FEATURE: Tim Smith: Mind and Body: Raising Awareness of Musicians’ Health Issues

FEATURE:

 

Tim Smith: Mind and Body

IN THIS PHOTO: Tim Smith/PHOTO CREDIT: Getty Images

Raising Awareness of Musicians’ Health Issues

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A lot has been discussed…

PHOTO CREDIT: Unsplash

concerning the psychological well-being of musicians – and whether enough is being done to preserve their mental-health (and ensure they are okay). It is an oversight that needs a lot more focus and compassionate research this year. I am concerned by the growing number of seriously distressed, depressed and anxious musicians whose health is being compromised by the nature of the business – how demanding it is - and (how) isolating social media can be. It is a tricky and time-consuming crusade we have before us. Curing someone’s mental-health problems takes more time, effort and patience than, say, a physical malady. I have been compelled to write because of a certain Tim Smith. Maybe there is a cruel irony that a productive musician/writer/producer who led a band called Cardiacs should be waylaid and incapacitated because of health issues. In Smith’s case; he suffered a catastrophic brain injury that has, sadly, seen him sidelined from the music industry and unable to create. It is heartbreaking seeing a legendary figure in such ill health; suffering so much and not contributing to the world of music. I will come to a fundraising campaign that has been launched – where you can contribute and help get treatment for Smith – but, since two strokes and (two) heart attacks in 2008 – fans have been rallying and supporting their idol. Back in 2005, when talking about the Cardiacs; Smith professed the meaning and relevance of the band:

“Cardiacs is our life and everything we do, and everything we have ever done since we were tiny. We play a kind of music that we are very, very proud of and love more than life. A kind of music that apparently makes people hate us with a terrifying vengeance, or love us so dearly and passionately that it becomes a worry. No in-betweens . But to us it’s just tunes. Lovely tunes. Tunes are important in life.”

Smith’s passion for music began as early as the mid-1970s when the fourteen-year-old schoolboy procured a copy of The Who’s Tommy songbook. Teaching himself to read and write music; Smith wanted to play music loudly to, as he claimed, make his brother Jim look foolish! Bass guitar-playing Jim and his brother played together in The Cardiacs – it was shortened to ‘Cardiacs’ soon after. There was a sense of retribution and retroactive game-settling regarding the music. Tim Smith saw the band as an opportunity to exact vengeance on a brother who caused unkindness as a youngster – all loving and with no malice but, even from the first days, there was a sense of rivalry and strange ambition. This fervour led to a series of acclaimed studio albums and brilliantly-attended gigs. From their 1980 debut L.P., The Obvious Identity, to the tragedies that occurred in 2008 – the band have been on hiatus. Many count the band’s 1996 album, Sing to God, as one of the finest of the decade – there was high-hopes the group would continue to record music to this day. Before I highlight why it is important to back Tim Smith’s medical treatment – and highlight why musicians’ physical health needs to be highlighted – a statement from Smith himself:

“Most of you are now familiar with the ins and outs of what happened all that time ago during the summer of 2008. But for the sake of clarity, which here and there has drifted a little, let me just state it here for the record.

Tim was indeed felled by a full cardiac arrest (which differs from a heart attack in that the heart stops beating completely) which in turn led to hypoxic brain damage to the parts of his brain that are largely associated with the starting and stopping of all movement. It left him with a little known about condition called dystonia. That’s it. There were no further heart attacks or strokes it turns out and there is no true paralysis…

PHOTO CREDIT: Unsplash

Hypoxia simply means a lack of oxygen to the brain. It causes the cells to die or be damaged in the affected area just as any form of stroke does, be it a bleed or a blockage. Deprived of blood flow, or too much of it and in the wrong places, the result is the same.

It’s pretty rare to end up with this particular condition as a result of hypoxic brain injury. We know of maybe two other cases worldwide. If there are more, it’s still, in all likelihood, a very small number. But you might say that’s just typical of Tim: it’s in his nature to do things others don’t and to do them properly!

As we know, this condition has affected Tim’s movement as a whole, his dexterity, his ability to speak and it has added painful muscle tone and spasms that are a permanent feature of his life these days. These also hamper movement generally. Obviously all medical and surgical options to ease some of his suffering have been, and continue to be, investigated”.

I realise musicians suffer poor physical health but the fact such an iconic and prolific musician suffered a series of strokes and heart attacks seems especially vicious and unfair. I will conclude this piece by looking at another high-profile musician, Solange (Knowles), and a condition that affects her. Regarding Tim Smith; one can help fund vital medical treatment and (help hit) a £100,000 target-figure. The fundraising is strong but, as we read those brave words from Smith; the desire to see him recover and back in the studio is strong.

The Cardiacs’ lead is fighting bravely and ensuring his health problems do not get him down. It is good to raise awareness of a musician’s health concerns because, unless it is very serious, we do not often hear about it. Not only can raising awareness give encouragement and guidance to those similarly-affected: we get to see the human side and show true support. Music, today, seems to be mostly about electronic purchases and a certain amount of detachment. Unless you go and see a band/artist; how often do you connect and relate to them? Even in the live setting; we do not get to know about an artist and what makes them tick. I am not suggesting Tim Smith’s health problems are a positive thing: it does bring us closer to the legend and creates a deeper feeling. I am determined to see Smith back in the studio because Cardiacs have always been a love-hate type of band. Back in the Britpop age (around 1994-1997-ish) they were seen as the outsiders – much like Radiohead but not as revered and respected. That might have something to do with their music: an assortment of unhinged sounds, nursery rhymes and off-kilter angles. It is hard to categorise them (Prog-Punk?!) because there is, and will never be, anyone quite like them. If celebrity fans like Blur and Mark Radcliffe have helped raise the profile of the band: the projectiles and abuse they were afforded during some of their concerts.

PHOTO CREDIT: Getty Images/Press

Especially in the 1990s, when Britpop and a certain musical sound was king; the guys were an oddity and isotope of rebellion – their stage mannerism and presence hardly helped when it came to assimilating and normalising. The band would play a traditional set-closer at the start; they would subvert expectation and change the rules. The tension and rivalry between the two Smiths – some saw it as bullying regarding Tim’s treatment towards Jim – and some controversial requests (the band would try and get the crowd kissing one another) certainly put them in the public imagination. Times are such where we have few ‘memorable’ bands like Cardiacs. In terms of innovation and sound-experimentation; how many artists like them are around?! Aside from a few left-of-centre bands like King Gizzard & The Lizard Wizard; there are not many bands who have such a strange and alluring sound. Some have accused modern music of lacking inspiration and any real development. I am not suggesting a Cardiacs return would get music’s heartbeat strong and in-time: it would provide an influential and established group the chance to keep recording – or Tim Smith recording some solo material. I am confident Smith’s campaign will hit its six-figure target – thus ensuring he can get that all-important treatment and be on the road to rehabilitation and recovery.

PHOTO CREDIT: Getty Images

Another artist, and before I finish, who has publically spoken about their health issues is Solange. The musician posted the below on her Instagram account (last year):

“Wrote, deleted and re wrote this like 5 times... Still not sure what exactly or how much I want to share... However it’s so important to me for the people in South Africa, a place that has tremendous meaning to me and that has given me SO SO MUCH, to know why I won’t be performing at Afro Punk this NYE. The past five months I have been quietly treating, and working through an Autonomic Disorder. It been a journey that hasn’t been easy on me... Sometimes I feel cool, and other times not so cool at all. It’s a complicated diagnoses , and I’m still learning so much myself, but right now, my doctors are not clearing me for such an extended lengthy flight, and doing a rigorous show right after. I can’t put into words how saddened and sorry I am that I am unable to perform for you guys this NYE, there is simply no other place I wanted to be than there with my family to bring in 2018 with you.......but I give you my ABSOLUTE WORD I will come back with AfroPunk and deliver this performance.....

 IN THIS PHOTO: Solange/PHOTO CREDIT: @solangeknowles

…as it is so extremely important to me to connect with the people who have so closely inspired me in so many ways. I can’t thank Afro Punk enough for their support, and to all of the other festivals this past summer/fall who have known about my health, kept it confidential, and gone out of their way to make me feel supported while doing these shows. As a part of the self care that I’ve tried to encourage this past year, it needs to start with myself, and I’m looking forward to doing a better job of this 2018. This past year has been one of the most fulfilling of my life... Performing this record and experiencing the energy exchange with you guys has been astounding, and I’m so excited about continuing to do the work I feel so absolutely humbled and appreciative to be doing next year. It gives me life”.

