s profit?! If, say, twenty people came out to watch a band for free and only bought a pint each; that might be £200 for a bar. They might pay each member of that band £50 for a set and so, if they were a quartet, that would mean the bar breaks-even. Unless you ask people to pay for a show – and know what numbers you’ll have well in advance – you are running the risk of losing money. A lot of people, because of streaming and less disposable income, are unwilling to pay for gigs and find the total cost of a music-based night out is too steep. I can emphasise with struggling bars but a lot of the pay-to-play implantation is imposed by promoters and outsider forces. Smaller bars might be working with a local promoter who are questing tariffs from artists. Bigger venues might be working off their own back but whoever instigates the scheme; is it something we should look to eradicate?! Before I come to the argument against pay-to-play; returning to that aforementioned article – where Christine Rage explains ways artists can turn a profit and merchandise/get sponsors:

“Sponsors are advertisers that want to get their brand name or product in front of a specific demographic. Some sponsors that might want to advertise to your fan base include:

Musical instrument and pro audio manufacturers

Music schools

Beverage companies

Clothing retailers”.

A lot of artists have their own merchandise stalls so they can make a bit of money on T-shirts, C.D.s and other assorted good. It can be hit-and-miss how much money (if any) they will turn on merchandise. You consider the ‘hidden’ costs of playing a gig and you start to see how the idea of making a profit (under these circumstances) is far-fetched. Most artists do not have the luxury of being walking-distance to their nearest venue. Even if they have a great pub/venue down the road; they will travel to get to other gigs. Some can load all their kit into a car - but many artists have to hire a van and pound a fair few miles. Throw in hire costs, fuel costs and band fuel (eat and drink) and that is only the half of it. You might have your own sound engineer and someone manning the merchandise stall and other assembled crew to help you set up your gig and run the show – maybe a local bar does not have their own security (so another body needs to come along).

Social media is a handy and free tool but many artists will still need to consider an advertising outlay. Facebook offers a service where you can boost a post – get it out to a larger audience for a fee of your choosing. Depending how many people you want to hit depends on the money you spend. Posters and flyers are a quick and easy way of reaching people. Once you have the printing and digital costs tabulated; toss that into a spreadsheet alongside the physical costs; put that with the money you are paying a venue – how much will that run you?! Say you are a solo artist and you are playing a gig twenty-five miles from your home. You can fit your guitar and amp into the car and do not have to hire that many people. Consider the petrol costs £20 (for the return) and promoting has set you back £40. You spent £15 on food/drink at the bar and have to pay the venue £20 to play. That is £95 before you even play a note! I know, from gigs I have put on, unless you are headline-worthy; you are not going to get more than £50 or £60. That means an artist is going to be indebted and in the red – unless their merchandise can tip the scales! That is a single example but a scenario that is not uncommon. Bands might be in a slightly better situation but they have more kit/people to ferry around.

Many might say the fees artists are paid is not a lot to begin with: what does it matter if you are losing a bit of money? I know venues are limited with how much they can pay an artist; they might not be able to charge an entrance fee and they have to think about their coffers. The reason so many speak out against pay-to-play is because bands/artists are not playing gigs to make money. Most of them have to work two jobs and are never going to make a big profit no matter how many gigs they squeeze into a year. They are performing to get their music to people and win fans. Streaming and social media promotion shares music but it does not guarantee you will reach everyone – how do you know which people are listening to your music? Many need to perform to solidify their skillset and ensure they get that experience in their back pocket. Most love the thrill and experience of playing. That excitement and reception they get when performing their music to a crowd – that is what drives them and keeps them going. If you are charging artists to play then that will lead to a few things. Not only will they perform fewer gigs – if they know they will lose money or take home a few quid – and lose that faith in the live circuit; they will struggle to make money and that will impact their mental-health and love of music.

Fans feel uncomfortable knowing venues are charging artists so might stop going to gigs as a protest. That means venues risk closing down and that impacts not only musicians but the local economy. Is this problem limited to smaller acts? Are they the only ones aggrieved and concerned? I have been looking at an article from 2011 - that provided Elbow lead Guy Garvey with the chance to explain his position:

"There needs to be something really strong in place if a promoter is found to be ripping off young bands. It's really, really unfair. It's basically playing on the hopes and dreams of people who are at the very first hurdle of their musical careers."

One man who has experienced gigging on both sides of the fence is Samuel Nicholls, aka Whiskas, guitarist of Forward Russia.

In his late teens and early twenties Whiskas was a promoter as well as a musician and has this advice for young artists tempted by play-to-play deals: "There's no need to do it. Pay-to-play deals never make sense as you're only ever going to play to your mates and family.

"My advice would be to put on your own gig. Buddy up with some other local bands, book a room in a pub, print some posters and do it yourself.

"You're risking your own money by doing it but probably no more than under a pay-to-play. If you do well you'll make more money and get more of the right sorts of people in to your gigs."

Money is a big concern for all new artists. The more music becomes digital and free; the harder it is for any new artists to make a profit and realistically survive. It is not only the unsigned/newer artists suffering: bigger performers are still having to pay venues so they can get their music to the people. It is a scene-wide scar that needs medicating and addressing. It might be obvious saying scrap it from all venues and ensure there are better ways to ensure profit is being made at gigs. At a lot of the problem is with greedy promoters and labels wanting to make money – rather than pubs/venues seeing a chance to get some cash in and taking advantage. I can see the problem regarding smaller venues and them feeling the pinch when only pull in a small crowd. It is clear we need to get rid of the pay-to-play concept. It is less common than years ago but I am reading posts where it is still happening in certain places. Every gig I have organised with a label/P.R. company has seen them do things fairly. They will pay a headliner £100; smaller artists get £50 and they have to play a set of around thirty minutes. They get beer tokens – so they can get booze for free – but they have to arrange all their own travel and instruments (they would be provided a backline and sound engineer).

That sounds like a fair deal because, if you are fairly local to the venue; that means you are still making money (even if it is £10 or £20). Even that set-up is still only turning a tiny profit for artists. I have seen a lot of them set up merchandise stalls but many are going to a gig and choosing to get that artist’s music on streaming sites. Look at the reality of gigs in music and you see what tight margins are present. Only the truly established artists can confidently play a gig knowing they will make a tidy bit of money. Of course, the passion of music and love of performing means many artists will play gigs for a small fee and be happy with that. Given the stress they are under – and the fact they have to work full-time jobs – how can any venue expect to sustain a pay-to-play model and not face backlash?! It is clear abolition needs to occur but, given the shaky future many small venues face; are there alternatives to the problem?! My ethical conundrum arrives when establishing whether it is scrupulous promoters/labels or hard-working venues culpable. The most common infractions are happening in small bars so I think you can split guilt down the middle. If you can only remain in business if you turn a profit; paying artists to perform means some venues suffer losses and, therefore, face closure – is it the only recourse in some cases?!

Some artists are willing to play for free if they are performing for a charity: others will do it in exchange for beer or petrol money. Whilst there are exceptions and room for bargaining; compensating artists for their hard work is only fair. To retain those ethics; if payment is not possible for artists, then some sort of immunity or indemnity must be formulated. As far as I know; artists who have to pay to perform are, unless the venues have a specific policy, not paid after the gig – if lots of people get in and there is a lot of money made behind the bar. There is that assumption, when making them pay, not enough money will be made at the venue that gig. If a contract can be worked up where the payment from an artist is a deposit – that means they can get their money back, and maybe get paid, if more people come in. Perhaps more venues should do the same as many festivals: offer food and drink as a minimum. A lot of artists I know (who have gone down the pay-to-play route) do not even get that. I think there should actually be something a bit more lucrative for artists. Maybe there is no other solution but force every venue to pay their artists fairly. Unless an artist volunteers to play for free then there should be money provided following every performance.

The notion of playing to perform is not exclusive to music – it is present in the entertainment industry and sport – but the issue of financial struggle is more vivid and clear than other industries. I have seen disgusted Facebook posts where artists have had to pay to get a gig and, at the end, have been out of pocket. One would think the rise of streaming and free music would put issues like pay-to-play into the spotlight. It is harder now (than ever) for new and established artists to make a crust from what they do. Unless you are an established act who can command multi-date tours and guarantee a healthy kitty after the end of any run – how much money are you going to make?! It is a testing time for new musicians and the off-putting side-effects of streaming need to be counterbalanced by positive rewards. That can come from passionate crowds and a fantastic network of fellow musicians. When you think about it; there are not that many benefits and obvious bonuses for a new musician. The passion and love of what they do tend to override the bad points. If some venues insist on maintaining their (Scrooge-like) pay-to-play policy then that will put so many musicians off. The music industry is a tough market, I know. Getting gigs, however, is a right (for those deserving) and not…

A privilege.

FEATURE: The New Music Expression: Unifying Guidance or Futile Rebellion?

FEATURE:

 

The New Music Expression

IN THIS PHOTO: Anne-Marie/PHOTO CREDIT: Getty Images

Unifying Guidance or Futile Rebellion?

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SOME might say there has been little…

IN THIS PHOTO: Bob Dylan/PHOTO CREDIT: Getty Images

in the way of political progress and musical rebellion since the 1960s. We all associate singers like Bob Dylan with politics and his cutting commentary. The songwriter himself claimed not to be political with regards some of his most famous songs. That seems extraordinary when you consider the lyrics – that speak of war, oppression and deceit – but maybe he does not want to be labelled and tied to those (rather weak) Folk artists who felt strumming strings was as effective as genuine protest and activation. The world has seen political distress and social divisions for centuries but, given the role of the Internet and how easily we can spread music; should there be a better drive towards getting artists to shift from love to politics? That might be a simplification but there are too many songwriters relying on staple and cliché for their inspiration. I raise the point because Pop mainstay Anne-Marie has revealed a new song – a demo, albeit it – that castigates President Trump and Prime Minister Theresa May. The song contains the lines “Dear Mrs. Prime Minister/We’re not one bit similar/So how’re you supposed to know a thing about us?”;“I don’t believe a word you say” it continues…“And as for Mr. President/It’s like World War III/And he don’t give a fuck”. The song then explores other issues: “So much drama, people dying/Police shooting, children crying/You know? No, you don’t”.

PHOTO CREDIT: Getty Images

The song ends with a definite promise: the people will not keep quiet and sit by. The lyrics are not up to the standard of Bob Dylan’s early work but they are least convey a distinct political anger – Anne-Marie is definitely not going to refute that claim. Another artist, Stomrzy, has been embroiled in a bit of a dispute with our (unpopular) Prime Minister. She has, somewhat inadvertently, claimed he is an artist who promotes drug-taking and is glamorising that form of abuse. I have written about drugs and how the seeming romance of substance abuse and drug-taking has led to a poisonous and dangerous culture. Stomrzy, of course, retaliated and is not solely responsible for any controversy. His Grime music is part of a scene where the subject of drugs has always been a component. He referred to May as a “paigon” whilst collecting a GQ awards – handed to him by opposition leader Jeremy Corbyn! It is clear there is a dissatisfied and disaffected sector of music that is unwilling to support the Prime Minister and the way she is leading the nation. If Anne-Marie’s song, Dear Mrs. Prime Minister, is an attack on the detached and middle-class values of May – and the way she is clueless regarding the public desire – then one has to wonder whether these (kinds of) songs can make a difference.

IN THIS PHOTO: Stormzy/PHOTO CREDIT: Getty Images

Stormzy’s declaration and attack is on the money but leaving it there seems rather hollow and anticlimactic. His comments gained a lot of press and were seen as the start of a possible revolt. The Grime community is among those who see through the Prime Minister and know the score. I wonder whether enough is being done and (whether) artists feel political music will gain traction and support. I touched on this late last year and wondered whether the role of ‘political singer’ is a false concept and an oxymoron. If the likes of Bob Dylan were never, as he states, politically-minded; then can we expect the modern popular to take a stand? I would say Anne-Marie’s song is a flavour of what is to come. Many might turn their noses. She is a Pop singer and is going to collaborate with Ed Sheeran on her next album. That combination might seem as scary and potent as a night out with your grandmother: hardly Public Enemy at the peak of their powers! Times have changed and we have not got the same might and muscle in Hip-Hop and Rap. Maybe we never did in the U.K. but the same could be said of the U.S. Aside from artists like Kendrick Lamar and a few others in Hip-Hop; how many other popular artists are tearing into the administration? It does not matter what genre you play in: now is a time when many are confused and looking for direction.

PHOTO CREDIT: Walid BERRAZEG @bazingraphy/https://www.instagram.com/bazingraphy/

I am impressed Anne-Marie took the decision to record a song that strays from what we know her for. Regardless of your opinions about her music and ethos; can you deny the fact a mainstream star attacking the world’s most powerful leaders is a sign of young artists taking a stand? I am not sure a single artist – or most of her peers – bandying together in protest cannot change the ways of the government and lead to social change. Rather than see it as a ‘revolution’ maybe we can see it as a necessary change and tide. Many are speculating as to how Pop will change this year – many are tipping a turn from commercial sounds to young artists speaking about things more substantial and relevant. There will still be a large proportion of love songs and concentrating on the self. My hope and suspicion is there will be a drive towards social/political-minded discussions and using a (privileged) platform to speak to young listeners in a new way. If the likes of Anne-Marie and Stormzy are not exactly breaking new ground or causing seismic shifts: their actions and reactions will inspire other artists to follow their lead and buck form the conventional. I know Anne-Marie will go back to her usual routine and style – her collaboration with Ed Sheeran hardly suggests we are about to see an explosive political firecracker that burns into the imagination.