Not only did Solange cancel her Afropunk headline set; she has helped raise awareness of autonomic disorders and put it into the spotlight. She has not revealed which specific type she has but, by speaking about it so openly; it will make other artists more confident about sharing their health problem with the public. Both artists have spoken out for different issues but we often digest music without thinking about the artist – relating on a human-level and actually connecting. It might sound like an odd way to connect but, as is the case with Tim Smith; people are coming together (from various generations and nations) and helping support a great musician. Solange’s fans have shown their support and love and, fellow autoimmune disorder suffers have a high-profile spokesperson. This year has only just begun but I can feel a need for change and togetherness. I worry we disassociate and disconnect from musicians - and never really consider the person behind the music. I am keen, especially, for people to get behind Tim Smith’s fundraising and get the master back into the studio – and help fund some life-changing medical treatment. If that can happen, and an amazing target can be hit; it means we can ensure a fantastic musician has the change to put…

PHOTO CREDIT: Getty Images

MORE music out to the people.

FEATURE: Mutual Accord: Is Radiohead’s Lawsuit Against Lana Del Rey a Step Too Far?

FEATURE:

 

Mutual Accord

IN THIS PHOTO: Lana Del Rey/PHOTO CREDIT: Getty Images

Is Radiohead’s Lawsuit Against Lana Del Rey a Step Too Far?

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THE latest high-profile legal threat in music…

PHOTO CREDIT: Getty Images

has come from Radiohead. A couple of years ago; Led Zeppelin were taken to court – accused of plagiarising Spirit’s instrumental song, Taurus, and incorporating elements into their hit, Stairway to Heaven. These are not the only cases of supposed plagiarism in music: for decades, artists have been taken to court and had to explain some very similar-sounding notes. A lot of the cases concern the most minor infractions. In the case of Lana Del Rey; she has been accused of ‘borrowing’ the chord progression/melody of Radiohead’s Creep for her song, Get Free. That is the closing track to her latest album, Lust for Life, and, if you look at both songs side-by-side, there are some similarities. Of course; Radiohead’s best-known song is a different tempo and sound: Lana Del Rey has not exactly copied everything about the track and produced something blatant. What we have are the slightest similarities many people have passed by. That is the point of my annoyance: it is only the lawyers for Radiohead who have picked up on the similarities. I wonder how involved the band have been in the lawsuit and whether it will actually progress to court. Del Rey has offered to give forty-percent of the publishing royalties to Radiohead: they want the full one-hundred-percent.

Variety explained the situation – and how such cases come about:

“I would say this case does cross the line,” said Bill Hochberg, an attorney at Greenberg Glusker. “This Lana Del Rey song is way too close to what is a rather unusual set of chord changes and a very distinctive melody line.”

Del Rey revealed the dispute in a tweet on Sunday, saying that Radiohead has demanded 100% of the publishing revenues from the song. She said that while her song “wasn’t inspired by Creep,” she has offered up to 40% of the publishing to settle the matter.

Typically in such disputes, the attorneys will communicate and try to reach a settlement without filing a lawsuit. Prior to litigation, both sides may also engage their own musicologists to study the similarities between the two compositions. Two songs may sound similar to the untrained ear, but a musicologist may be able to show that the similarities are trivial or commonplace.

“Musicologists are very good at showing where the note sequence is used in other songs and works going back to the Renaissance,” said Henry Gradstein, of Gradstein & Marzano. “Typically what sells it is where there’s a unique pattern of notes and keys and chords and rhythms.”

Asked about the similarities between the songs, Gradstein played them on his computer. “There’s some changes that sound pretty similar,” he said. “I get it. I get the case now.”

Gradstein thought it was notable that Del Rey offered 40% of her publishing rights, suggesting she may have gotten a musicologist’s report suggesting significant similarities.

 “I don’t think you would offer 40% of your publishing if you believed the claim was frivolous,” agreed James Sammataro, an attorney at Stroock & Stroock & Lavan.

If the two sides cannot reach a resolution, Radiohead would file a copyright suit in federal court, and Del Rey’s attorneys would file a motion to dismiss. Sammataro said Radiohead would likely prevail on that motion. If the case reached a trial, both sides would bring their experts”.

That gives you an idea of what has happened and why it has come about – and what the next steps are. It seems extraordinary someone has taken the time to listen to all music out there in the hope someone will use some melody/chord structure from a Radiohead song. One can only imagine the lawyers have nothing better to do than wait for this opportunity to arrive. I suspect someone brought the case to the mind of Radiohead’s lawyers – maybe an eagle-eared listener or super-fan. Although there is proof and enough evidence to bring a case; I wonder why it has been brought about. Del Rey herself stated she was not inspired by Creep – it is ironic the same song has been the subject of another high-profile legal case. The Hollies sued Radiohead (and won) after noticing similarities between their song, The Air That I Breathe and Creep – and, as such, the linear notes credited Albert Hammond and Mike Hazlewood (The Hollies) as co-writers.

PHOTO CREDIT: Getty Images

This ‘third-generation’ lawsuit, one imagines, has been inspired by the nasty aftertaste Radiohead felt when they were sued: their lawsuit against Lana Del Rey has come about as, if they let it slide, it would be ironic and not fair to them. My contention comes when we are looking so forensically at music and cannot allow the similar notes/melody-lines/chord reflections to come in. If there was a blatant and embarrassing copycat scenario then, sure, a lawsuit would be justifiable. I have heard a lot of other songs floating around where you can hear other tracks in them – quite literally, as it appears. Listen to a band like Oasis and songs like Cigarettes and Alcohol. (A certain T. Rex song springs to mind). The riff from Oasis’ song bears a striking resemblance to Get It On (Bang a Gong). T. Rex’s Marc Bolan is long-gone but his estate lives on – I don’t remember a lawsuit being brought about in that case. I, as I said, here a load of songs where you notice familiar choruses, melodies and chord sequences. Many of them are accidental and, as such, it does not lead to any trouble. I suspect Noel Gallagher’s use of the T. Rex line was a lot more blatant than Lana Del Rey (and her new song). Artists have to protect their songs but there needs to be a line drawn and a chance for ‘offending’ artists to have their say.

PHOTO CREDIT: Unsplash

Lana Del Rey is being taken to court and, one suspects, Radiohead will prevail and get a lot of money from her. I wonder whether they could have entered a discussion and agreed on a co-writing credit between them. Rather than embroil in a long-winded legal process; why not open a dialogue and come to a compromise? You can’t prove a negative so it will be hard for Lana Del Rey to prove she was not inspired by Creep. Rick Nowels and Kieron Menzies have a co-writing credit on Get Free – Dean Reid is listed as one of the producers. Lust for Life is a major-label release so Polydor and Interscope must come into the fray. How much of the culpability lies with Del Rey herself?! I suspect the lyrics were written (mostly) by her – the compositional duties helmed by one of her co-writers. It is Del Rey, mind you, that is being scrutinised and chastised. It is not fair to an artist who, I believe, made an honest mistake and has made an attempt to offer compensation. Radiohead could come out and distance themselves from this controversy: the fact they have remained quiet means they are not willing to let this one pass by. We remember the infamous, multi-million-dollar case involving Robin Thicke and the song, Blurred Lines. The estate for Marvin Gaye noticed Blurred Lines sounded an awful lot like the 1977-released song, Got to Give It Up.

PHOTO CREDIT: Getty Images

Blurred Lines is one of the biggest-selling songs ever and, I wonder, did the commercial success of the song make a difference?! If it were a minor song, and few people shared it/played the song; would Marvin Gaye’s estate have noticed?! In that case; seven-million was handed to the victors: it was a blow to Robin Thicke and to producer and co-writer, Pharrell Williams. Do we draw lines and write up constitutions that provide guidelines to artists? Are we going to listen to every song and note any like-for-like notes/melodies? It seems mainstream artists are more susceptible to legal issues. If an independent band or underground artist cribbed (accidental or otherwise) from another act – either popular or new – I feel they would be immune and okay. The fact they would not have the money to satisfy those who bring about a court case speaks volumes. Radiohead’s lawyers are not looking for parity and ensuring this does not happen again. They are looking for remuneration and restitution. They want money and to set an example. Get Free is not one of the biggest songs (from Lust for Life) so I wonder how much damage will be done in the long-term. If the song were released and gained heaps of money for Del Rey and her writers; maybe, then, one could see just cause for a lawsuit. The royalties from Get Free will be sizable but it hardly seems worth going to all the trouble!