IN THIS PHOTO: Prime Minister Theresa May/PHOTO CREDIT: Andy Rain/EPA

That does not matter because something as simple as that one (rough) song is a risky move from someone who has a particular persona and demographic. A revolution and vanguard does not have to match the quality and genius of N.W.A. or Public Enemy; Eminem or Kendrick Lamar. Those artists come from different background and play in different genres. There is nothing insincere and inauthentic about a Popstar like Anne-Marie tackling the state of the nations(s). She is a young woman seeing what is happening around her and finding the friction and bad decisions impact on her happiness and mental-health – she has written and spoken about her anxiety issues and how they affect her daily life. Those who are brave enough to fly and take a risk will see rewards and make changes. She could have written another personal song about life or a documentation of a no-good man (the usual fare one might expect from Pop). Things have got to the point where musicians are willing to break from their social contract and speak out against our leaders. You can debate the quality and potency of Anne-Marie’s lyrics; speak about the effectiveness of Stormzy’s (unwelcomed) shout-out; whether we will see an about-shift and a revitalisation in music. 2018’s sharpest and most arresting Pop moments might take a while to bed in but I feel, in the coming weeks/months, we will see a definite change in the air.

PHOTO CREDIT: Unsplash

Encouraging a climate change towards more politicised thinking and responsible songwriter is important. I am not saying there will be a complete makeover – nor will that be possible given the money, commercialism and rigidity in music – but the smallest changes and songs can make a big difference. I hope Anne-Marie works the song into something hard-beating, whip-cracking and intense: a modern Pop banger that will not only compel the listener to move and bond with the song; they will absorb the words and think more deeply about politics and what is happening in the world. It is not brain-washing or imposing a political affiliation on young audiences: it is an artist’s opinion and a reflection that many others share. I know mainstream music will not embark on radical shifts but there is optimism in the air artists who have a more prominent say in music (Pop acts) will dig deeper and, lyrically and musically, explore new territory. Some said the relatively recent exposure of Hip-Hop and Grime (many of our young hopefuls tipped for big things this time last year when tipsters were prophesising) provided a platform for something angered and observant. The likes of Skepta and Stormzy have done some good work but, this far down the line, has there been any huge difference and change?!

PHOTO CREDIT: Unsplash

As we make resolutions for the year and plan ways to improve our own lives; I wonder whether music, in general, will make plans and motivation for change. A few political songs and expressions of dissatisfaction will not mobilise the public into protest but it is a big and important step in a music industry where a lot of the most dissatisfied and disgruntled artists have to work in the underground. I always regret they do not have a mainstream voice but the gradual moves and reconfigurations we are witnessing have come off the back of a turbulent, testing year. Those who voted against President Trump and Prime Minister May have had our doubts and mistrust rewarded with peerless mishandling and mistakes. One of the things we should encourage in 2018’s music – among many others things – is a slackening of commercialism/populism and a greater nurturing of something deeper and more unifying. It is possible to foster a scene that blends the mainstream ideal and new movement without seeing an exodus of fans and dismay from records labels. If Anne-Marie’s bedroom-made attack of May and Trump is not an earthquake that can get the industry exploding and galvanised – it is an indication of dissent, dismay and disgust that has always been present in young artists. There are big issues that need to be explored, tackled and verbalised in popular music and, whether it is a small step or a huge leap, it can start a domino effect that can lead all the way…

 PHOTO CREDIT: Unsplash

THROUGH the music industry.

FEATURE: In Bloom: Can a Website Cure a Lot of the Issues in Today’s Music and Make Us More Sociable?

FEATURE:

 

In Bloom

ALL PHOTOS: Unsplash

Can a Website Cure a Lot of the Issues in Today’s Music and Make Us More Sociable?

________

IT is still the first day of 2018 so I am not going…

to start pushing myself and getting ambitious until the weekend at the very least! This year; I will repeat some points I laid out in 2017. I have talked a lot about sexism, racism and imbalances that are robbing great acts of coverage and equality. I am making pushes regards my Kate Bush documentary (hoping to get something out before February) and I want to, above all, make concrete development regards my website. I have pitched various pieces about Psychoacoustics: a website that would draw together all the facets and functionality of existing sites and put them into one place. I have taken a rather technological and electronic approach to the end of the year. I talked about the effects of social media and why we should encourage less time on it - maybe there is an irony talking about a website where we encourage artists and fans to spend time on. My concern around social media is less to do with the fact it is indoors and we are wasting our lives away: the fact is, we are not being productive and are open to trolling and abuse. Too many people are subject to bullying and negativity; the ‘social’ side of the Internet means we spent a lot of time staring at screens and sharing pointless information. It is important we retain a certain attachment to social media but I have been wondering what effect it has had on the collective consciousness.

Whilst I am seeing a lot of developments and good aspects of social media – music able to get far and wide; new connections and bonds made – but the downsides revolving around the amount of time we spent on it and what we actually get back raises questions. I will not write too many other pieces around social media but there is a desire in me to spend less time on it and move towards something more material and constructive. One might say a music website is the same thing as social media. People are facing the same problem and the addictiveness is the same. As 2018 begins; I am determined to get ambitions and plans moving and developed. There are three reasons why I am determined to get the website going and focalise all my music stuff into one place. It is possible to integrate all the social media strands into a website and not have people switching between sites. Sociability is an important part of music - and direct contact with artists/labels would make promotion and connections a lot easier. Right now; we have to email companies, D.J.s and artists but, if there was a messaging service where we could contact them instantly; have music contacts only – instead of general ‘friends’ on social media – then that would be a more productive way of socialising and connecting.

Rather than obsesses over status updates and photos; those who love music would have a more economical and relevant timeline/chat function and layout. One of the things that concern me about social media is we are commenting on things that do not matter; watching and seeing information that adds nothing – if we are going to spend time on the Internet/social media; it might as well lead to something beneficial. Another reason I wanted to set a website up is to combine all the various elements of music media into one. How many blogs and sites do we look at of a day?! I must visit half-a-dozen and I often look at another five or six music-related sites. I watch YouTube and listen to Spotify; I am on Twitter and Facebook for my updates; I have my email accounts I check; I am all over the place and spent a lot of time flicking between pages. Having all of those in a menu and combining that with a menu would mean I could have a one-stop access to all the blogs/record labels/magazines/music-related sites that I need of a day. Information is power and, in music, that takes two forms. For musicians and writers; there is that desire to research and discover; to find opportunities and progress. That could take the form of gig listening and local venues; bands/artists broken down into location/genre/alphabet – something not being done on streaming sites and music websites. I am concerned there are too many empty calories on social media. It is the way we promote music and discover new artists.

Everyone and everything is bunched together and we get easily distracted. Right now; things are so disorganised so we are getting waylaid and obsessing; we are in a lower state and mental-health concerns are growing. I am not suggesting a  disciplined and regimented music website would allay or erode the issues we have. It would be there for those interested in music but be a positive and safer space. I have seen reports recently of various problems arising. Female artists being abused on stage and marginalised because they are not considered Rock/raw – that is something that should be eradicated. Putting platforms and forums up; sites and information that counteracts this sexism and educates those culpable…a way of sparking debate and reducing the occurrences. Solange, a popular mainstream artist, had to cancel her New Year’s Eve performance/set because a nervous system disorder. Making people aware of that condition would mean other artists with the ailment would get support; it would expose ignorance and highlight underrepresented maladies and issues. There are so many other topics that could be raised. Details about music festivals and school; ways to get funding and controversial topics that have been raised – such as pay-to-play and the problem of depression in music. Informing people and providing links; making changes and moving forward – it would be a way for music fans, musicians and labels/stations/managers to all have their say and connect with one another. Alongside information is education. I am keen to bring together all the sites and websites – concerned with music and anything that could impact on musicians/fans – but eager to see older and new music combined into a single site.

This might be me traversing trodden ground but every day that passes sees me more and more frustrated with the state of streaming and music-sharing websites. I stumbled across songs I have not heard in years; I feel many people are not being exposed to the greatest music from the past. The only way to preserve the past and lead to a fuller music scene is ensuring people can find older sound – and putting them in an organised and compartmentalised place. Whether we integrate Spotify and YouTube alongside SoundCloud and BandCamp: a network or single site/search engine that makes it easy to get on top of all the great new music coming out is key; ensuring the treasures of the past are safe and advertised is crucial. This means new listeners can discover old gems; musicians have more material and archive to source from – it is beneficial to everyone. Making sure all recorded music, past and present, is visible and easy to navigate is as important as providing all the tools and sides to music. Software, where we can record instruments; ways of collaborating online and seeing all the best visuals, documentaries and videos is another consideration. Having a bespoke music library/search engine where one could find any album cover/album information is a good idea; investigate certain genres and, in a sense, create lessons and structured seminars for curious listeners and artists.

The idea is to tie together everything we already have so artists can be better informed and resourced. Listeners have greater availability and can discover music a lot easier. There is a lot of negativity and imbalance in music so, with the Internet at our disposal; there is a desire to provide a supportive community and tackle these problems. Encouraging debate and dialogue are vital in these times and the Internet is one of the most effective ways of achieving this. We all know the way music can improve and inspire so finding ways to achieve that is paramount. Warnings have been provided – by high-profile figures and musicians – as to the detrimental hold social media has. It is a chasm for aggression and abuse; a place where people feel exposed and do not feel safe. Getting away from that side of the Internet and creating something better guarded and music-based – with a social media component running as a minor thread –is a way of remaining on social media/the Internet but adds education, information and music in. Of course; there are downsides transitioning between a reliance on social media and transferring to a new site does not wholly get rid of the problem. The garden does not get rid of its weeds – and replace them with roses – without proper care and common sense.

It is hard to protect everyone and ensure we do not spend too much of our lives on computers. That is quite hard to achieve when you work in music. Most of the daily workload is done online; we spend time promoting and chatting – that does mean there is less time to rest and be a human being. I think a social side to the website that encourages people to get out would be a good idea. Whether that is a dating website or social events; it is key we get people out, together and interacting. It is possible to achieve all you need as a musician/fan, have that element of social media and not change too much – whilst allowing more time to get into the open and allow some room to breathe. Most of us are staying in and spending less time with our fellow humans. That is because of a number of things but I feel we are becoming less sociable as the Internet/social media take a bigger hold. That can only get worse so attempting to reverse that, whilst offering a gateway/transitional option, means the balance can be redressed and we can all improve – become more social and better-informed. I am worried about a number of things and the Internet can, ironically, be a cure to the problem it is creating. It will take a little time to ween people from their addiction to something else but, as a music-lover who wants to socialise more with people like me – and feel less isolated and depressed – there are possible remedies to the…

PROBLEMS we have before us.

FEATURE: Spotlight: Confidence Man

FEATURE:

 

Spotlight

PHOTO CREDIT: Rachela Nardella/Press

Confidence Man

________

THE best album to end 2017 was from the Melbourne…

PHOTO CREDIT: Press/Getty Images

band, King Gizzard & The Lizard Wizard. Gumboot Soup is their fifth (and final) of the year and one can forgive them for wanting a good rest in 2018! They will not do that but it got me thinking about artists doing things differently. I love the band because they are so prolific and changeable. Each album brings something different to the table. I like how they switch styles and push boundaries. The fact the band released five albums last year was a shock to many – critics wondered if it would be possible at all. They have shown other artists how to do things. Australia, it seems, is producing some incredible artists because Confidence Man, in a lot of ways, remind me of King Gizzard & The Lizard Wizard. The Brisbane band impressed with their single, Boyfriend (Repeat), last year. Its stop-motion video sees Ken and Barbie mixed through a blender. Confidence Man’s Janet Planet talked about the song and video:

“We wrote this song at our home studio in about two hours. By the end of the day we were so excited and drunk that lots of stupid ideas seemed to be working… which is where the lyric ‘I hate bacon and eggs’ comes from. It’s probably not something we would come up with normally, but the next day when we listened back it turned out to be our favourite part. As for the video, we haven’t played with Barbies for a while, but it seemed like the right time to get my old Ken dolls out”.

The band played shows in London in the summer and it was the perfect time to boost a song that gets the colours flowing and the voice singing. Its chorus sticks right in the head but it is the way they subvert Pop clichés and add their own spin that gets to me. Other artists have lined up to remix the song and it shows how immediate and popular the band already are. I have looked around the new artists coming through and hear a lot of promise. All are doing their own thing and keen not to repeat what is already out there. Confidence Man are not heard to con us and dupe the unsuspecting listener. Their music is pure and delightful; it rushes into the senses and has a whiff of the 1990s. I feel one of the defining moments of that decade was the 1990 hit, Groove Is in the Heart. Deee-Lite’s best-known song has endured and continues to amaze because of the samples and shifts; the joy and giddiness you get when listening to it. It was a magnificent start to the decade and inspired other artists to take a similar approach to composition and the genre. Boyfriend (Repeat) has touches of Groove Is in the Heart: their follow-up track, Bubblegum, certainly reminds me of that song! It has the flair of the 1980s and brings so much flair and fireworks to the plate. The beats and electronics tumble and conspire; they fizz and percolate.

It is an extraordinary song that tops their previous effort and shows they are on an upward trajectory. The double-B motif continues with Better Sit Down Boy and continues that explosion and innovation. It is a different beast and sees the band embrace new sounds and lyrical direction. There is that attitude towards cheating and dishonesty; the spirit to take control and that rare blend of taking something with serious undertones and providing a fun and frivolous glee. That track was released a few months back and capped a fantastic year for the band. I am not sure how their music will progress in terms of its scope and sound; whether they will carry on with the B-only song-titles or they expand their alphabetic horizons – but I know the Australian band will go on to big things. I am not sure whether they are going to spin new material but it is clear there is a big army of fans who are bonding with their music. As I continue to write and search for new artists; I am watching Confidence Man and seeing what they pull out their bags next. I would like to think, if an E.P. or album arrived, they would keep with the B-themed songs and stay on those lines. Each song is very different but retains their inventiveness and insane spirit. Their videos are brilliantly conceived and I have seen few other artists take such care and detail with regards their material/videos.

There will be a lot of artists vying for attention this year – I feel Confidence Man will do some great things. In the coming weeks; I will spotlight other artists but I think the Australian band will continue to push limits and inspire imaginations. They say the Pop market is going to change and augment this year. Hungry new musicians are coming through and adding something fresh to the form. It has been long overdue and I am confiden the Boyfriend (Repeat) creators will be hustling with the biggest new acts around. They have been playing together a while but this year has been especially productive and successful. Having played gigs in the U.K.; one feels American touring is going to be part of this year’s plans. The demand is out there and the Australian group are responding with a kaleidoscopic, tropical blend that judges boring boyfriends and losers of love; they document things we are all familiar with – bringing a unique twist to the table. Throw your love and weight behind their music and make sure you keep abreast of all their developments. 2017 was a busy and exceptional one for the group. I have a feeling this year will be the best…

OF their career.

_________

Follow Confidence Man

PHOTO CREDIT: Confidence Man/Getty Images

Facebook:

https://www.facebook.com/confidenceman1/

Twitter:

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

SoundCloud:

https://soundcloud.com/confidenceman

YouTube:

https://www.youtube.com/channel/UCueIFVa2ovXJWFYnz4FQxQw

FEATURE: Eternal Muse: The Continuing Inspiration of Jeff Buckley’s Grace

FEATURE:

 

Eternal Muse

PHOTO CREDIT: Merri Cyr

The Continuing Inspiration of Jeff Buckley’s Grace

________

IT is a bit soon to come out of the gates…

PHOTO CREDIT: Merri Cyr

with any predictions regarding new music or bits of music news. I will talk about another regular fixture on my pages, Kate Bush, and why I want to concentrate on her a lot in 2018. The year has just begun and, why I am keen to explore everything going on right now, I have been thinking about an album that keeps coming up in interviews I conduct: Jeff Buckley’s Grace. Maybe apropos of nothing; it is interesting investigating why the album appears so frequently in the minds of new musicians. I have looked at all the interviews from last year and the album musicians listed as their favourite, above all, was Grace. It is easy to see why it would resound in the minds of new musicians but is the impassioned way they discuss the record that stands out – in the same way so many musicians single Kate Bush as their most influential artist. The record was released in 1994 and, at the time, I was eleven. Many of the musicians I interview are younger than me and discovered Grace later in the decade/the start of the 2000s. When Grace arrived (in 1994); the music scene was packed with genius and glorious music. It was one of the finest years in music history and, from U.K. talent like Oasis and Blur, through to U.S. artists such as Green Day and Pavement – the year kept producing world-class albums like there was no tomorrow.

PHOTO CREDIT: Anton Corbijn

You only need to do a cursory search on the Internet to look at all the wonderful albums from 1994. There are some seductive and tender albums in the pack but nothing like Grace. In 1994, as we can see, there was a demand for more anthemic, instant music. From Oasis’ Definitely Maybe to the eponymous album from Weezer – a desire to get the energy levels up and the heart pumping fast. There were more Pop-orientated albums like Madonna’s Bedtime Stories and Tori Amos’ Under the Pink: the general demand was for the bigger, bolder records. Grunge’s king, Kurt Cobain, died and there was a new charge of U.K. Rock/Alternative. It was a transitional time where new orders were replacing the old – among this was a strange and unique album from a new American star. I know I have looked at Buckley’s masterpiece a couple of times in the past year – marking the anniversary of his death and why Grace is considered one of the very best from music – but it seems appropriate to return to the record. A lot of young musicians (in their twenties/thirties) discovered Grace when the Rock/Grunge movement was dying down and the 1990s was coming to an end. Against all the chaos, energy and confusion of the time – that was reflected in the adolescent lives of the listeners – there was the need for something safe and romantic.

PHOTO CREDIT: Anton Corbijn

Jeff Buckley could not really release the album at any other time. Playing cafes and small shows around New York during 1992/1993; record label Columbia signed up the promising songwriter and was keen to get him in the studio. Sojourning to Bearsville Studios, Woodstock; the young master started recording songs that were being previewed and performed to modest audiences in the U.S. He would go on to tour around the world and go down in history but, at that time, the following was relatively small. Few knew what to expect when the album came out on 23rd August. Like all the finest albums that get acclaim after the fact; Jeff Buckley’s only studio album received a smattering of applause upon its release. Sales were not great and it took a while for the public to turn their minds onto the album. That is not a surprise given the demands and climate of music in 1994. Touring, exposure and dedicated passion saw the album gain a following but it is the ensuing years have elevated the record to Godlike status. For me, and many, it represents a shaft of calm in an ocean of confusion. That may sound dystopian but, even in the mid-1990s; there was a lot of negativity and aggression in music. A few artists tried to counteract that with something more uplifting but the clash of optimistic Britpop optimism and a more negative, insular U.S. scene created a fractured and divided scene.

British music would not change and assimilate U.S. artists more readily until the end of the 1990s but Buckley, in Grace, was already ahead of the pack. People responded to it then because it was different and provided an alternative: further down the track, as the dust started to settle; the true relevance and beauty of Grace came to light. It is a personal and revealing album but one that is not too closed-off and heartbreaking. The title-track is a paen to true love and one of the more accelerated numbers on the album; Eternal Life and So Real see Buckley assume a fiercer mantle – looking at subjects of corruption and love with equal conviction and fascination. Each song has a different skin and, in the 1990s and now; that importance and desire are the same. Back then, as young musicians were experiencing the world for the first time; they connected with an outsider and misunderstood soul offering the planet something deeply heartfelt and pure. You only need to look at polls now to see how wrong critics were. Grace is seen as one of the most iconic albums of 1994 and, in retrospect, perfectly fitted into a year where things were changing and people/artists were searching for fresh guidance. You can argue Grace has gained a lot of headway and acclaim because of its standout track, Hallelujah.

PHOTO CREDIT: Mikio Ariga

That song comes as close to perfect as you can imagine: the ethereal, near-religious performance is hymnal and sublime; a song that is as right to score sadness as it is to celebrate an orgasm (Buckley’s version was, as he said, concerned with sex and the orgasm). That song has taken on a life of its own and almost overshadows everything else on the record. Talent shows and endless covers have not dampened the potency and splendour of the definitive version – even its author, Leonard Cohen, could not have envisaged the song would be presented that way. Beauty and grace are present throughout the album. It speaks to those whose hearts have been broken and who feel things too readily. Sensitivity is seen as a stigma to some: to Buckley, it was his way of connecting with things deeply and feeling more than anyone else. The complexities and contrasts of sensitivity are explored throughout the record. I relate to it because the music comes from a man who had his heart broken but was not giving up on the world; he is isolated and misunderstood but has that attachment and affiliation with words and music – what they can do and how they can define a person. I am not surprised to see the record so highly regarded as, to each person, it means a different thing.

Buckley’s personality, warmth and enigma shine in every song. I have heard interviews he gave around the release of the album and you can tell how meaningful the music is. I have not mentioned his band members – brilliant guitarist Michael Tighe among them – and the musicians that worked on Grace. The reason critics and fans ‘discovered’ the record years after its release means the nuance and songs one discovers run a lot deeper than traditional mainstream fare. Many are picking up the album now and playing it on-repeat. The lack of comparative bliss and quality in modern music makes Buckley’s L.P. an attractive option. Musicians are inspired by what they hear and unable to find the same level of brilliance and fascination in other albums. The timelessness of Grace makes it a year-in-year-out guide. The songs talk about love but they are never too specific and personal. The messages one hears in Mojo Pin, Last Goodbye and Lover, You Should’ve Come Over never lose their meaning and importance. We relate to the singer and his soul: we are struck by the layers and rich vocals; the perfect words and the sumptuous production. Grace is an album that is loved by many but the way everyone describes is beyond ordinary. Unlike other classic albums; Grace hits so much harder and seem to connect to a part of the heart no others do.

As I interview other artists through this year; I know Grace will come up time and time again. It resonates with the lonely and pining; it comforts those who have lost love and those in the throes of new passion. The majestic voice and direction from Jeff Buckley entice you in; the nuance of the music keeps you hooked; the way the songs reveal new life and soundtrack every important moment of life means it is more popular twenty-three years after its release. It is amazing to think an album that was released to minor applause has managed to remain in the musical bosom for all this time! Stick the record on in its true format – a vinyl on a record player – and let the music wash over you. It is a transformative experience and one that more artists should take note of. In a hard and unsure time; people are looking for the sort of comfort and protection Grace provides. I am not surprised so many young musicians are connecting with Grace and confessing their love for it. As we embrace new sounds and genres; we look ahead to the best albums to come…there is one record that never loses its relevance, quality and…

INCREDIBLE desire.

________

FEATURE: In the Nineties with the Chance of Rain: Metacritic’s Highest-Rated Albums Ever: The Playlist

FEATURE:

 

In the Nineties with the Chance of Rain

ALL PHOTOS: Unsplash

Metacritic’s Highest-Rated Albums Ever: The Playlist

________

THIS is my final piece of 2017 and…

whether I enter the New Year drunk or being eaten by a raging Alsatian – I’d like to have some world-class music ringing in my ears! Most of will enter next year’s infantile hours sleepy, blurry-headed…and our memories severely impaired. Nominal aphasia, dry mouths and banging heads – all part of the celebration aftermath. I have been covering a lot of music and, as early as tomorrow, will look at an album that continues to inspire and compel new musicians – some twenty-three years after its release. We have had all the Christmas songs and, as we ring in the New Year; everyone will have their bespoke soundtracks. I felt adding mine would be a bit obvious but, as we are marking the best music of the year…why not put a playlist together collecting music from the greatest albums of the past seventeen years?! I have been looking at Metacritic – some musicians/journalists consider it bias; others use it as gospel – and looked at the albums they have rated extremely highly (scoring ninety-percent or over) and compiled a selection of epic music to give your final moments of 2017 necessary kick, memorability and quality. Sit back and spin a banquet from some of the finest albums…

FROM the past couple of decades.

________

FEATURE: Beauty in the Eye of the Beholder: The Best Cover Art of 2017

FEATURE:

 

Beauty in the Eye of the Beholder

PHOTO CREDIT: Unsplash

The Best Cover Art of 2017

________

PERHAPS an album/E.P. cover is less important now than…

IN THIS PHOTO: Jane Weaver/PHOTO CREDIT: Getty Images

in past years. The digital nature of music means there is less of an emphasis on a sleeve and the look of a record. People are more interested in the music and forget about the effort and dedication it takes to get that perfect image. If you look back at the greatest album/E.P. covers from history; they have captured the imagination and struck the eye – either due to their simplicity or a vivid and intricate design. A lot of those classic covers have been about capturing something instant and pure; a shot that defines the music inside and differs from anything out there. I have been looking at the album and E.P. covers from the year and have assembled, what I think, are the finest and most alluring…

ALBUM COVERS: Getty Images

________

Jay Som – Everybody Works

Release Date: 10th March

Label: Polyvinyl Record Co.