PHOTO CREDIT: Getty Images

There are a certain amount of chords and possibilities in music and, with thousands of tracks in the ether; there are going to be similar-sounding songs and ‘stolen’ lines. Music is looking for the most innovative and hard-working so, naturally, you will get unintentional intellectual theft. Lana Del Rey’s Get Free has some familiar embers but it is not exactly a shameless fraud that hoped to slip under the bar. Get Free does no disservice to Creep and Del Rey will be affected and damaged by the impending court case. I hope, truly, some sort of détente will arrive before it gets that far – it seems Radiohead’s people are determined to get their ‘fair share’. The emotional and physical health of Del Rey is going to be damaged as the case unfolds and progresses. I fear artists like her will think twice when writing songs; to the extent they are taking easy options and having to triple-check to ensure they have not used familiar notes. That may sound wise but are we creating a culture of fear where musicians are scared to make any move? Do we retroactively have to look at artists who might have made errors themselves; look at every song that comes onto the market and study every note?! Those are absurd lengths but why it is fair Lana Del Rey is in the firing-line – whereas other artists, who have employed another artist’s music in a much less subtle way free from jurisprudence and consequence?!

It does look like a genuine mistake by Lana Del Rey and her co-writers. I believe her when she says Creep did not come into her mind. The songs are very different and the fact there are some similarities is purely coincidental. Do we look through Radiohead’s back pages and ensure they have not caused any faux pas?! Their lawyers are doing what they feel is right – and the fact they were sued by The Hollies because of copyright infringement and plagiarism – meant there was special motivation to bring a case against Lana Del Rey. Accidents do happen and, naïve as that sounds; most artists are not deliberately looking to rip-off popular songs/acts. There is dispensation and justification criteria that mean those accused could evade punishment. ‘Access’ states that the infringer can claim they have never heard the original prior to writing their song. ‘Substantial Similarity’ means the average listener cannot tell the difference between the two songs – if they notice an obvious similarity, then it is hard to argue. Lana Del Rey is not the only artist, as we know, to have the spotlight put on them. George Harrison, Beyoncé and Sam Smith have all been taken to task. Smith, in 2014, was accused by Tom Petty’s publishers. They felt Smith’s Stay with Me shared chorus similarities with Petty’s I Won’t Back Down.

IN THIS PHOTO: Sam Smith/PHOTO CREDIT: Getty Images

Smith claimed never to have heard the song – maybe that is a fair point. He is twenty-two (or was then) so it might have passed him by. The fact it is a well-known hit makes me a little suspicious of the claim. Maybe, subconsciously, artists like Smith are inspired by other songs! How can you prove an artist has deliberately chosen to take another artist’s song and use adapt it for their own means? The list of fellow music-related court cases brings into focus the fact we have a problem – I feel it is one that cannot be solved. Artists will, inevitably, listen to a lot of music and that will bleed into their bodies. There are few that go out their way to mimic and deceive. I feel Lana Del Rey has taken a melody-line and sequence of chords that is fairly common – I expect other artists have done the same – and not intended to con Radiohead. I suppose something as high-profile and lucrative as music-making cannot be written off as a playground misunderstanding: artists need to preserve their privacy and ensure others are not using their material. I am not defending all those who have been accused of plagiarism but I feel there are better ways to settle these disputes than taking others to court and seeking financial vengeance. The fact Del Rey will, possibly, have to give all publishing royalties to Radiohead does not make the song go away – it will be out there forever and sound the same.

PHOTO CREDIT: Neil Krug

I know there is certain ignorance on my part – I am not well-versed regarding music law and the inner-workings – but I find it hard to believe Lana Del Rey wanted to rewrite Creep for her song, Get Free. I am not sure how the case will play out but one suspects it will not work out well for the American songwriter. She will learn a lesson from this but I fear the implications will go wider – many artists will reduce their ambitions or go to every artist they think might sue them (to get written consent). Legalities are important but there is a big difference between plagiarising a song wholesale and some chord similarities. Rather than drag things through the courts; a more reasoned and fair-minded approach would be better for everyone? A forty-percent cut (for Radiohead) seems like a good deal for Radiohead, considering – Lana Del Rey has not used any of their lyrics or anything other than melody and chord similarities. Whatever the cure/resolve is regarding plagiarism/similarities; I wonder whether cases like Radiohead vs. Lana Del Rey will extend across all music and we will see other lawsuits being brought. Will lawyers start looking at independent acts and dissecting all their music?! I am sad Lana Del Rey has been accused and Radiohead – or their lawyers, at least – are filing a lawsuit. Whatever your views on this latest plagiarism case; it is clear it sends a very harsh lesson…

PHOTO CREDIT: Unsplash

TO the rest of the music world.

FEATURE: David Bowie at Seventy-One: Music, Genius and Legacy: The Ultimate David Bowie Playlist

FEATURE:

 

David Bowie at Seventy-One

IN THIS PHOTO: The cover of David Bowie's album, Aladdin Sane/PHOTO CREDIT: Brian Duffy 

Music, Genius and Legacy: The Ultimate David Bowie Playlist

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TOMORROW is a rare day where…

PHOTO CREDIT: Gavid Evans/Sotheby's Press Office

we neither celebrate or commemorate David Bowie. He died on 10th January, 2016 and, as we know; celebrated his sixty-ninth birthday two days before. None of us expected that devastating news to come through a couple of years ago. It began a year that became synonymous with high-profile musicians' deaths and tragedy. We did not know Bowie was even sick - so his death arrived like a thunderbolt out of the blue! That said; we have had time to take the news in and, as we go forward, look at all the artists inspired by the great man. One wonders what could have arrived had Bowie lived and continued to make music. His final album, Blackstar (2016), arrived shortly before his death and was a devastating thing. One of his most adventurous, bold and astonishing albums from Bowie – the fact he recorded a lot of the material as he was dying, and released something THAT good, blew people away. It is sad to think about Blackstar because of the quality – and what could have followed such a momentous record! Many are following in Bowie’s footsteps and the potency and magic of his music will never die. Although nobody will equal the brilliance of David Bowie; I have been thinking about his extensive back-catalogue and how it changed the face of music. To celebrate the seventy-first birthday of the Ziggy Stardust creator; an extensive and career-spanning playlist that collects together all the music pioneer’s….

PHOTO CREDIT: Terry O'Neill/Getty Image

GREATEST moments

INTERVIEW: Hollie Haines

INTERVIEW:

Hollie Haines

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THIS year has gotten off to a flyer in regards…

the talent coming through. Hollie Haines has been performing for a while but it seems 2018 will be a very pivotal and successful one for her! I ask the London-based songwriter the E.P., The Walls I Built (released last May), and how she feels about it, looking back. She tells me more about a conceptual album she is releasing this year;  her attachment and bond with Cambridge and Leeds – and some new artists she is backing for success.

Haines discusses her tastes and the artists she grew up on; whether she has gigs coming up; how important London is in terms of her sound/direction; the plans she has worked out for this year – what advice she would give any new songwriter of the moment.

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Hi, Hollie. How are you? How has your week been? How was Christmas?

Hey! I’m great, thanks. This week has been so nice - getting back to work after a lovely Christmas. I’m heading to New York at the end of the week (which I can’t wait for).

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

I’m Hollie; a lyric-obsessed folkie with some Rock and Country influences. I can’t really pin it down to one genre - but I like to refer to it as music for people who like a cry to music. Emotional lyrics are my favourite thing to write...

I am very honest in my writing.

The five-track E.P., The Walls I Built, was released last May. What compelled its creation and how do you feel about it looking back?

The Walls I Built was about me releasing a collection of songs that were, at the time, the ones I was proudest of. The E.P. goes through a range of styles and I created the sounds and brought the songs to life with my band - which was a really special process to me. It felt like something I wanted to make to mark where I was at that point in my life and career (at twenty-one-years-old). I’m really proud of the E.P. and all the music on it and it definitely helped me find my footing in music and learn a lot more about the recording and releasing process.

But, looking forward; I want to create a more sonically-cohesive album with stronger themes and more input on the production from my side.

There have been a lot of positive comments and reviews of the E.P. Is it humbling seeing your music connect with people?

It’s great!

I overthink and worry a lot about my music and normally have to be subdued by my band; so it’s good to have that reiterated to me by outside people. It’s really touching to hear people say such lovely things about work I’ve put so much of myself into.

I know you are planning a seven-track concept album. Can you reveal the concept and the themes you explore?

A few months ago, I found myself at a tough point in my life. I had just graduated and was about to move to London and felt like I was going through a slight loss of self (and I needed to get re-inspired).

The idea of putting down my experiences of love and loss in an album-form really interested me - and I started to build the idea of creating the album that I would have loved to be able to turn to every time I had lost someone or something.

Was it quite a brave and hard decision recording a concept album – as they are usually quite challenging and not always well-received by the press?

This is the most excited and passionate I’ve ever felt about my music - and I’ve never wanted to work so hard at something! I know there are going to be challenges (I face) but I would rather feel excited and happy about my music and face the fears head-on - than create something I don’t have the same passion in...

I’m willing to take the risk!

I remember the moment music came into my life. Do you remember the first song/artist that entered your life? Who were the musicians you grew up on?