St. Vincent – Masseduction

Release Date: 13th October

Label: Loma Vista Recordings

Lorde - Melodrama

Release Date: 16th June

Label: Republic Records

Arca - Arca

Release Date: 7th April

Label: XL Recordings

Feist – Pleasure

Release Date: 28th April

Label: Interscope Records

Kehlani - SweetSexySavage

Release Date: 27th January

Label: Atlantic Records

Jane Weaver – Modern Kosmology

Release Date: 19th May

Label: Fire Records

Tyler, the Creator - Flower Boy

Release Date: 21st July

Label: Columbia Records

Girlpool – Powerplant

Release Date: 12th May

Label: Anti-

Halsey – Hopeless Fountain Kingdom

Release Date: 2nd June

Label: Astralwerks

Thundercat – Drunk

Release Date: 24th February

Label: Brainfeeder

Tove Lo – Blue Lips (Lady Wood Phase II)

Release Date: 17th November

Label: Universal Music LLC

Charli XCX - Number 1 Angel

Release Date: 10th March

Label: Atlantic Records UK

Mura Masa - Mura Masa

Release Date: 14th July

Label: Polydor, Interscope, Downtown and Anchor Point Records

Father John Misty - Pure Comedy

Release Date: 7th April

Label: Sub Pop

Kelela – Take Me Apart

Release Date: 6th October

Label: Warp Records Limited

Baek A Yeon – Bittersweet (E.P.)

Release Date: 29th May

Label: JYP Entertainment

Arms and Sleepers – Life Is Everywhere

Release Date: 27th January

Label: Arms and Sleepers

SZA - Ctrl

Release Date: 9th June

Label: Top Dawg Entertainment

FEATURE: Saratoga with a Slice of Lime: Why the American Music Press Is Ahead of the British Best

FEATURE:

 

Saratoga with a Slice of Lime

ALL PHOTOS (unless credited otherwise): Unsplash

Why the American Music Press Is Ahead of the British Best

________

MANY might find my headline proclamation…

tantamount to a lack of patriotism and faith! There are many familiarities between America and the United Kingdom, We both have unpopular, ludicrous leaders (the U.S. are ahead of us) and both have incredible music scenes (I would give that win to us). In a modern-day, media American Revolutionary War; the Americans win the new-age Saratoga and Yorktown. It is not biased suggesting we have a better and more rounded music scene. I know America is larger and has broader geography than we do here. You can go from the Southern states like Arizona and Nevada and see no comparison to that of Tennessee or New Mexico. New York is a world away from California whilst Oregon and New Jersey have their own thing going on. Maybe the fact there are more musicians in the U.S. (compared to here) means there are more music outlets; greater mobilisation and better, finer-funded journalistic attack. I often search for ‘the best bands in…’ when looking at state-specific artists. The local media, except for New York and California, is not that active when highlighting their best acts to watch. Maybe Nashville and Austin (Texas) are exceptions. Here, we have the same issue: I wonder why there are few local sources scouring the floors for artists to watch. The national press is a different matter?

I will concede America is a lot stronger regarding other elements of the entertainment industry. I watched a new drama, Feud, for the FX network that tells about the rivalry bittern Joan Crawford and Bette Davis. The series was well-received and has been renewed for a second season – where the subject switches to the relationship between Princess Diana and Prince Charles. I watch ambitious and sharp U.S. drama and realise how far ahead of us they are. Look at the range of fantastic dramas on Netflix, FX and Amazon Prime and you can see how advances and ahead of us they are – despite the fact they have more money. I do not believe finance and greater resources is the reason the Americans leads us: finer talent and better writers, with great imagination, are part of the equation. That is the same case regarding sitcoms: the penmanship is finer, wittier and the series are, largely, much funnier. You can debate the odd show here and there but, when comparing scenes; the U.S. market is a lot stronger. Music is a much more evenly-balanced and competitive. The Americans have a better and dominant Hip-Hop/Rap scene. We have nobody who can rival the potency and genius of Kendrick Lamar, for example. Our Pop market is richer and we are pretty toe-to-toe regarding Punk, Rock and Indie. Look at the Folk market and we take an edge; the U.S. has better Country acts; maybe the U.S. leads the Jazz market – we regain advantage when looking at Electronic acts.

IN THIS PHOTO: The logo for Pigeons & Planes/PHOTO CREDIT: Getty Images/Pigeons & Planes

In spite of our shinier, tauter muscles; there seems to be a disparity that is quite alarming. I look at the list of best-rated music blogs and the Americans lead the pack. From Pitchfork and Consequence of Sound; BrooklynVegan and Aquarium Drunkard; The 405 and AllMusic; Pigeons & Planes to Metal Injection – all based in the U.S. Drowned in Sound, The Line of Best Fit and Louder Than War are situated here. Manchester’s Louder Than War – based on The Smiths’ Louder Than Bombs compilation – is one of the go-to sites for all the coolest and most current music news.  I am a big fan of Drowned in Sound and what they produce. We have Too Many Blogs and other great blogs but, if you look down the list of the finest and highest-rated you find the majority are American. We might, in a list of fifty, not lose out by much but the top-ten/twenty is U.S.-heavy. Considering we here have a deeper and more vibrant music scene (in my view); I wonder why we are losing the war. There are more people in the U.S., for sure, so it is inevitable there would be a wider media scene. Quantity and coverage do not mean a stronger and better-quality market. Our best music blogs match the quality and importance of magazines like MOJO, NME and Q. We have a wonderful wave of underground/independent blogs (not including myself!) but the spotlighted, professional sites are not quite as striking and impressive as the U.S.

PHOTO CREDIT: Getty Images

If the Americans have us beat for drama and comedy writers: does that mean their music journalists are finer? I would say, historically, we have produced the most intelligent and passionate music commentators. Now, if you look at the music media, there is a less-visible and important scene. Gone are the heady days of NME – when every band lusted after coverage – and the writers who helped define and document our brilliant artists. Although we have passed the epic days of the 1990s; that does not mean a weakened music scene should affect the music press. A few years ago the BBC Radio 4 series, Yesterday’s Papers: The End of the Music Press, examined the downshift in media outlets and how writing has moved from traditional print to the Internet. It is a shame to see the cessation of weekly magazines – a few exist but fewer than years ago – and the digitisation of the music press. One of the problems we have here is a lack of governmental backing. We have a lot of talented writers – on the same level as America’s best – but there is less money set aside to find the media. Although recent reports suggested certain U.S. newspapers are laying off editors and copyrighters. There is structural weakening occurring and the need to minimise and centralise publications. Many sources are streamlining their workforce and trying to save money.

That said; there is still more money available in the U.S. and better financing to ensure the best music blogs/paper are subsidised and survive. I know most of our blogs have to rely on unpaid contributors and a shallower wallet. Many are closing because of the expense needed to produce great work. One needs to go to gigs and interview artists; publish pieces and, in order to compete; be as ambitious and prolific as possible. Free contributors are fine but there are still the issues around expenses and subsidisation. There is such a tight budget for our best writers and sites to expand and thrive. Maybe, then, finance is the big difference. A lot of other factors play in. The closure of music venues and changing genre-tastes – Pop starting to rise; Rock less prevalent and important; new music taking a bigger role than mainstream – means the lesser-seen, smaller blogs (who investigate new music) are busier and, in my view, more promising. The finest we have here are wonderful but there is something special about the U.S. I can trace a lot of the weakness to the way the government ignores the music scene. Venues are closing and the charts are not an accurate representation of our music culture; the printed press is dwindling and there is not the kind of explosion and genius we had years/decades ago. All of these factors combine and it means it much harder appealing to the masses; producing the same sort of work that made British music journalism the byword for quality years back.

The U.S. has its own problems but there are more paid writers and bigger numbers. If they can afford to hire writers and have bigger kitties for gigs and pieces – that means the journalism will be better and appeal to more people. More money can be spent on promotion and it seems there are differences between the way the music media is perceived and treated in both nations. I cannot abide by the assumption American writers are better than ours. The music scenes are even but with exciting young artists like SZA, Princess Nokia and Brockhampton producing terrific music – it is a ripe and rewarding time being a music journalist in the U.S. We have amazing hot artists coming out but I feel U.S. music, at the moment, is more adventurous and colourful. If the quality levels are even; there is a more eclectic scene. If you look at an average day at Pitchfork and Drowned in Sound you cannot really say the Americans are sharper, more detailed and innovative than our best. A lot of these polls are based on numbers and, when you have a bigger national population; the more people will visit music websites. America has government problems and faces the same trials as we do but I think our media and music scene is at greater risk than the U.S. Structural damage and shaky survival rates for venues is worrying; the way the mainstream is set up and the lack of affirmative, mass-inspiring bands compelling writers. Maybe, though, there is a general issue with music journalism as a whole.

IMAGE CREDIT: Getty Images

Is the lack of money and digitisation affecting people’s dedication and concentration? The invention of apps. mean people can get their music news on the go; there is more competition and albums are released in different ways – less time for promotion and people refuting the media’s opinion and relying more on streaming services for musical guidance. I still think these issues exist more in the U.K. It is hard explaining why the U.S. are so far ahead of us regarding popularity and press dominance. I shall conclude by bringing in a piece by a U.S. journalist published on hypebot earlier in the year:

“Back in the day, music press got the word out about music before the music itself could get there. You could read about a record, but hearing it required hard work, happenstance or money you didn’t have. It could take yearsbetween seeing the name of some potentially-interesting band or song and actually hearing them. These days, of course, your chosen obscurity is likely just a YouTube search away.

With the rise of blogs, opinion is as readily available as the music itself. Approximately nobody is going to pay money for this stuff. Only the biggest blogs and sites can sell the ads they need to, and even they’re having serious problems. The New Musical Express is now an entertainment guide given away outside tube stations. The problem for professional music critics and press is competition from literally the whole world, the same problem artists have.

This is a special case of the problem with journalism in general: the money dried up with the exclusivity. About the only press that’s done at all well are the technology sites, who ripped down those tedious walls between editorial and advertising and gave up any reluctance to live off payola around the turn of the millennium, turning into utter and unapologetic shills. (Though it’s not clear those walls were ever up in music journalism.)

Even in the ’80s and ’90s, the pay was bloody dismal — I quit X-Press twice because of their widely-attested habit of asking for stuff then not running it, thus not paying you — and the main attraction was that it beat working for a living; but even that beer money level is now largely gone. Though I enjoyed it — even the tedious bits were pretty fun — I’m a computer system administrator primarily because there’s no money in writing about music. This Baffler story is me after I moved from near-unemployable nonprofit lifer to overpaid geek. I eat way better now”.

The lack of paid roles; dominance of the middle-classes in mainstream media; the lack of motivation new writers have to work for nothing; the fact people are finding out about albums before they come out – and less reliant on the written word – are all damaging and important. I have concerns about the music press in general and whether journalism is a profitable and desirable path. The only way we can make it attractive is by building our blogs/publications and considering how they are run/staffed. The U.S. music press is in trouble but I feel we face graver issues – fewer stunning writers and less money available for great and original content. With such a brilliant and growing music scene, our best and brightest talent…

DESERVES better than that!

FEATURE: Trêve de Noël: Supersonic, Reunion Rumours and Why Oasis Continue to Compel

FEATURE:

Trêve de Noël

PHOTO CREDIT: Jill Furmanovsky 

Supersonic, Reunion Rumours and Why Oasis Continue to Compel

________

IT would be impossible to end the year…

IMAGE CREDIT: Getty Images

without talking about Oasis! Those reading might think that quite odd: the lads have not produced music in years and irrevocably split – the two Gallagher brothers engage in spats, conflict and exchanged jabs. One expects that kind of spirit and spit from two men who, even when Oasis were together, did not always gel that well. I have been watching the Oasis documentary, Supersonic, quite a lot. Initial reviews of the documentary, last year, highlighted the great times and the glorious music. Many noted the battles and wars were overlooked. Publications like The Guardian pointed out it was overtly positive and did not tell the whole truth. That is a misleading assumption because, when you watch, the members allude to bad times. There was the moment Liam kicked off on a ferry and got stuck into a mass melee. Liam loved the spirit and physicality whereas Noel was a bit more pragmatic. He condemned that behaviour and, unsurprisingly, Oasis were in the press for the wrong reason. Part of the legacy and reputation stemmed from the no-holds-barred, unedited comments from the Gallaghers. They were keen to proclaim Oasis the best band in the world; mouthing-off and slagging the competition. They have that northern wit and honesty but, because of their mother, Irish humour and candidness.

That combination of D.N.A. and confidence meant they were always a controversial and divisive band with critics – the documentary looked at all the headlines, fall-outs and tension. One could not produce a documentary to celebrate a band’s music and make it too negative. We have all heard about the fights and problems with their father – the Gallaghers pointing out how he was abusive and ostracised from the family – and how their mother raised them on her own. Liam and Noel were interviewed separately but every member of the band came to the same conclusion: despite the lows and tabloid obsession were some fantastic moments. The sell-out Knebworth gigs were among the defining moments of the 1990s. The build-up and hype surrounding the gigs was Oasis at their peak. It was a surprise to see so many people flock to see Oasis take to that stage. Over two-and-a-half million applied for tickets; V.I.P.s were given their own Oasis-branded binoculars; over seven-thousand were on the guestlist; only two arrests were made during those gigs  - and Noel is a bit spotty when it comes to the gigs. Whether that was the result of some epic post-gig caning or the fact it was years ago – when he spoke to Kirsty Young on Desert Island Discs (in 2015); she asked him about those times.