My dad loves music and all types of music; so I grew up on what he was listening to: Richard Thompson, Kirsty MacColl and Foo Fighters have stuck with me from that. My brother also loved Country music; so I got into that pretty early, too - and loved Taylor Swift from her Country-era.

You are based in London but have spent time in Cambridge and Leeds. Why did you decide to come down to London?

I came to the end of my music degree in Leeds and felt like I needed a change. My brother lives in London so I decided to just take the plunge and move in with him (and see how it went). It’s the best choice I could have made. I absolutely love being in such a big city and I’ve met some great people since moving.

I still visit Leeds a lot for gigs and recording - so it feels like I’ve got the best of both.

How important are the people and the city regarding your work and sound?

When I first moved, I had hardly any friends in the city and knew no musicians - which I found really hard. Once I started playing gigs and going to events I met some new people - which helped me settle in and inspired me to work harder and create more.

IN THIS PHOTO: Tamzene/PHOTO CREDIT: Tamzene

Who are the new artists you recommend we check out?

One of my favourite parts of going to Leeds College of Music was the amazing musicians I was surrounded by and watched grow. An amazing artist called Tamzene sung backing vocals on The Walls I Built. She writes such beautiful love songs.

My fellow folkie when I was in Leeds, Lauren Rycroft, is also a fantastic writer...such a great performer.

IN THIS PHOTO: Lauren Rycroft/PHOTO CREDIT: Pear & Bear Photography

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

Father John Misty – Pure Comedy

Marika Hackman – I’m Not Your Man

Both of these I listened to as I finished my degree and moved to London. It kept me creative and inspired when it felt quite difficult to be. They’re both fantastic musicians and incredibly clever lyricists.

Taylor Swift – Speak Now

I’ve always loved Taylor Swift and am such a fan of her evolution into Pop music - but this album sticks with me. It has no co-writes on it. Each track paints such a vivid picture of the story it tells. I love it.

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

Work hard…but also take your time. Putting in the hours on something you're passionate about is really important.

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

I’m playing at The Finsbury on the 15th January. I’ll be announcing some more shows in London and Leeds very soon.

Your live sets see you quip and share stories with the audience. Is it freeing being that open? Is it important to make that connection with them?

I’m quite an open person really - and my lyrics are so honest, already. I don’t feel like it’s sharing much more than I already am by telling the stories behind the songs. But, also, it is an important part of music to me - knowing that the people listening can relate or connect with the songs.

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

I actually made a list of ten resolutions for 2018 (for the first time). Releasing the album this year is my biggest goal at the moment but I also want to collaborate as much as possible. I’m also planning to listen to an album I haven’t heard every week as well as take a trip to The Netherlands, alone, to do some writing.

I saw in the New Year with old friends from school. I wore a suit which I’ve been trying to be brave enough to do for ages…so it was a good start to the year!

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

The Big Moon – Cupid            

I’ve been obsessed with this song since summer - and the line “Time to turn and run from romance/I’m backing out” is one of my favourite lyrics from 2017.

________

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FEATURE: Banquo: Where Music Could Go When We Remove the Boundaries

FEATURE:

 

Banquo

ALL PHOTOS (unless credited otherwise): Unsplash 

Where Music Could Go When We Remove the Boundaries

________

I’LL admit from the off…

this is a bit of a vanity-piece (sorry!). I am going to put names and sounds together that would not usually share the same room, mind. I have been thinking about albums and what I would do were I provided limited (translation: affordable but ambitious) resources and permission. This is not a chance for me to open the toy-box and indulge myself: I wonder whether the reason we have not seen any biblically-good albums arrive in the past decade-or-so is (because) it is getting harder to indulge the imagination. Look at the progressive and paradigm-shifting records of the past – such as Sgt. Pepper’s Lonely Hearts Club Band – and the way the studio was pushed to its limits. Those classic, endlessly fascinating albums have remained in the history books because of the quality and talented expended. One cannot claim the all-time-greatest records claim that position because of any tricky, pampering or trickery. I feel it is becoming harder and harder to break boundaries and ignite discovery because so much ground has already been covered. Consider music in the same vein as scientific discovery. Those world-changing finds and epiphanies occurred because nobody thought of them. That is axiomatic - but there was less pressure and fewer competing minds back then. The same could be said of the earliest musical breakthroughs. Whilst you could never claim The Beatles succeeded and changed music because they started out in the 1960s – and there was more ground to explore and room to manoeuvre.

Now, in 2018; we have seen all the genres unfurl and music has become packed and suffocated. Whilst there is never going to be anything as vital or shape-shifting as Punk, Grunge or Psychedelia: I feel there are ways modern music can expand minds and blow minds. I am not saying I can do that – as I do not write music and have not released material – but the developments will not come in the form of unexplored genres. I feel one reason music cannot leap forward is due to legalities, written consent and a lack of boldness. There are artists who throw everything into the mix and have the talent to hang it all together: most albums work within normal confines and do not break moulds. Maybe it is a matter of cost and concision; others are less willing to take commercial risks and depart from the normal. Music is primed for one of those albums that throws the dice against the wall, takes it trousers down and runs around the room with its todger out! Maybe the idea of a no-holds-barred album would be a psychic wank-storm that could be a huge commercial flop. The best albums of the past (however many) years have had monumental moments but there are few that take music in new directions and change the game.

IMAGE CREDIT: Getty Images

I am not saying I could do that but I wonder what could happen if fewer obstacles were in place; if artists tried something truly experimental and profound. Some of my favourite albums – 3 Feet High and Rising; Paul’s Boutique and Since I Left You – have dug through crates of vinyl and spliced samples together to create something transformative. Whether it is a samples-only creation like The Avalanches’ Since I Left You or a Hip-Hop-cum-samples delight like Beastie Boys’ Paul’s Boutique – these are albums that have gained massive critical acclaim and been a labour of love. That might not sound appealing and, as I type this, realise the time it took to get clearance (regarding the samples) was back-breaking. Even though it was tricky getting clearance; it would be impossible to do that today. There are records that use samples but nothing to the extent of the best albums from the 1980s (2000 in the case of The Avalanches). If I were to suggest an album, and advise how to create something music-altering; it would be loosening the laws regarding copyright – or make it easier to forge an agreement between a song’s creator and those looking to use it on their record. Albums that employ samples, whilst injecting original voice, have stayed in my mind longest. Look at the greatest records from the 1960s-present and you have experimentation and social relevance at the heart.

There are flights-of-fancy and genre-splicing adventures; odd twists and fantastic little asides. To my mind, aside from Kendrick Lamar and Radiohead (In Rainbows (2007) and 2016's A Moon Shaped Pool) there have been few modern albums that have truly moved me – physically, emotionally and spiritually. My mind always goes back to music created before 2000 (most of it from the 1990s; lots of stuff from The Beatles; a healthy smattering of the 1980s’ gold). Maybe that is nostalgia and the comfort of childhood memories – music soundtracked important moments then; that was the last time I felt truly safe – but I feel there were fewer restrictions and greater mobility back then. Perhaps artists are not attacking and vocalising the tensions and fears we all face (some are but most aren’t) or music might be too busy to proffer and uncover albums that reach into the stratosphere. In my mind, the ‘perfect’ album would be a combination of my all-time-favourites and the best from the past couple of decades. If there were no boundaries and I could make any album I wanted (it would not be expensive!); it would unite the albums many of the artists I feature mark as their favourites; samples a-plenty (keeping it cost-effecting); some unique narration and a general concept.

I feel the modern world, and all its brutal scars, is the most compelling and divisive thing available to the musician. The political strife, terrorism and inequalities; the controversies, problems and anger that are circulating around the world are in all our hearts and seconds from being shot from the lips. It is hard for the average person to make sense of their fears and have their voice heard: musicians are in that privileged position where they can get their fears and thoughts out. My pitched album, Banquo, would be a state-of-the-world concept but have room for love and romance. Before certain songs, and during some others, there would be narration and spoken words from certain high-profile figures. Mavis Staples, and that whiskey-soaked, incredible voice, would be the perfect ‘Muse’ – the lead and guiding voice that acted as conscious/God/nature. She would appear in a singing capacity on one or two numbers but, mainly, she would narrate and provide clarity and exposition. In terms of other narration; I would have Charlie Brooker and Aisling Bea. The former would act as a commentator and spectator; a news reporter and observer who provides wit, sardonic cut and observations. There would be comedic input but, unlike Mavis Staples; Brooker would take a more political stance – against the voice of Staples; looking at religion, the environment and love.