IMAGE CREDIT: @liamgallagher

Noel knew he was there – as there is empirical proof to back it – but the rest is a bit of a blur (a bit of Britpop humour there!). Most of us huddle around the Christmas fire to watch It’s a Wonderful Life or a Disney flick – maybe another watch of Mary Poppins! They are the classics and staples of the yearly routine. The fact Supersonic has been gaining press speaks volumes. Many preferred the Oasis documentary over the usual selection of Christmas-themed films. I was among them and, following a Twitter truce between the brothers; there is renewed interest in the band. Liam took to Twitter to wish 'team NG' (Noel Gallagher) good luck in 2018. Although it was not the two of them hugging and downing pints together; it was a thawing of tensions that bubbled and heated during 2017. The usual to-and-fro continued – each brother poking at the other – and, considering they both released albums (Liam’s solo debut, As You Were; Noel’s Who Built the Moon? gained huge acclaim) there was a perfect platform to lob a grenade in the enemy camp. The reason I have that French title (up at the top) is the Gallagher ‘truce’ reminds me of the infamous/rumoured coming-together during World War I. Troops, once opposed and balkanised, disposed with their guns and climbed out to play a cold, Christmas game of football. How much of the rumoured comradery and conviviality was factual – one suspects there was chilliness still – could not disguise the huge step each side made (both probably advanced more in that game than each side did in the War to that point).

PHOTO CREDIT: Getty Images

Whilst Noel and Liam’s pleasant social media exchange was not on the same level as that truce; it did seem to have a whiff of détente and brotherly compromise. That, of course, sparked the rumour-mill and put fans into a frenzy. The fact Liam made that step could have been the result of Christmas bonhomie – the tweet was sent on 19th December – but one feels there is a desire to get the band together. I have heard interviews where Liam regrets the way things ended. He felt they could have gone on but, remembering Supersonic; Noel felt they could have ended after the Knebworth gigs – going out on top and not letting the band drag on and become stale. Be Here Now came out a year after the gigs and, whilst not the best album from the band; it signalled there was life and energy left in the bones. That cocaine-soundtracking album was the most swaggered and bolshy of the band’s career – following from the more cannabis-scented, all-for-one anthems of their first two albums. I remember 1997 and the speculation surrounding Be Here Now. It was one of the last times in music where there was genuine excitement and memorability. People do not queue up for music anymore and spent hours waiting to get a record!

IN THIS PHOTO: The cover for Oasis' third album, Be Here Now/PHOTO CREDIT: Getty Images

The 1990s saw a gradual shift from physical music to digital – although the Internet did not start to dominate until the latter stages of the past decade. It is disappointing seeing a lack of that physical lust and the need to grasp an album in your hand. One can argue that is a natural development of the digital age but, in truth, there are no bands like Oasis around. I feel there is a huge interest in the band now goes beyond Twitter buzz and the repeat of Supersonic. The documentary reminded us of those great times and why the lads are so revered. The music was incredible (the playlist at the end of the feature collates their top songs) and they were incredible live performers. It is the personalities and approach to life that resonates. You only need to hear the Gallaghers talk about their respective albums to know their wit, honesty and boldness is still present and correct. The guys do not need to be together to get into the papers. Noel has that natural charm and humour whilst Liam is still the same rebel and leader of the working-classes he has always been. Neither has dampened and distilled in line with the passages of time. Maybe their songwriting has gone in different directions but neither artist has sold-out and changed who they are. There is the fire and ability there but you wonder whether Oasis, if Bonehead and Paul McGuigan came back – maybe Andy Bell and Gem Archer – they would pick up where they left off.

PHOTO CREDIT: Getty Images

The final album, Dig Out Your Soul (2008) was one of their better late-career efforts but not up to the standard of their first two records. Definitely Maybe (1994) and (What’s the Story) Morning Glory? (1995) are considered two of the greatest albums of the 1990s and classics. The band would not return to that template because they are not in the same position. The brothers are famous and have different ambitions; they have matured their sound and would probably produce something similar to their solo material. We can argue about possible album-sounding directions Oasis 2.0 could take but that belies the main point: the need for a band like them to salvage music and inspire the people. There are no working-class heroes at the forefront of music. Oasis led a 1990s vanguard that included Pulp and Blur. Perhaps those bands were edging towards middle-class but, alongside the 1980s legends like Stone Roses – there was that spirit of the proletariat gaining control. Rebellions and upheavals have, historically, been led by those underfoot, under-heard sectors of society who are ignored by the government. Back in the 1990s, before Labour came in, there was the feeling Britain was drifting and disconnected. Oasis’ glory and music spoke about modern life in a way that was fresh and honest. It was not manufactured or directed to impress the big labels: the lads produced music that came from the heart and was born on the streets.

The sort of modern equivalent is Grime and Hip-Hop. Modern Rock idols, aside from the best newcomers, either lack the common sense to talk about Britain as it is or are from privileged backgrounds. Labour are staking the middle-ground out and are seen as leaders-in-waiting. Jeremy Corbyn has helped mobilise and vocalise the working-classes but the musicians who are charged with documenting social commentary are letting the side down. The Tory government have made a mockery of the nation and the democratic process has not resulted in positive change and development. The majority want out of Europe and elect a leader who is posh, painfully out-of-touch and powerless. If the misguided masses are unaware of what’s best for Britain; it seems there are music lovers who know the likes of Oasis are a necessary tonic and counterattack. An Oasis reformation cannot cure the lack of working-class faces in the mainstream but it would compel others to take action and change media perspective. Even if Noel and Liam are wealthier than they were in the early-1990s; they have not changed who they are and what they believe. Oasis would produce their eighth album that, one hopes, would have the same ideals as Definitely Maybe but mix in different sounds and ideas – get Liam charged in the booth and have Noel craft some new licks and massive choruses! Modern bands are critically endangered and there is a musical global warming. The pollution from the vague Popstars and the generic Alternative bands has warmed waters once teeming with life and innovation. Oasis’ departure from music left a vacuum that has not been adequately filled.

The music of Oasis is timeless because of the quality songwriting and incredible performances. It is not a nostalgia trip holding dear the treasured times of the Manchester band. The songs have relevance today and, with the need for a new Labour charge – the same as when Tony Blair came to office in 1997 –, there are parallels between now and when Oasis ruled the land. If the street poets of Rap and Hip-Hop are keeping the beat and realities of the street firm and uncompromising; there are no popular bands who are prepared (or in any position) to talk about the Britain we live in. I am not suggesting we expect a happy reunion an instant return to the 1994/1995 heyday – that would be impossible for many reasons – but there is an appetite for new Oasis record. Liam is up for it but Noel less so. Maybe it will never happen but the Christmas olive branch was a big step towards reformation and cordiality. The Gallagher war has been raging since the late-2000s and one cannot go from a mutual dislike to a close-knit bond. The thing is; the brothers always had that rivalry and difference – it exacerbated when the band got famous and various influences (human and substance-wise) impacted the lifespan. If they learnt from those times and cleaned the slate. Maybe I am a dreamer but, to quote John Lennon, I’m not the only one. The sensible and rationale majority have their voices ignored when it comes to the vote; they want to remain tied to Europe and see a government who protects our best interests come in. That might not happen for a bit but music can take a stand and lead a revolt. If Oasis did reform; we would not want the guys to change and fake a persona. Do not adapt, dilute or bargain – we all want you to be exactly…

PHOTO CREDIT: Getty Images

AS you were.

TRACK REVIEW: Control of the Going: Love You More

TRACK REVIEW:

 

Control of the Going

 Love You More

9.3/10

Love You More is available via:

https://open.spotify.com/album/5px18PDv2WCbWFuDcW5b0v

GENRES:

Alternative-Rock; Psychadelia

ORIGIN:

Manchester, U.K.

RELEASE DATE:

8th December, 2017

The album, I Love You But It’s Going to Rain, is available from 23rd February, 2018

LABELS: 

Sister9; Cargo Records

_________

THIS is my final review of the year…

so it is a good opportunity to mention a band I think will do some great things in 2018. Control of the Going, with that odd name, intrigue me with their approach, music and make-up. I will talk about the guys’ new music soon but, right now, I wanted to look at bands and whether next year is going to be a more successful one (for them); Manchester and why focus should be placed there; mixing Rock and Psychedelic sounds together; interesting promotional ideas; the debut album and why it is such an important thing; why music needs to embrace those who have the passion and energy to succeed; getting music to the American market early on – and how that can make a big difference. I have been a bit reluctant to promote bands this year because the solo artists have been having such a good one. I am looking at what is out in the mainstream and not really blown away by anyone. I have been banging on about IDLES and Wolf Alice – but they have been going for a couple of years, at least. I have been approached by a lot of bands but it is the solo artists that have made the biggest dent. The solo artist has the freedom to express themselves how they wish and are more flexible with regards sound and mixtures. I feel bands are more rigid and have to adapt to a prescribed sound. Many are going for a Rock/Alternative sound that fits into the mainstream whilst others are mixing genres without much success. I am not saying all bands are worth ignoring but it is an easier life for solo acts/duos etc. I feel they can play Hip-Hop, Electro or Pop without having to compromise too much. With that being said; I have heard a lot of promise coming from various corners and hope there are some terrific bands shaping up to make 2018 a fantastic one!

Control of the Going are a group that have the promise and ammunition to make a dent and impression on the scene. There has been a call to promote good solo music and ensure genres like Hip-Hop and Rap are giving more exposure. Pop has been transforming and a lot of the heat has been put on the commercial artists. This means new bands have not really had much of a say and we have seen little to suggest mainstream bands can challenge the established order. Efforts from Foo Fighters, Arcade Fire and U2 have been quite disappointing; records from Queens of the Stone Age and The xx have fared better. The majority of the most-celebrated albums of this year have been from sole artists. Everyone from St. Vincent and Lorde through to Thundercat and Sampha have produced stunning work. Maybe it is the lack of inspiration from bands or the changing demands of the public. The only way the new breed of bands are going to get fired up and compel is if they have guidance and support from the mainstream. Control of the Going have been looking around and sourcing from the coolest, most credible and pioneering bands around. They take from the past but, above all, have stepped away from the predictable path and created a song that is all their own. I think too many bands are replicating what is already out there – that is leaving people cold and meaning solo artists get a bigger say. The Manchester-based band has taken the trouble to sprinkle original elements into the mix and have been playing a lot of gigs. All of this honing and performance means their material is solid, tight and deep. I feel they can get to the mainstream and, whilst it might take a couple more years; they are going to inspire others are settle very well there.

It is hardly a surprise I am excited to see a Manchester band come through. I have written pieces about the city before and have been keen to explore the acts from there. Everyone from False Advertising to Pale Waves are adding their own magic and angles to the rich Manchester scene. I feel London has been getting a big say and we have centralised and localised the music industry. What annoys me is the assumption that, because most of the big labels and radio stations are down here; that means all the best artists should be. It is not the olden days anymore: radio stations can broadcast further than a few miles and we have communication tools that allow us to listen to artists from Manchester and other parts – that means influential stations in London can hear that music and play it. I have also talked about Glasgow and Leeds: other cities that are making incredible music and should gain more focus. Manchester has been inspiring and world-class since the 1980s. The legends like Joy Division and The Smiths; The Stone Roses and other 1980s local folk inspired the 1990s’ idols like Oasis and The Chemical Brothers – you might even lump Take That in with that category (although they are not ultra-cool!). Something wonderful was happening around that time and it seemed like the working-class innovators were reflecting greater desires in society: people were yearning for truth and prophecy that was not being provided by the government. Now; Manchester’s tones have changed but the quality has not dipped too much. The city deserves acclaim and coverage because it is among the most eclectic and quality-focused parts of the country. I have grown a little weary of London’s sounds so have been pining towards Manchester.

Control of the Going are part of the new movement and show what can be created when you buck trends and do not rely on the capital for motivation. That might be counter-logical and a way of delaying success: I feel they are going to get to the big-leagues quicker because they are taking a more impressive and uncharted route. Maybe 2018 will not be The Year of Manchester but I am confident the shift will start to shift from London to the North. Later today; I am going to write a piece about Oasis and why many are desperate for the Gallagher brothers to unite and get the band going again. It is not a case of a nostalgia hangover and yearning for better days. I feel there is a chasm in music that is not being filled - let's hope that is remedied very soon. Alternative/Rock music is out there but there are not many fresh and addicting young bands coming out. Manchester, as mentioned, has some quality bands who can fit the bill – PINS and False Advertising two of the better-known and acclaimed. Maybe their sound is a reaction to that Oasis need but, in the case of Control of the Going; they are able to summon some of the epic grandeur of Oasis but no copy what they have done. The sextet project immense power and swagger but they blend that with subtler, colourful strands. I feel too many bands race in with gnarly sounds in the hope excessive adrenaline and shout means people will take notice. A more intelligent and refined sound comes from Control of the Going. Maybe it is a rebellion against the worst instinct of mainstream bands – I feel it is the ethos and philosophy of the Manchester scene. Artists here are more engaging and reflect the personality and candour of the people. If London-made music is defined by cosmopolitanism and urgency: Manchester is about warmth, intelligence and risk-taking. That is why I feel Manchester is going to take more of the media next year – we know how warm and inviting the city is; we want a bit of that in our musicians.