IN THIS PHOTO: Mavis Staples/PHOTO CREDIT: Getty Images

Aisling Bea compels me for a number of reasons. Her voice is engaging, alluring and full of life. She would, in a sort of different-concept A Grand Don’t Come for Free, act as the voice of a love interest and heroine. Bea is a witty, acerbic and deeply intelligent talent who has huge dramatic and comedic pull – utilising her abilities and vocal nuances would add a lot to the album. I mention The Streets’ finest album because it is a concept album that succeeds and addresses modern life. Banquo’s narrative arc would address how the world is unfolding and what is occurring: environmental damage and political tyranny; terrorism and religious division; huge conflicts and issues in our country; controversies arising in the entrainment issue – with plenty to tip the balance. There would be moments of love and sexual allure; domestic dramas and realities (a northern version of A Grand Don’t Come for Free mixed with embers of modern Grime) with quirkier, fantasy moments. I have mentioned a few of the popular names I want to throw in – some great new and older musicians adding their voice; great musicians adding their voices to certain songs – but it would be the sampling/breadth of sounds incorporated that makes the difference! The same way Paul’s Boutique sourced from various decades/artists; Banquo would take from mega-big artists (The Beatles, Kate Bush; Steely Dan, Joni Mitchell and Stevie Wonder among them); obscure rhymes and spoken samples (from T.V. and film).

IN THIS PHOTO: Aisling Bea/PHOTO CREDIT: Jillie Bushell Associates/Getty Images

The opening song would address the world and introduce what is to come; what the concept is and how things will progress. It would end in a battle between differences forces and influences – warring leaders and the environment; conflict and the growing plight of mental illness. It would be one of those trippy, head-fuc* endings that leaves the listener stunned and gasping (hopefully).  It is, in a way, a similar narrative/progression as A Grand Don’t Come for Free but mix domestic/local observations with those worldwide concerns and issues. Samples would range from jam-packed (the closing number and a few others) to a well-chosen selection here and there; going through all genres and sounds from the 1940s to now (with some Classical and Blues thrown in). I have a great fondness for the 1980s (an underrated decade!) and would use, if I could, samples from Madonna, Talking Heads and Yes; Pixies, Tears for Fears and The Smiths. The 1990s would get a good look-in and would the classic acts from the 1960s and 1970s. A few titles are already in mind – The Oxford Coma; The Last of the Great Northern Lovers; Kintsugi and Antifreeze in Summer – and I have names (other than Staples, Brooker and Bea) that would be perfect. There would be no central bands/artist (like De La Soul or Beastie Boys) complimenting the samples and mixing their voice into the mix.

Musicians, new and established, would provide the vocals/instruments and, although there is no central gravity and voice; the collaborations and blend of voices would give the album a more unified and interesting vibe. Stories and songs would range from small-time love/flirtations to mass destruction; political, socially-aware protest and fired political statements. It all sounds like a rather expensive and time-consuming project to put together. Throw into the fray the fact I want to do something original and pioneering regarding promotion, release and recording…and it all sounds like it could run away. In terms of the promotion/release surprise; I am thinking something similar to Radiohead’s pay-as-you-like dynamic concerning In Rainbows – only something different and unexpected. In terms of format; there would be different options and, the same way King Gizzard & The Lizard Wizard allowed people to copy and distribute one of their albums as they liked – I would want to do something as bold and inventive. Banquo would be available on all physical formats but even the way one listens to it would be unique. It may sound too complex and, yes, borderline-pretentious but it would not be. Everything would be worked out to ensure it was affordable, possible and not too ambitious. The work needed to pull it all together would be a slog but that is what needs to be done: plan an album that goes beyond the conventional and inspires other.

Getting clearance for samples would be the biggest challenge. Finding a way of bargaining with musicians – so I could use their material, ensure they are compensated and they had some say – is key but I feel it would be possible. The album would involve different collaborations and artists adding their voices from all over the world – recording in a variety of locations (from their home to odd locales and studios) – and record music in different formats (mono and stereo; bending sound and the way music is heard). It is a big ask but I feel modern music needs something that takes gambles whilst keeping its themes relevant and important. Nothing commercial and ordinary would arrive. That said; the record would not alienate anyone but, instead, appeal to as many people as possible. Of course; given the album’s allusion to Banquo; there would be elements of Macbeth and comparable story-strands. So much ground will be covered in the album – sexual identity and gender-equality; animal rights and race – and the musical spectrum would be bright and variegated. It might be a risky gamble but, as I consider pitching it on PledgeMusic/Kickstarter; I am excited by the possibility and what could come from it. I have a lot of ambitions regarding music I want to achieve: some might take a few months; others might take a few more years. Getting people together, celebrated figures and musicians, into a single project (double-album) would be a dream of mine. 2018 is a year to embrace the daring and take a chance so, with that in mind I shall…

GET to work!

FEATURE: Lead Us Not into Temptation… Why the Heart Needs to Rule the Head in 2018

FEATURE:

 

Lead Us Not into Temptation…

PHOTO CREDIT: Unsplash

Why the Heart Needs to Rule the Head in 2018

________

THE next few pieces I am writing will…

PHOTO CREDIT: Unsplash

look at music careers, the way the industry has changed; how music can change and evolve – and why it is important to throw everything into an album. For now, fairly briefly, I want to look at the predictions that have been laid out and why a more intelligent and brave approach to music needs to take place. That might sound insulting, and vague, but it is aimed at the mainstream and the artists that are promising good things; why the themes they sing about (sex, love and struggles) need to come from a deeper and more spiritual place. Before I move onto the final instalment of my 2018-sounds-related pieces; I want to break off and tell a story. We all have regrets, I guess. One of the biggest ones in my life was back in school; back when I was fourteen and was truly popular. My sex-life is not exactly great – don’t need to put the neon sign up to tell you the truth behind those words! – but, when I was riding high in high-school; I was asked out. In fact...that was, actually, the last time I was actually asked out. The girl, Charlotte, was maybe too shy to come forward – I forget her surname but she asked me out via a friend of hers. I was popular back then because I was sporty. I ran cross-country and was athletic; played on the football team – whilst managing to cancel that all out by being a massive nerd!

PHOTO CREDIT: Unsplash

A poet, academic and general outsider – it someone got my name out there, at least. I did not reject that offer of a date because of arrogance and the fact I could do better. The fact is…I don’t know why I turned her down. She was extremely beautiful and has a great, northern voice; she was popular and would have been perfect. She is probably married and happy now; so I doubt she wracks her brain: I have kept it in my head all these years. It actually affects my every move and I wonder whether things would be different if I had said ‘yes’ to her. Maybe life would take me in a different direction and be worse: perhaps I would be further along and where I actually want to be. That might sound like a random detour but if I were to write a love song; I would take from that time and write from the deepest part of my heart. I know there are speculations mainstream music might strengthen and change the tide. The reason I am focusing on this type of music – for the last time in a while – is because that is where most of the attention is paid. It has been a while since mainstream artists, when talking about love, have really impressed me...

IN THIS PHOTO: Cailin Russo/PHOTO CREDIT: Getty Images/Artist

The last artist I got excited about, in that position, was Lorde. Again; I shall try and limit mentions of her for a little while: here is an artist who is very young but able to project issues around relationships in a very mature and different way. I am not suggesting there needs to be a moratorium on all artists who present love and heartbreak in a very lifeless way. I am excited most by female artists coming through and what they can do. I am looking at the artists who have the potential to do something intelligent and soulful; compared to those who might aim for the mainstream dollar. Cailin Russo has appeared in a couple of Justin Bieber videos and is being tipped for great things. September Rose is a song that is personal and fresh but does not suffer the same fate as other mainstream artists might face. Stars like Nadine Coyle, Pixie Lott and Rita Ora are tackling relationships without much distinction and depth. They have writers and producers backing them and are aiming towards the side of the market that wants something urgent and uncomplicated. That temptation and need to embrace something easy is one of the greatest fears I have this year. Certain polls have tipped acts like Billie Eilish and Sigrid to succeed.

IN THIS PHOTO: Nadine Coyle/PHOTO CREDIT: Getty Images/Artist

They are great, young artists that have a sense of self and control. Maybe that is the split we are seeing. Those independent-minded musicians who write their own material (or have a bigger say) who write about relationships with wider emotion and a more compelling edge; those who still go for the trashy and simplistic (and have a legion of others working with them). Throw in the likes of Jessie J to the latter; Jessie Ware to the former; big-name artists like Justin Bieber can go with Jessie J, too. My biggest music-based wish is there is a rearrangement of ideals and order so those compelling young artists replace the established order whose music is rather shallow and populist. It may sound like I am picking on the girls but the fact is, I am being rather positive and complimentary.  The one thing that unites all musicians is personal relationships. That is the commodity and spirit everyone has any puts into their music. The point I am trying to make is moving music from the generic and salacious to personal and inspiring. If artists are going to stick with love/relationships as a majority share; one would hope they inject some new angles and ideas into the pot. I have mentioned some mainstream-lite artists who are less concerned with soul and compelling; they are in it to get quick streaming figures and meaningless popularity.

IN THIS PHOTO: Pixie Lott/PHOTO CREDIT: Getty Images/Artist

Whilst the likes of Pixie Lott, Nadine Coyle and, say, Rihanna provide something aimed more at young audiences who prefer hot beats and polished production over nuance and quality – there are those in a position of power who go a lot further and expend more effort. I know I just mentioned Rihanna in a post celebrating great black artists: I know she has a commercial appeal and is inspiring a lot of people. Lana Del Rey has a huge fanbase but takes subjects of love and desire in a more sensual and cinematic direction. She is someone who has been accused of lacking any real identity and memorability - but you cannot accuse her music of lacking personality. She reminds me of the blue-eyed Soul singers of old; those songs that have romance and shiver but brought you into a unique universe. Maybe there is something fashionable about liking a certain artist. If they seem cool and sexy; they have an edge or a can craft a hook-filled song – is that something you should be focusing on?! Young audiences, in a lot of ways, are still being fed cheap and sterile music because that is what (marketing people and labels) think they demand. Music, in a way, is a form of education. Love, relationships and coping with rejection are subjects people need to know about – it does not matter how old you are.

PHOTO CREDIT: Unsplash

Maybe young listeners are more naïve and having their eyes opened to something new: older listeners are looking for direction and fresh insight. You cannot say music aimed at younger listeners (teens and those discovering music for the first time) is innocent and censored – given the sexualised videos and explicit suggestions. What worries me most is how hollow and shallow a lot of popular music is. Some might say I can walk away and it is not aimed at me. That is true but, as a journalist, I am looking out at the mainstream and hoping it takes responsibility. I am pleased hotly-tipped names like Sigrid and Billie Eilish are getting their dues. They are mature and multi-talented artists who have had their hearts broken but are not willing to cheapen what they do to appeal to the ultra-commercial. It is tempting, if you have lust and passion, to put the purity and openness of those emotions into song. If you are heartbroken and vengeful; that can lead to some rather spiked and direct words. These emotions go through everyone but, for songwriters, there is more relevance and potential. If your fans are, say, ten or eleven - does that mean you have to write something banal or easy-to-remember? You are instantly giving them little credit and assuming they do not want to be moved. Penning those aimless, generic lines might get you up the charts and on certain radio stations – we have seen it too often and, surely, this kind of music will not endure years from now?!

IN THIS PHOTO: Sigrid/PHOTO CREDIT: Getty Images/Artist

I will look at boy-made music in a bit but two artists I have followed for a while, and am excited about this year, are FiFi Rong and Lola Coca. Both are London-based and have colour and passion on their side. FiFi Rong mixes Electronica and hybrid movements; strange textures and epic compositions with that inimitable, striking voice. She has a sense of the beguiling and unusual but, at the heart, deals with personal issues and how love moves her. Lola Coca, by contrast, has a less emotive and intense approach. She uses humour and cheek; some keen wit and an impressive amount of confidence to give the finger to guys that take her for granted. Both these artists have been recording for a while and are unwilling to compromise in order to get a fast passage to the mainstream. I wonder whether mainstream megastars like Ed Sheeran are leading artists down a bad road. He is not the only one whose songs of love and not exactly the work of philosophical genius. I know it is more complex than a binary argument: those artists who put their soul and keener intellect into love; those who are too commercial and scared to try anything with any real depth. Perhaps I am being harsh on artists, in general. They are all in the business for good reasons - and want to move people.

IN THIS PHOTO: FiFi Rong/PHOTO CREDIT: Jamike Latif

What I hope is the new breed of Pop/mainstream artists has the ammunition to compel change. Love and romance are subjects I have attacked in the past – too common when it comes to the music we here. I have made peace with that side of my brain and come to accept there is a definite place and purpose for love songs. If done right, they can inspire people and open minds: if they are lazy and personality-free; it leaves a sour place. I disagree with the notion certain Pop acts have their place because there is a demand out there. There is only that demand because this is the type of act/sound the mainstream has proffered. The fact a band of new artists, male and female, look set to bring something different to music. That is heartening to hear but I worry they might have to wait longer for glory because of the success and place the less-reliable and pioneering hold. Attach whatever word you want to love - but it is a powerful thing and, if done right, can change a person’s life. I have told a story concerning a regretful time; a lot of musicians have (these kinds of tales) in them and, if shared with their audience, it can give them guidance and comfort. There are those who go for the cheap and tasty – songs easy to write that will get them commercially laid – but those who go further and think bigger represent music’s finest and…

PHOTO CREDIT: Unsplash

BRILLIANT best.

FEATURE: Colour-Blind: How Race Is Still an Issue in Music – and Why Black Artists Are Producing Some of the Best Music Around

FEATURE:

 

Colour-Blind

IN THIS PHOTO: JONES/PHOTO CREDIT: Josh Shinner  

How Race Is Still an Issue in Music – and Why Black Artists Are Producing Some of the Best Music Around

________

THIS is another topic I have been compelled…

IN THIS PHOTO: The faces that make up the longlist for BBC's Sound of 2018/PHOTO CREDIT: Getty Images

to revisit and explore. There are few black faces on BBC’s annual longlist - of artists to watch for - this year. There were more last year but, this year, there is an embrace of modern Pop - and less of a reliance on genres such as Hip-Hop, Rap and Grime. Last year was a productive and exciting one for young black artists in Britain. A spotlight was provided and, when you look at the Mercury Music Prize nominations, there were some fantastic black artists on the list. Sampha won it but Loyle Carner was nestling near the higher ranks – almost sneaking it from Sampha. The Grammy Awards have shifted so the main categories have more minority artists than ever. This not only extends to race but music – Hip-Hop and Rap taking over from Pop and commercial sounds. Many bemoaned the lack of Lorde, Taylor Swift and Rock acts: those with common sense recognised the evolution and recognition of great new artists like SZA and pioneers like Kendrick Lamar. New artists like Princess Nokia and Cardi B are coming on strong; Chance the Rapper, Frank Ocean and Beyoncé have created some of the best albums in the past couple of years. In fact; the last four years, I would say, have been defined by terrific black music.

IN THIS PHOTO: SZA/PHOTO CREDIT: SSENSE

I will come to an album that is back in my mind – I consider the best of 2014 – but I feel Kendrick Lamar created the best album of 2015 (To Pimp a Butterfly); Beyoncé in 2016 (Lemonade); many feel Kendrick Lamar’s DAMN. was the best of last year – others feel records from SZA, JAY-Z; Kelela and Tyler, the Creator were deserving. Throw in British efforts from Sampha and Stormzy; U.S. greats like Thundercat, too. Solange created a year-defining album in 2016 (A Seat at the Table) and this year look set to put a great focus on black artists. I worry, mind you, that there is still a racial bias when it comes to music. Maybe it is not as evident as sexualisation and sexism but it is very much there. Overlooked tracks from Rhiannon Giddens deserved more acclaim but, largely, there was good coverage of black music. Although I have listed some great black albums from the past few years; I am still seeing fewer black faces at festivals and being proffered. There are plenty of geniuses in music but, regardless of talent; there is that leer and lure towards white artists, still. I have mentioned the BBC’s longslist of artists to look out for this year. I am glad good Pop is taking focus but there is that issue of racial-genre bias.

IN THIS PHOTO: The cover to Tyler, the Creator's album, Flower Boy/PHOTO CREDIT: Getty Images

Many were excited last year when Grime and Hip-Hop got more attention. The thing is: there are fantastic black artists throughout music. We have mainstream queens like Rihanna and Beyoncé; all genres have great black artists and that is not translating into focus and attention. My headline photo is of JONES: a young British artist who has the promise to make some big strides this year. I put a spotlight on RAYE a while ago; highlighted Eva Lazarus yesterday – have made a special place in my heart for Leon Bridges. Bridges is a stunning Soul voice and someone who puts me in mind of Stevie Wonder and Marvin Gaye. I have expounded the virtues of Michael Kiwanuka and the hot underground of Grime. Whilst there are genres with a larger proportion of black artists – Grime, Hip-Hop and Rap – it is the lack of exposure to black artists in other genres that is troubling. The longlists of ones to watch this year is Pop-orientated but there are so many great black artists in popular music. Why, then, are there so many white faces on display?! Jazz, a maligned and underrated genre, has produced stunning music the past few years. Kamasi Washington’s Harmony of Difference is a staggering odyssey and immersive work that should get more exposure. The fact it did not get the push and oxygen it deserves is not a racial thing: it is the fact Jazz is ignored and seen as too experimental and boring.