Perhaps that is a vague and odd assumption but I am confident Manchester will do well in the battle to gain the mainstream media’s ear. I have been reluctant to focus on Rock and Alternative sounds this year because of the relatively damp offerings from the mainstream. Aside from The War on Drugs, Wolf Alice; Phoebe Bridgers and their ilk – there have been few standout Alternative albums from the year. You can quibble with terminology and genres all you like. Maybe there have been some impressive Rock/Alternative albums but there have been far fewer than one would expect. Consider the quality coming from Hip-Hop, R&B and Soul and you have to ask questions. From Mercury-nominated artists like Sampha and Loyle Carner; U.S. treasure from Kendrick Lamar and SZA – one has to wonder whether music’s shifts and demands have given up on Rock. That might sound depressing for Control of the Going but it is actually a positive. They are not an out-and-out Rock band but they are, in essence, they inject passion and older-times glory into their work. I listen to their work and see a blend of innovative new and classic Rock. One gets a hit of the 1990s-Manchester with the innovation of the modern scene. It is a complex and difficult time for Alternative/Rock sounds. There are few guiding lights and other genes are taking the majority vote. The reason I am excited by the likes of Control of the Going is the lack of commercial lure they have. They are not compromising and taking an easy route. A lot of Rock bands think replicating the best of the mainstream is the way through; they have the guts and patience to listen to the local scene and put their ears to the ground – detect what the city demands and what is happening around them.

Maybe it is a risk ignoring what is happening in the charts and taking a longer route to the mainstream. Control of the Going want to succeed and build their own reputation and have a wide range of influences. I feel the plain and direct brand of Rock – Foo Fighters and Royal Blood – has been done to death and lacks necessary innovation and variation. The more successful Rock/Alternative artists of the year – Wolf Alice included – blend other genres in and are making music for the smaller crowds and finer venues. Royal Blood and Foo Fighters (other bands included) are too focused on stadiums and making something city-sized and charmless. Those who speak to the common man/woman; get under the skin and think about nuance – they are going to do better in the long run. I am hopeful there will be a Rock revival but I do not think the current ‘best’ will be responsible for that. It is the new breed of hopefuls that will spearhead a rebellion and movement. London will be a part of that but, given the strength and community happening in Manchester; I am more hopeful the North will be at the forefront. One can look at Sheffield, Leeds and Glasgow and realise those who reside in largely working-class areas are attuned to the foundations and mandate of true Rock – sounds that have a blue-collar heart and a compassionate mind. The development and new success of Control of the Going mean they are definitely doing something right. Most of their acclaim is local at the moment: national success will arrive when their upcoming album is released to the public. That comes in February and it will be interesting seeing how it is received. I am looking at their single and can hear the passion and quality in the music. The guys have hit a rich vein and look set to make a name for themselves next year.

The debut album is an important and difficult one in a lot of ways. You have little idea what critics want and whether the public will react. Control of the Going have performed a lot and showcased their material to the public. They gauge a reaction and see which songs get big love and what they want to hear. It is a different case when you push that music out to a wider audience. It is hard appealing to everyone and getting it ‘right’ the first time out is a real enigma. You have to go with instincts and have faith in the material you are making, Whilst it is important to have an original bent – and not copy the mainstream acts you like – you have to take a little bit from the popular sounds of the moment. Getting that balance right is tricky but one a few acts have achieved. I know Control of the Going will continue to rise and appeal. Their music has a universal vibe and can stick in the hearts of the majority. That taken into mind; I hear a lot of new strands that are unique to them. The boys bring in Psychedelia and the kind of experimental edges one will recognise from some of the most pioneering acts from Manchester – the likes of Stone Roses among them. Whilst the kind of trip and colour the Control’ boys are brewing is not quite the same as Ian Brown’s crew; they have a potent and exciting palette that differs from traditional, boring Rock. All of these components and considerations mean the band are primed to impress with their first L.P. They have worked hard on it and know the challenges before them. They are not racing ahead and assuming they will be stadium kings in a couple of months. They have put in the hard graft and will continue to plug and pervade through next year.

I Love You But It’s Going to Rain is going to be one of the most anticipated albums from a new act in 2018. I know it will succeed because the guys have been gigging and working for a long time. They have been monitoring how crowds respond to their music and adapting it to get the biggest reaction possible. Their patented blend of Rock, Alternative and Psychedelic sounds stirs together and elicits a heady smoke. You listen to the sounds and get a mixture of familiar and unexpected. The guys know how to hook the listener in – expect their debut L.P. to get some positive and impassioned reviews! I will talk about where the guys can head next year but, right now, they have been going about things the right way. There have been local gigs and a lot of support from Manchester. They played Gorilla – their biggest-ever show – to four-hundred people and got the chance to play their material to an enthralled crowd. The boys have played gigs in the Northern Quarter and go public support from Clint Boon. The band hosted three nights to preview the album at PS; there were seven screenings where fans eagerly packed in to hear the new album come to life. Also; Torrside Brewery – a local brewery – developed a bespoke beer called …It’s Going to Rain. All of these ideas and events have helped promote the band and got their music out to the people. Getting local reputation and hype is essential for any new act. I have seen few with the same drive and innovation as Control of the Going. It is clear they are a popular and extraordinary live act; companies want to lend their support; radio stations and journalists are behind them – all bodes well for a bumper year ahead.

The guys have a rare and endless energy and sense of motivation. They are always looking to build their work and make it as strong as they possibly can. Not only have they captivated the local fans: their music has been played on American radio. KEXP has spun their music and paid tribute to an album that has the promise to own the year ahead. I know I keep making predictions about 2018 but it is exciting seeing artists emerge who can change music as we know it. The guys of Control’ are going to take the initiative and ensure they keep the pace up. Getting that American respect this early on is vital. They already have a market over there and means, as it turns out, they get U.S. dates. The boys will promote the new album over there in February and bring their local accent and popular sounds to the American faces. I will speculate how far they can go (in the conclusion) but getting an American ear this soon means they are in a better position than most of their peers. I think the guys can build on this and spread their music right across the U.S. One wonders how long it will take before they are worldwide names – able to command acclaim right around the world. That might be a few months off - but it is clear I Love You But It’s Going to Rain is a stunning work that connects with the people. It will be exciting seeing how they go down in the U.S.A. I know radio stations there are reacting but taking their sound to the live circuit there will be a different matter. There is a different pace and geography compared to the American market. The boys are used to the Manchester flavour but, getting experience playing in a nation like the U.S. means they can take those skills back home and strengthen their gigs – that will lead to bigger, bolder material.

Snarling, ‘ave it large strings open the song and project images of debut-era Oasis. That is not a lazy comparison but a piece of praise. The guys summon the same quality and instant intrigue but do things their own way. You get a rousing and boozed coda that has control and focus but a sense of adventure and mischief. The song kicks out of the gates but never gets too heated and rambunctious. The skill and composure of the band mean you have time to bond with the introduction and build up the imagination. I was thinking of various scenes and possibilities. The lengthy opening means images will flood and the listener conspires right from the start. The song is one of dedication and fond passion. You imagine the hero with the girl and having that sense of comfort and safety. Given the fact their album title seems to suggest contrast and changing fortunes; I go into the song assuming there is fracture and imminent shift. That might be premature but one gets a sense of hazard and caution in the vocals. The song impresses with its blend of haziness and strength. The band is very tight and together but there is room for experimentation. One of the only problems with the song is a lack of vocal clarity. The composition is too high up the mix and the vocal a bit too low. A lot of the words are either muffled or drowned by the instruments. Whilst some words are detectable and clear: there are quite a few that pass by because of the way the song is projected/mix. That is not a big drawback because one can extrapolate the mood and direction of the song. You are gripped by the composed and calm vocals – yet, the impression one gets is a man who has some troubles brewing in his heart.

You get a sense that, although there is love and connection between the sweethearts; the girl should not believe him all the time. Maybe there are harsh words or false promises; some regretful times and occasions where the mind and heart have not been connected. The swagger continues and you are gripped by the cool-as-crap lust and Psychedelic underpinnings. Past the half-way mark; there is a chance for the instruments to stand out. The guys combine and project a vivid and physical phase that carries on the song’s messages but creates new wonder. The hero proclaims his love and (will love her more) than she’ll ever believe. That loyalty and belief is strong and should not be taken for granted. The middle section is a chance to clear the head and consider what is happening. The tinge of caution and reserve makes me thinking there is deep thought and pondering. The vibrancy and affection leads the mind in the direction of the sexual and sensual. It is a curious contrast and blend that gets the mind working in different ways. It seems the girl has been wary and not believing the hero – the lyrics become clearer as the chorus takes dominance and place. It is nice to see that audible focus and clarity in the latter stages. That mantra – disbelief and a one-sided love – makes me wonder whether if the bond is near an end or the hero’s dedication is being tested. Whatever the roots and origins; one gets inside the song and makes themselves a spectator. It is fascinating to watch things unfold and mutate; the way the song twists and emanates new possibility and avenues. By the final seconds; you have to take it all in and wonder how things turned out. I feel the relationship will survive and continue but there are definite obstacles and differences. The girl might lack real conviction but the hero is determined to change her thoughts and keep things in the black. Love You More is a fantastic offering from a band that will accrue more fans when their album arrives in February – expect 2018 to be a very special and exciting one for the Manchester band!

Make sure, in February, you get I Love You But It’s Going to Rain. It is an L.P. that has already garnered positivity and praise. I am sure that will expand and explode when the record is unleashed. Love You More is a tantalising glimpse of what to expect. The song demonstrates what flexibility range and quality the band already have. One hears them and gets a great blend of live-sounding freedom and the studious discipline one learns in the studio. The material gets straight into the head and gets the heart racing; the body activates and the blood surges. Those reactions are not what you get from all albums out there. The six-piece have been working long and hard to create an album that speaks to the masses. That is what has been missing from music this year. I have not heard too many records that get under the collective skin and stays with you long after listening. I am hopeful the underground will show the mainstream how it is done as we head into a new calendar year. The Manchester band are preparing for a series of gigs to promote their debut album. They will head to the U.S. and have the opportunity to gain a foothold there. I am not sure what dates they have lined up but I can see them doing well on both coasts. The West Coast looks for that dreamy and colourful locker – music that fuses sunshine and granite into something complex but liberating. The East wants something with urgency and sounds that match the bustle and complexities of the street. Maybe that is a generalisation but one notices differences between the two coasts. I feel the boys could gain success anywhere they travel and have that open and malleable music that does not exclude and isolate. They end a fantastic year with a single and promise to suggest they will have a storming 2018. It is a song that bounces around the head for days and keeps the mind working and the voice singing. I know that will happen and they will rule and reign. Love You More is a stunning song that provides a sensual kiss: I Love You But It’s Going to Rain is an album that rips off the clothes, puts a limp in the step…

AND a smile on the face!

_______

Follow Control of the Going

Official:

http://controlofthegoing.bigcartel.com/

Facebook:

https://www.facebook.com/COTG1/

Twitter:

https://twitter.com/@cotg_

SoundCloud:

https://soundcloud.com/cotg1

FEATURE: The S-Words: Sexuality, Sex and Social Media

FEATURE:

 

The S-Words

 ALL PHOTOS (unless credited otherwise): Unsplash

Sexuality, Sex and Social Media

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TOMORROW provides me the chance to wrap up a few…

idea and pieces I have been meaning to get out. Aside from a review; I will look at album covers that have defined this year – negatively or positively – and why Oasis’ music/legacy is reigniting flames and excitement; some of the all-time great albums and why they remain so important; the ‘civil war’ of U.S. and U.K. music/journalism; I will cast the spotlight on a fantastic Australian duo – and conclude a busy and eventful year. It has been a good one (in terms of my work) but I am not taking any time off: Monday sees me look at a few new topics and keep the ball rolling. I will look at new ambitions and how I want to develop my site but, before then, I have hopes and fears regarding 2018. The reason I have highlighted sex, sexuality and social media – and provided quite a proactive image at the top – is the way sexuality and gender are still major sticking points in music. We have heard a lot of good news from music and there have been some terrific albums released. Glastonbury was a raging success and we saw some new artists come to the fore. All things considered; it has been a productive year of music with the best sounds showing how advancing, talented and original our best musicians are.

I expect that to continue in 2018 and am excited about the big albums and underground artists who will add their mark to the year. Away from pure music, we need to look at the imbalances and downsides that have been hidden to a degree. I have spoken a lot about sexism and the way female artists have been given fewer opportunities and platforms than their male counterparts. It may sound like my revisiting trodden ground but it seems like the best way to end 2017 – almost, at least. This is less a coruscating article: more a suggestion and guidance for the music industry as we head into the New Year. I marvelled at Glastonbury’s headliners but saw no female presence; I looked at other areas of the industry and, between festivals and award nominations, saw that male dominance. Whilst I grant you male musicians have been riding high in festivals for years; that is not an indication of dominant quality and commercial appeal – more a lazy and routine booking by the festival organisers. The need to break away from the boring and commercial should see fewer male artists given prominence; more female artists coming into the fold and being provided equality. Parity is what I am concerned about, really. I feel there has been a bubbling, unresolved sexism that has not really been challenged by male artists.