IN THIS PHOTO: RAYE/PHOTO CREDIT: Getty Images

I have grown a bit tired of the way certain genres have been marginalised – where there is so much great music that warrants more. The mainstream has some great black artists playing but there is still that dominance of white bodies. Festival headliners, in this country at least, ten not to be black. You might have artists lower down the bill but it has been a while since I’ve seen a mainstream festival give props to a black act. Beyoncé took to Glastonbury a while ago – she will play this year’s Coachella festival and, let’s hope, she plays Glastonbury when it returns next year. There are other festivals that will host black acts but how many will headline?! One can flip the argument and say the general population (in this country) is about eight or nine-percent. That would mean music would not have to boast a higher proportion of black faces, no? You look at the festival acts and those proffered for good things – can you say eight percent of them are black? Talent and music do not follow arbitrary rules and should be based on talent. If there were few black artists in music then you could say it is fair mostly white acts are being promoted. I have provided a long list of black artists doing incredible things. A Mercury win from Sampha is a positive sign – even if there were few other black faces alongside him – and the Grammy rundown is shifting away from a white mainstream to the engineers of musical progression and true originality.

IN THIS PHOTO: Sampha/PHOTO CREDIT: Getty Images

One way of recognising the brilliance of black music is to get out of the perception the charts and mainstream is indicative of what quality looks like – and what the public wants. Music should be equal and, with sexism an issue in entertainment; should we really continue down the same lines when it comes to race?! I am not saying we cheapen the issue but playing only black music and reversing what is happening in the industry. We should not put black artists-only headliners in festivals and not offer constructive solutions. I am concerned we associate black artists with certain genres. Folk and Rock have few black artists but, again, why does it have to be that way?! Maybe this goes back to history and tastes – black artists connecting with their roots and music of their peers – but I think there is an institutionalised homogenisation and compartmentalisation. I am seeing great Rock bands led by black artists and those with a more acoustic-minded nature. If they feel they will not be taken seriously if they go into white-heavy genres; that means they will stick to genres that are traditionally more accepting of black artists. Even the genres with a greater number of black artists – Hip-Hop, Rap and Grime – goes through waves and movements. There is a consistent celebration of Pop, Alternative and other mainstream sounds.

IN THIS PHOTO: Rihanna/PHOTO CREDIT: FentyBeauty.com

Rihanna, in 2015, spoke with the The New York Times - and was asked whether race is still a problem in music.

“I have to bear in mind that people are judging you because you’re packaged a certain way – they’ve been programmed to think a black man in a hoodie means grab your purse a little tighter,” said Rihanna. “For me, it comes down to smaller issues, scenarios in which people can assume something of me without knowing me, just by my packaging”.

Nicki Minaj questioned the voting criteria of MTV and whether there is a favouring of white artists. If white artists writhe around in videos and get loads of streams; they get lots of hits and nominations. She, as a black artist, has fewer nominations and is overlooked:

“Hey guys @MTV thank you for my nominations. Did Feeling Myself miss the deadline or…?,’ she tweeted, before adding: ‘If I was a different “kind” of artist, Anaconda would be nominated for best choreo and vid of the year as well…If your video celebrates women with very slim bodies, you will be nominated for vid of the year”.

Some have argued so-called ‘racism’ is a result of less-nefarious factors such as nepotism and cultural shifts. It is clear politics and the way black people are seen in society has an impact on musicians. Everyone from Solange and Chance, the Rapper have spoken out against isolation and the way those in the White House are ignorant of the plight and necessity of black recording artists. Whilst you can quibble over whether there is inherent racism or sheer ignorance – one cannot argue at the strength and power of black music.

IN THIS PHOTO: Solange/PHOTO CREDIT: Getty Images

I alluded to an album/artist who has come back into my consciousness. I have looked at artists like Beyoncé and Kendrick Lamar and how they are changing music. They can, in many ways, thank D’Angelo. He is one of those artists most of us will not recognise my name – his music will strike a chord when we hear it. Many black artists got into music because of seminal records like Voodoo. To me, it is 2014’s Black Messiah that really connects. That album arrived and blew critics away. The experimentation, confidence and audacity that ran throughout took everyone by surprise. The album connects with me because of its richness and depths. It explores genres like Hip-Hop and Rock; it moves into Jazz and takes in Soul and R&B. The lyrics look at political turmoil and the struggle of the black population; social deprivation and personal frustration. There were songs about love but it was those fired-up mandates that really impressed. Listen to the album and realise what a wonderful thing it is. Look back through music and everyone from Stevie Wonder and Aretha Franklin have investigated social struggle and the realities of black lives – and fusing that with more traditional subjects of love. Michael Jackson, Marvin Gaye and the legends of Soul; the incredible Disco artists and R&B pioneers; some of my favourites like En Vogue, Aaliyah and Lauryn Hill; Neneh Cherry and A Tribe Called Quest; Public Enemy and N.W.A. All of these artists have made staggering contributions to the music world. What stands out is the motivation to address issues overlooked by many white artists.

IN THIS PHOTO: D'Angelo/PHOTO CREDIT: Getty Images

We are at a time when the political machination of Trump and May are causing division; where there is clear inequality and hatred circulating and festooning the lungs. It is not only the black population put-down and ignored. There are deprived and struggling people in all sectors of society. From the mentally ill to the homeless; the poor and those without a voice – music has its role and the power to raise change. I worry whether the new Pop movement has come at a time when we need to promote social change and engineer productive solution. In order for the end of division and the majority coming together; we need to embrace the minority artists who have the authority and passion to make a change. I worry few people are having conversations about race. You cannot write everything off by saying it is nepotism and decades-old problems revolving around ego. If things have not changed since the 1950s and 1960s in regards the make-up and dynamics of the mainstream – how can we claim there is not racism? Maybe it is not overt and profane but there is a severe sense of apathy and unwillingness to bend. Ironically; movements and real change do not happen overnight. We know there are fewer black artists put into the fore; the festivals are not housing them; we still assume there are ‘black genres’ rather than black artists – so many over issues around commercialism, awards and publicity. 2018 is here and, in addition to tackling sexism and addressing wrong; we need to consider areas around race. It should not have to fall to major black artists to highlight the disparity and discrepancies around. The world needs leading and anger articulated and, rather than proffer those artists who can bond the people and properly vocalise what issues are present – we are focusing on artists who do not have the ability to bond the people and shine a light. That is a shame because, in one of the tensest times of modern times; we need these pioneering and strong artists…

IN THIS PHOTO: Leon Bridges/PHOTO CREDIT: Getty Images

TO guide us forward.

FEATURE: Instrumental, Elemental: Are We Still Buying Musical Instruments?

FEATURE:

 

Instrumental, Elemental

ALL PHOTOS: Unsplash

Are We Still Buying Musical Instruments?

________

YOU can claim the history of music has seen shifts…

and new leaders come through. Tastes have changed and the music world has evolved. Last year; I wrote a couple of similar pieces that looked at acoustic music and whether it is relevant. Another investigated Rock and whether that is dying. I am not saying modern music is defined by a lack of instrumentation but it seems fewer young people are picking up instruments. You can debate the local markets and whether, in some regions, the traditional music store is surviving. It is a debate and point that is contentious but one I feel obliged to pull up. Near where I live; there is a music school and there are a couple of music shops. Dig deeper into London and you have some closures but, it seems, there is still a taste for proper, live music. We hear stories of the industry in decline but, when it comes to the D.N.A. of the music; you cannot replace the true spirit and blood of the sound with electronics. I am pleased artists are using laptops and technology but I fear some are taking an easy route. The reality of mastering an instrument concerns time and patience. I have tried picking up a guitar and, aside from a few lessons, I found my interest wane. I wanted to get into the music business but could not get to grips with the guitar.

I was taught fingering and chords; structure and songs – some simple performances to get the confidence up. That didn’t work. I moved to piano and the same thing happened. I am writing a piece about Classical music and how there needs to be more of it in modern sounds. There is compartmentalisation still and I worry artists are taking the easy route. It is hard to get a true impression of the music industry and whether modern electronics will take over from conventional methods. Electronic downloads, we heard, have overtaken C.D.s. Other sources look at the glory of the C.D. and how physical music still holds a place in the heart. Vinyl has been struggling in the past but has faced an upturn. Sales are increasing and it seems the people are not willing to let electronic-made music dominate. In fact; I am a little rash and vague with regards the battle between older and new. My point concerns the relationship between musical formats and how the C.D. boom, when Dire Straits’ Brothers in Arms arrived in the 1980s, occurred. Big, musically-rich albums encourage artists and fans to pick up instruments. The Grunge bands of the late-1980s and early-1990s compelled a million diehard garage-based bands to emulate their heroes. Punk compelled angry musicians to articulate their passion and misunderstood minds through music. Every great wave and movement motivates certain symmetry...