Journalists (male) have ignored the issue and, weirdly, it is seen as okay and normal having that gender imbalance. I have seen cases of female artists abused on stage; male performers demean and degrade female artists; others sexualised and exposed because of their looks – the impression female artists are weaker, inferior and objects still exist in some areas. Whilst not as toxic and widespread as it could be: I feel those in a position to change things have not been given the kick needed to go about it. That is the responsibility of journalists and male artists – I feel like I have done my part but the bigger names have not played their part and exposed the gaping wound of sexism in the industry. The rise of strong Pop artists and hot newcomers means next year will see talented female artists get a say and impress. I wonder whether there will be any changes so they are not held back from festival slots; their music is treated the same as the guys; they are not promoted because of their looks and bodies – given the chance to show what incredible artists they are...

Sexuality is another side of music that is provided scant coverage. Earlier this year; I talked about, in various pieces, how sexuality and sexual orientation are still seen as taboo. Mental-health is being discussed a lot more but I wonder whether the outpouring of professions and openness is strong enough for the industry to bend and care for artists overworked, unhappy and struggling. I know there are a lot of problems that need tackling and I do not want to talk an alphabetic approach – nearly every letter of the alphabet will be covered! I know a few gay artists and they are proud (rightly so) of their life and how they express themselves. There are Pride festivals in Brighton and London that celebrate difference and unity: how homosexuality should be expressed, celebrated and normalised. That may sound like an odd word to use but I feel gay artists are afraid to explore their sexuality in music; been afforded the same chances as straight musicians – fearing they’ll be seen as outsiders or a niche act. There are/have been many gay artists in popular music – from Elton John and George Michael to Lucy Spraggan. Bisexual artists like (Fifth Harmony’s) Lauren Jauregui and Halsey are proud of who they are and have opened up about their sexuality. There are more L.B.G.T.Q. artists than ever before – proving sexuality is a spectrum and complicated thing.

IN THIS PHOTO: Lauren Jauregui/PHOTO CREDIT: Getty Images

It is not a binary decision – being gay or straight – but I know there are many more artists out there unafraid to come out through fear of isolation and judgement. I agree we have become more accepting of sexuality – in the music industry at least – but there is still a lack of education and awareness among many. Homosexuality is something that should be emboldened and assimilated into the mainstream more readily; not seen as something unique and odd. I know of a few gay artists who feel, as they plan their sounds and aim for the mainstream, it is going to be hard expressing their sexuality and revealing it. Friends and colleagues know they are gay but is there still a stigma attached to coming out? Those popular artists who have revealed their sexuality (bisexual, homosexual or transgender) have been met, in the most part, with applause and respect. Hopefully, that will destigmatise the nature of sexuality and see those artists afraid and concerned feel brave enough to reveal their sexuality and be met with affection. The music industry has a problem and, even though there are more members of the musical L.B.G.T.Q. but the rainbow is being dampened by cloud and mist. I am not suggesting special dispensation and accommodation needs to be afforded gay/bisexual artists: they do not want to be treated any differently to anyone else!

Whilst gender and sexuality and high on my list of ‘things we need to tackle and treat with compassion in 2018’ I am concerned social media is losing control and focus. Maybe it has always been a place where one takes chances and is not necessarily safe. Former President Barrack Obama, when interviewed by Prince Harry, warned us of the dangers around social media. We are spending too much time on Facebook and Twitter and, with it, our physiological health is being affected. I have, again, spoken about social media and how promotion and music-releasing is less physical and more electronic. Modern artists NEED to spend a certain amount of time on the Internet: many are supplementing that with social-time and, when you look at it, hardly getting any rest and time for detachment. I have heard a few cases this year when online bullying and ill-advised comments have claimed lives. An adult film star, August Ames, hanged herself this month following abuse online – following accusations of homophobia. It was a shockwave and reminder about how hurtful comments and the effect social media has on us can have devastating consequences. I have heard of other suicides and, considering a couple of high-profile suicides in the industry (Chris Cornell and Chester Bennington); I feel musicians should be encouraged to spend less time online.

I realise promotion and popularity stem from a savvy social media plan and constant dedication. That does not mean one needs to spend every waking hour on social media. The more tired we get the worse our decision-making process is; we make mistakes and say things we regret; we are subject to harsh comments and, because we are tired, that means we are likely to make errors of judgement and feel alone. The more we immerse ourselves in the digital world, the more distant from the human connection we become. Many use social media as an alternative to a life where they feel misunderstood, unheard and unhappy – feeling people online will understand them and provide friendship (artificial at best). It is hard separating social media work-life (not too much time on there) and any personal downtime. Musicians are required to push their work and get it out to people. That involves social media and a lot of time sending emails. Not only is the endless work and exhaustion affecting their creativity and ambitions; it is fixating and obsessing the mind so there is little/no time in outside world. I am worried many musicians are open to the worst traits of social media – abuse, trolls and the way we cannot wean ourselves off it – and need to heed the kind of warning Barrack Obama has provided.

I know music will make changes and take responsibility in 2018. Those S-worded subjects are a few big things I hope will be afforded more exposure and investigation. I have seen improvements and small changes. Discussion and anger (positive and negative) have highlighted how female artists are still downplayed and seen as minorities; a lot of gay and bisexual artists lack the confidence to express who they are and discuss their sexuality through music. I have not spoken about race and other sides of music that have troubled me – maybe I will have to leave that for another day. This is not new ground – and I have spoken about all these things at various points – but, months down the line, seen few changes and little advancement. Maybe, when we look at how to improve musicians’ lives, we should take an alphabetic dynamic. Starting at ‘S’ might be a weird place to start but I am seeing too many artists lose out, suffer and go unnoticed. If those in a position of influence – the government, labels; executives and journalists – helped challenge sexism and sexuality; helped raise issues around social media and the pull the Internet is having on artists (and all of us) that will be a positive and…

NECESSARY difference.  

FEATURE: Terms and Conditions Apply: Is Consent and Copyright Laws Holding Back Creativity?

FEATURE:

 

Terms and Conditions Apply

 ALL PHOTOS (unless credited otherwise): Unsplash

Is Consent and Copyright Laws Holding Back Creativity?

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HOW many of us sign up to a website…

or register with a company and blithely skip past the terms and conditions?! There is that box we need to tick to say we have read them: few of us open up a page and read everything that we are agreeing to. Most of it is harmless, boilerplate stuff - we are not agreeing to give away our lives and consent to inhuman experimentation. It is a perfect opportunity to exploit someone but I guess most of us are too busy and unconcerned by what is written in the contract. As I say; a lot of the websites have the same terms and most of it revolves around minor things that are not going to harm anyone. I wonder whether, among the codification and numeration are pillars, posts and points that are, in a subtle way, stripping liberties and revoking any degrees of privacy. How much of the information we share online is being used by companies (we sign up with) and are we exposing ourselves to a lot of hassle down the line? Unless we read every page of every site; we are never truly aware of the small print. One of the most challenging and irritating parts of being a music journalist is how often you have to carefully select information and photos you can use – through fear of copyright infringement and intellectual theft.

A piece I wrote last week – looking at the best music photos of all time – has to be scrapped and deleted because I got a fair few of the photos from a music website. I credited the photographer of each but, in one of their sub-menus was a terms and conditions option that prohibited the unauthorised sharing of their material. That was fair enough but I felt that link should have been visible and listed with the photos. I did not know to go check and assumed that, if I credit those whose work I am using, there would be no issue. Maybe that was naivety on my part but it seems like there are needless restrictions imparted. If you are using someone’s photos/information to make a valid point or do good then what is the use in imposing these limitations? Anyone could copy a photo and use it where they want – the downfall in my plan (was that) I tagged the website in questions when I shared the feature online. If I did not then they would not have known where to check; they would have been blind to the (unintentional) use. All I wanted to do was celebrate someone’s good work and was not misrepresenting the information and using it to voice controversial opinions and perpetrate libel. I can understand the need to protect privacy and restrict use: some journalists may use information/photos to help voice racist views or vile onions. In those cases; you do not want that person to have free license regarding your work. In this occasion, I did ask the website if I could use the photos but they declined – no real rationale or explanation.

If you are going to be urge people to ask for written permission before using images, and refuse them without explanation, then is anyone ever going to do that?! I have to read everyone website to make sure they are not going to sue me and force me to remove their work. A lot of the websites have privacy/copyright-related pages but it is not always clear whether you can use their data without permission or their words apply to bigger publications/sources. Sometimes; there is a blurred line between intellectual theft and appropriate representation. I would rather than a risk and use information/photos without consent – so long as I have read their conditions and feel I have committed no wrong – than have to email/write to everyone and wait to get permission. That might seem like an unwise move but, so long as one makes checks and makes an ‘honest mistake’ then you cannot fault that. I will come to look at the creative ramifications but there are similar obstacles when musicians want to use other people’s songs/sounds to sample. An artist can easily cover a musician’s song – they do not need to get permission but it is polite to ask – so can, in theory, mimic every note and vocal and use that version in a song. That would be a sound-alike sample but is not the original – it is all legal; albeit a time-consuming solution. What is the difference between a cover version where you can replicate a song note-for-note and getting the original? Artists are protective of their work and do not want to secede rights to have their material disseminated and used any way another artist sees fit.

PHOTO CREDIT: Getty Images

Rigidity and litigious barriers mean there are far fewer sample-laden albums like we saw in the 1980s – the likes of Paul’s Boutique and 3 Feet High and Rising (De La Soul). Those artists had a hard time putting the records together but I know it would be THAT much harder getting permission today – musicians are concerned about piracy, legalities and financial reward. If an artist used a song and that album garnered big cash for the musician – how much money is going to the artist who granted access?! Some argue these measures protect musicians and means songs do not lose their ethics and independence. I feel there are better ways to go about things. If an artist agreed to a percentage cut – granting a set amount of profit to the permission-giver – then what is the harm granting permission? That would solve issues around remuneration and, so long as they fully informed the musician how they were using their song(s); they would rest safe knowing it was not going to be mangled and mutated. Things are not that simple and it is a problem that feeds into journalism. I was annoyed to lose a piece that looked great on the page but it was not a fantastic loss. I could have survived a refusal if they explained their decision and felt I was going to misuse their photos. That is not the case (on either point) so that makes me feel everyone is going to provide short-shrift.

As I said before…there is ambiguity on a lot of sites so is the workaround making sure you phone/email everyone? The problem with that approach is waiting however long to get an answer. If they say ‘no’ then you have wasted your time: how long will it take to get an answer and any sort of legitimate reaction? Even if they do grant permission; how can you tell, from a causal observation viewpoint, whether that has happened? Are you going to put the email (with permission) on the page? The original source knows you have asked but nobody else does. A lot of great journalism stems from instant reaction and efficiency. If there is a hot issue that needs dissecting then you will want to get something online quickly. That might involve, as I do, research and cross-referencing other sources. I never replicate and rip-off an article or amend any journalist’s words. I always keep it faithful and contextualise my usage. It is never inappropriate and always used (the material) in a positive and substantive way. I can understand the need to preserve sensitive information of personal photographs. Ensuring they are not put into the ether is fine but most journalists are not looking to defraud and play games. I would be completely happy for someone to use my words and do not have any limitations on my website. That might leave me open to exploitation and legal issues but others can quote my reviews and features.

Artists ask if they can quote some of my reviews (about them) for promotional reasons. It is not a demand from me: they do it as a courtesy. I do not put anything official down and know anyone who comes my way is going to purely and faithfully use my words. I look at the tabloid world and see photos of celebrities plastered over their front pages. I am sure the featured figure did not give their consent to be pictured and have no say how their image is used – they do not get a say regarding the story attached to it, either. They are immune from privacy rights and are open to scandal, harassment and gaudy revelations. I know the music press is more respectable and noble but why does one side of the press get to break rules and violate confidentiality when another, much nicer and educated, have to struggle to acquire the same level of access?! In my case, I am never using too much of anyone else’s information. I would be honoured if I saw my words quoted (in the right context) by someone else. Obviously; you cannot monitor everything and know what happens with your work – some of my stuff might be out there in another place! – but I  am not one for squashing creative freedom and promoting debate. If every magazine and website made writers ask for permission and risk facing rejection every time they ask – how will journalism ever grow and evolve if we are too stringent and strict?!

I am happy enough to send an instant message/email to every site with my website and say why I want to use their words/images. Because I am a minnow; there is the endless reality they will refuse me because I am so small. The logic is, from my viewpoint, I am not likely to create duplicity and abuse their trust. I am a humble journalist who wants to aid my work and create some interesting pieces. It is music journalism so there is not really anything deeply personal and explicit I am using. Most of the words are opinions and quotes; studies and interviews – something anyone can read and use on social media. People can legally share that information on social media (if they know how) so why stop journalists from using the information in a factual and informative way? The issue is complex but I can see no real reason why sites are so protective and legal-minded. I have seen other websites use photos – that they do not have expressed permission to use – but do not report them. That would breach their own rights and is not my place. Getting permission seems like (that site) have access to monitor and control what I do. You can say the blind taking of information/photos means the author/creator has no control and is open to a world of problems.

If you want to ask every person to get permission for every bit of information you use; I feel there is a quicker way of doing things. Click on a photo/article and give them an option to put your website in a form; their name and email address. That will go to a moderator who will instantly review the request and give s response. It covers the bases and means journalists get a quick reply – and can engage in conversation if the website is reluctant. The way things are now mean many are fearful of rejection – meaning their creativity is limited and they are unable to progress music journalism. Debate, engagement and discussion is crucial in the modern age and part of that is sourcing other portals of information and sampling other people’s work. There is a bias and sense of subjectivity if I only use my own words: bringing in another side/journalist means I can back up my argument or bring in a counter-balance. I know the rules around intellectual theft are defined when it comes to music-sharing and sampling. There have been high-profile court cases regarding plagiarism (Led Zeppelin one of the more recent examples) and that was a costly and truncated court case. That example might have been an opportunistic lawsuit or mistaken assumption – does a journalist have to suffer the same fate if they use someone else’s material. There are definitional differences and practical exceptions but, when it comes to it, there are hoops journalists need to go through in order to use other people’s information/photos.

I understand the desire to protect your work and not have it misused but it should be a lot easier for journalists to get permission – and have a fair shake and not be instantly rejected. There are so many issues and subjects that are ripe for investigation and challenge. The music industry is facing change, accusations and struggles in various quarters. Documenting these (sides) and exploring avenues is a vital way of provoking conversation and, ultimately, change. I see so many websites produce pithy and vague articles because they have no competing arguments and sources they can quote from. There is this culture of over-protectiveness that is stifling examining, debate and quality journalism. With no sense of morals and legality in the tabloids and other parts of the industry: why should music journalists have to face challenge and boundaries? It is an argument where I can understand the other point but I am frustrated it is so difficult when it comes to quoting from others – and the amount of time one waits to get rejected for asking nicely! Next year will see music take on a bigger role and shifts occur; issues around sexism come to the fore and the desire for reasoned and productive debate. Journalists are charged with leading the movement and talking about things important and meaningful. I wonder if we can do that if there is compartmentalisation and endless terms and conditions imposed. Making allowances will not only lead to better journalism and a more open industry; easier channels of dialogue and permission-giving means more aspiring journalists will be bold and brave with their work. Music journalism is never going to advance and grow if there are needless restrictions. In the interest of parity and transparency…

YOU can quote me on that!

FEATURE: Blinded by Silence: Why Environmental Issues and Climate Change Is Everyone’s Responsibility

FEATURE:

 

Blinded by Silence

PHOTO CREDIT: Getty Images

Why Environmental Issues and Climate Change Is Everyone’s Responsibility

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WE are still enjoying the leftovers of Christmas…

PHOTO CREDIT: Jonathan Gregson

and preparing to soak our livers in the fruitiest, most-lethal and intoxicating drinks we can get our mouths around! It is a rather peculiar time of year: I wonder why we celebrate New Year and whether people actually use it as an opportunity to make real changes and be a different person. People do not change: it is a fact that has been shown through history and in every neighbourhood. Although people cannot change huge character flaws and stubborn D.N.A. – there is the ability, in everyone, to make small changes. When 2018 strikes; it will open up a fresh year and we will all be making ill-advised plans. Each of us has some sort of resolution we want to fulfil but most of it surround ourselves. We might amend our diet or commit to being a bit more active and ambitious. This year has seen some horrible political unfolding and the people are more split than ever. Few can ignore the natural disasters and weather-related events that have struck the planet. From wildfires and floods to earthquakes and record levels of snow – countless lives have been lost and the toll on the planet has been severe. I am not exactly Al Gore when it comes to global warming but have become more aware of the plight of the planet and what we are doing to it. An increasing population and the increase in travel are reasons why pollution levels have risen and are create damage. That is a simplified deduction but is part of the problem.

PHOTO CREDIT: Unsplash

In some ways, music is part of the issue: it can also aid awareness and help bring about change. It is not a new phenomenon: the music industry has been causing problems for years now. I am reading an article published in The Guardian back in 2010 that highlighted the carbon footprint left by some of our biggest acts:

“Each year the UK music industry is responsible for around 540,000 tonnes of greenhouse-gas emissions, according to researchers from the UK and US. Three-quarters of this is due to live music performances, while the rest is caused by music recording and publishing.

"This is the first study to map the greenhouse-gas emission profile of the music industry," Catherine Bottrill of the University of Surrey told environmentalresearchweb. "Furthermore, there are few publicly available studies of service industries and we can't think of one directly comparable."

The study was commissioned from the University of Oxford's Environmental Change Institute by Julie's Bicycle, a non-profit organisation launched by UK music industry heavyweights on the eve of Live Earth in 2007.

"In a highly competitive industry such as popular music, this type of co-ordinated approach is unusual, but provides the opportunity to build consensus and develop rapid strategies for a lower-carbon future for this sector," write Bottrill and colleagues Max Boykoff from the University of Colorado Boulder, US, and Diana Liverman of the University of Arizona, US, and Oxford University, UK, in a paper in Environmental Research Letters (ERL). "A number of artists are firmly committed to social and environmental issues, such as Annie Lennox, U2, Sting, K T Tunstall and Peter Gabriel to name a few, but until the efforts of Julie's Bicycle, these artists did not have the co-ordinated support of their industry behind them."

PHOTO CREDIT: Getty Images

“According to Bottrill, there was a need for an original piece of research because information about the industry's greenhouse-gas emissions was very limited. "There existed only one major study about the greenhouse-gas emissions produced in CD production and distribution, and also a few artists have done an emissions audit of their tours," she said”.

I highlighted this part of the article because it brings together two elements of the industry: the travel and number of miles covered by big acts and the production realities of C.D. and vinyl. Last year, Rolling Stone published a piece that looked at the plastic pollution we create:

“How much garbage does a typical music festival generate? The 2015 Bonnaroo Music and Arts Festival, with roughly 90,000 attendees in Tennessee, produced more than 679 tons of waste over four days. That's 15 pounds of waste per festival-goer — nearly twice the average amount a U.S. consumer uses daily. The biggest component of that waste was single-use disposable plastic: water bottles, beer cups, straws, utensils, wrappers and packaging”.

They might be slightly different worlds but, in a sense, what we are dumping in the oceans/rivers is affecting our planet. It may not rip a huge hole in the ozone but it is killing sea-life and means, before long, there will be more plastic in the sea than fish! The article explained how changes are being made – why organisers and festival heads are being more conscientious and proactive:

“Many other artists, including Maroon 5, Ben Harper, Keb' Mo', Bonnie Raitt, Dawes, Jackson Browne, Athena, Tom Petty and the Heartbreakers, Moxie Raia and many others have reduced plastic pollution on tour through both practices on the road and policies in their riders for venues, and some talk directly to concertgoers about the issue.

 PHOTO CREDIT: Unsplash

Their fans are joining the movement. In 2014, Rolling Stone explored Refill Revolution, Bonnaroo's program in partnership with the Plastic Pollution Coalition (PPC) and Steelys Drinkware that encourages attendees to purchase or bring their own refillable stainless steel cups, bottles and containers. Organizers invested heavily in these efforts with  dedicated staff, volunteers and information-tracking. Their 2015 Clean Vibes program recovered an incredible 67 percent of the gathering's total waste output, saving nearly 200 tons of waste from going to the landfill. The first year, 2014, resulted in a reduction of waste by 400,000 bottles or cups; in 2015, that impact nearly doubled. This year they continue to scale up the number of reusable cups and bottles for attendees, while PPC continues to discuss its Plastic-Free Touring initiative with artists and management teams”.

The music industry creates a lot of pollution/problems but is more aware and motivated than a lot of sectors. C.D.s are less-common than before but we still consume a lot of vinyl. The chemicals and materials used to make vinyl – and to ship it to the consumer – means there is a lot of damage done that we do not even realise. If the humble C.D. is being replaced by streaming services; does this mean the digitisation of music is leading to a pollution-free industry?! I am pleased to note festivals are recognising heaps of rubbish and gases being released – mountainous piles of toxins/plastics are not the way to tackle the evident changes to our environment.

PHOTO CREDIT: Unsplash

Have these changes come too late?! We all know how much rubbish is accumulated at festivals; the sort of crap discarded by the average festival-goer – and the sort of pollutions produced by factories that produce C.D.s/vinyl. If the move from plastic bottles is an aim to prevent further depletion and destruction; I wonder whether other areas of the industry need to be addressed. We still produce an awful lot of material in the industry. If C.D.s and plastic bottles are being reduced: what about merchandise, music gifts and electronic products?! The factories and processing plants these are manufactured are not the greenest and most economical. Small changes are coming in but that does not mean they are free of pollutants and chemicals. We cannot stop people buying gifts and giving their money to the industry: we can ask questions that force manufacturers to look at the materials they are putting into their products. Reducing the plastics and chemicals we use will make a difference but I am concerned the carbon footprint created by travel is a bigger threat. Even the smallest artists need to travel and get around the country. Air and road transport are the ways to link musicians to fans but, when you see the big artists, the number of miles they cover is eye-watering. From continent-spanning flights to the long hours on the road – what is the price of that embarkation and distance?!

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Air travel is an industry that struggles to keep pollution down and it is a lot more complicated than adding catalytic converters or going electronic. Cars are not even at a realistic stage where they can switch from gas to electric; factories are not doing enough to reduce their damage – what kind of impact are flights and road travel doing to the environment?! Again; it is hard to limit and ration musicians who are in-demand around the world. They cannot stop going on the road but, like festivals aware of the plastic pollution and littering population – should we take measures to limit the damage being done?! Gigs can be streamed and I worry whether the closure of local music venues is forcing artists to travel further to get attention. We always need to look at the survival of our smaller venues but, with the advent, rise and dominance of the Internet; can we streamline and focalise gigs? It does not have the same effect and sound as an arena/stadium gig but it would solve another issue affecting musicians: the fatigue and depression caused by endless touring and work. Their physical and mental wellbeing is important and needs to be preserved; the environment needs protecting and safeguarding against repeated assaults – surely these are vital and blunt enough to stop many in their tracks?!

PHOTO CREDIT: Unsplash

I wonder how many of us watched the David Attenborough-narrated Blue Planet II and marvelled at the colours, sights and underwater spectacles! Even during the series; we were told about coral being blanched and the depletion of the natural world. The waters are warming and that is killing off sea-life at a disturbing rate. This year has seen one of the coldest winters in the East of the U.S. and means trillions of dollars will need to be found to reverse the damage. The bigger artists become, the more people want to see them; more physical units are produced – although streaming has alleviated some of the burden – and the consequences are severe. Although the music industry is responsible for causing pollution and adding to the burden placed on the environment; there are way it can rally, support and change. I wonder whether we need to start thinking about the way climate change is affecting people. Back in the 19870s; Sir Bob Geldof realises the famines in Africa were too much to handle – something needed to be done to help them and make the world more aware. Rising temperatures are exacerbating a plight that is worsening; developed nations are experiencing more natural disasters and climate-related catastrophe; the seas are being poisoned and the air is getting dirtier. I have argued how we could get a charity/body organised where concerts/events are run to raise awareness/funds to combat problems in the world. Depression and anxiety is claiming lives whilst online bullying and the downsides of social media impact musicians. Pollution, climate change and natural desecration is not solely because of musicians/fans and their part: everyone on the planet has to take some slice of the blame.

PHOTO CREDIT: Unsplash

There might be a huge irony getting artists together at a huge concert; get them from all around the world and produce a lights-and-warts spectacle that compels the world. Maybe that was what we saw with Live Aid but a greener, more practical alternative could come about. Instead of all artists coming to one location, they could all perform in their home locations and there could be a day-long series of events. Maybe a plastic-free, environmental-friendly concert could be held (that would limit damage normally done) and all proceeds go to charities concerned with climate change and protecting the planet. A concert will not cure the issues we face – same can be said concerning depression – but is an important step that would make people see the music industry accepts its role and is taking steps to remedy the problem. We cannot get a clear reading of how much pollution is being caused by the music business. Manufacturing pollution is less severe than before – due to streaming and digital music – but travel, littering and other factors have not gone away. Music is a fantastic industry and one that can help motivate and inspire the rest of the world. Putting on a concert/event that highlights the damage we are doing to the planet – if the likes of Al Gore have not already done that! – is a good start but, going forward, greater awareness from everyone is paramount. They need only be small steps but thinking about our carbon footprint, and the amount of plastic we use/discard, is a possibility. Musicians need to think about their role and be conscious of the pollution created by long-distance travel and their concerts. If we all make a concerted effort to (help) tackle climate change; it will mean we can do something about a growing and potent problem…

 PHOTO CREDIT: Kwest/Shutterstock.com

THAT affects us all.