As times have progressed; the more guitar-based formats have been replaced. There are great guitar bands around but most of the mainstream is disconnected. Past heroes such as Oasis and Nirvana got youngsters involved in music-making and picking instruments up. Now, with genres like Pop starting to take more of a slice; it is harder getting a clear view as to whether instruments are still playing an important role. I have mentioned laptops and, with there being little money in it for new musicians; many are producing sounds through technology - forgoing the costs of the studio and the time it takes to make a song. Laptops and new software can mimic instruments and we are seeing a lot of new music that provides the sounds of instruments without one actually being played. Whilst there is enough evidence to suggest modern music places less prominence on instruments; I feel all is not lost. There are some great new bands in the underground that have kept true and are unwilling to fully embrace technology. When they come to fruition; their music will inspire the next generation coming through. Two years ago; The Guardian highlighted a music shop that was doing sterling business. There are others that continue to see sales grow but there is the assumption the decline of the high-street music shop means artists are not picking instruments up.

The biggest shift we have seen, to coincide with the electronic boom, is the shift from the visible shop to the online store. The average musician/member of the public cannot necessarily afford a guitar or drum kit. It takes a lot of saving and the cost of lessons means the price of learning an instrument runs into thousands. People are seeing the way Pop is taking over the how artists who play instruments are getting less exposure than those who rely on others – making their music through technology and producers. There are music classes and lessons but there is a shift towards bigger facilities and colleges. When I was in school, all those years ago, we had music on the syllabus. It was a mandatory part of primary education and, by the time you got to high-school; it was an option available – one that many took. Now, there are fewer primary schools offering music courses and it is not ingrained into the national curriculum. Sure, there are colleges and music schools available to those at a certain point in life – are we ignoring the importance of exposing students to music at a young age? That affects the desire to pursue music but, against the bad statistics is a chance for positivity. Although schools’ music programmes and record shops are less visible than before; we are still seeing instruments bought and played.

Online sales and have increased and, as a companion to the vinyl revival and survival of the C.D.; people are not abandoning music at its pure base. If people are still being instruments and taking them up; does this mean that desire is being translated into music? One of the problems with the decline of record stores – and those that sell instruments – is the competition from online sources. It is more cost-effective buying online but the cost of lessons and the dedication needed is putting many people off. Maybe the questions I posed in the headline should have compared the cost of buying instruments and whether it is affordable. I know there has been a loss of shops and educational programmes but, alas, we are still buying instruments. Figures suggest that side of music is in decline but, in fact, the business has shifted to the Internet. One of my biggest fears does not revolve around sales and the move towards electronically-produced sounds. I am concerned the structure of modern music means a lot of the people picking up instruments will struggle to transition into the business. Popular instruments like guitars and drums are reserved to certain genres. If Pop – with its electronics, machine-made beats and way of working – is riding high; Hip-Hop and Rap are creating ground (less instrument-based; more to do with flow and vocals) then I wonder whether new musicians will have the patience to stick with it.

There are Garage, Punk and Rock bands getting acclaim in the underground. Mainstream artists like Wolf Alice and IDLES are proving how powerful and potent instruments are – and why you cannot get the same magic and emotion from a laptop/electronics. I am all for revolution and change but I do not want the music I was raised on to be a part of the past. Changes will come and there will be a swing back to genres like Rock and Alternative. Until that happens, I fear music-making will be largely electronic. Many new musicians are playing piano and guitar but still leaning heavily on their laptops and trickery. The main point of this article is to highlight how enriching and beneficial playing an instrument is. It might be as simple as learning the acoustic guitar or picking up a violin. At first, if you do not have a band, it might seem a solitary pursuit. In time, when you bond with that instrument; you build a social circle and can join with others. It teaches you a lot about yourself and provides unique expression and perception. You can create language with music and explore what is possible. I do not feel instruments will be replaced by the machine but I am fearful the cost will put people off; the popular scene is not equipped to foster and nurture those who want to play (whether they are in a band or a soloist) and they will struggle to transition as fast as they’d hoped – and lose that passion down the line. I think statistics proffering the decline or instruments are false and misleading.

There is a desire and demand out there but the way we are buying has shifted. Schools are reducing their music programmes but there are options open elsewhere – many of these are paid courses at schools and universities. It is money, making a big impression: laptops might be more affordable and machine-created songs more economical than a traditional, instrumental number. We are still buying instruments and playing them but there has been a slight downshift. The problem is not sales: costs are putting off ambitious creations and the mainstream is not rife with bands playing guitars and drums; there are not many Classical elements in popular music; other genres (more reliant on instruments) are not as popular. I am confident the young and older will take to instruments but many take an instrument up because they see a shop on the street – compelled to go in and explore. They are taught about music at school and, if these elements dwindle; what does the future of music look like? We can never get rid of bands and music that does not need a laptop to make it come to life. My main recommendation is to revert back to the past and reignite the strong music curriculums people like me grew up on. Put more money into the kitty and inject some more cash into the high street – so music stores can survive and breed. Making playing more affordable is important. I love electronic-based music and the way technology has taken a stand. Older sound sticks in my mind because of the physicality and nuance of instruments played. The only way we can get people interested in music and taking to instruments is ensuring bands and lesser-heard genres are back into the forefront. It seems, when it comes to the prosperous future of music we must…

REMEMBER the reason music has come this far.

TRACK REVIEW: Natalie Shay - This Feeling

TRACK REVIEW:

 

Natalie Shay

This Feeling

9.3/10

 This Feeling is available via:

https://soundcloud.com/natalieshay/this-feeling-natalie-shay

GENRE:

Indie

ORIGIN:

London, U.K.

RELEASE DATE:

19th January, 2018

_________

I am determined to get this year kicked off…

PHOTO CREDIT: @elsiematilda

with some great female artists on these pages. That is not a measure of reverse-sexism or a need to cater needlessly. I am excited by the variation of talent around and, when it comes to excitement, passion and quality – it is the female artists who are sticking in my head. I will talk about Natalie Shay and her latest track very soon but, right now, I wanted to explore a few subjects. I will return to a couple of topics I investigated last year: artists with a mix of classical training and music school education; young female artists and growing up in a pulsing city. I will look at artists who defy convention and expectation; musicians who get to share the stage with bigger artists (another theme that has been on here); grasping opportunities and the results that come from a confident and electric performance; talking about love and desire in a very fresh way – why 2018 will be a very successful one for Shay. I am excited seeing her release music because, looking back, she has had a very productive and successful career. Still a teen; many would forgive her for taking an easy route and performing music that did not stretch the mind too much. It is interesting, as I will explore later today, whether new artists/music-curious are picking up instruments and really interested in music. I have heard reports the traditional music shop is in decline. Some might report sales increase but I wonder whether the Internet is taking over? By that, I mean people are either buying instruments online or finding software that replicates them. There seems to be a drive away from the old-fashioned method of going to a shop, playing instruments in-store and buying them. I fear music, in many ways, will become more insular and turn to electronics (and instruments that can be replicated electronically). I mention it because, if we want to encourage the best new musicians to come through; one would feel the visibility of music shops should be a high priority. It might be a hard problem to fix but I know there are those who prefer the older ways; bond with music’s traditions and are not willing to recklessly forgo everything older for the brand-new. Natalie Shay is someone who could easily cling to the electronic revolution and have her music processed and machine-made. That is not the case: her songs employ as many live instruments as possible; get the room buzzing with a collection of musicians.

That brings me, rather un-neatly – I shall continue with my subject soon… - to the musicians of the past who should be cherished and remembered. I was writing a piece about Steely Dan yesterday – and their debut album, Can’t Buy a Thrill – and vacillated at the musicianship rife throughout. The sumptuousness and incredible physicality of the record blew me away. There are artists today who project the same ambitions and affinity to players (as Steely Dan) but, as I get more involved with popular music – I wonder whether it is too expensive, time-consuming and difficult? Natalie Shay is someone, one suspects, grew up in a household when some serious vinyl was being played; some legendary artists filled her young ears – mixing that alongside the more commercial Pop artists of the day. That is the same as me and I can always tell, deep down, when an artist has been brought up ‘right’. That leads me, again, un-neatly, to the theme of education. Shay was taught the guitar as young as five and, whether motivated by visions of heroic musicians or urged by her parents to foster a gift – she bonded with music as a child and was determined to make that her career. It is always wondrous seeing someone so young, with a precocious talent, have that clarity and determination. It is the envy of many (myself included) when things are crystallised. I am always fearful of artists who go to music schools and want to follow in the footsteps of Adele and Ed Sheeran. I have nothing against these artists – in terms of their place in the industry – but I worry they (fans) are chasing money and want to be commercial. One of the problems with those artists is they are reduced to figures and honours. It is all about Spotify figures, records and chart sales: nothing is spoken about the training, work-rate and music itself. Those who go to music schools to cultivate their talent and actually learn music are the ones I support most – and have a wariness to the percentage who want that commercial success and get a lot of cash in the pocket. When I say the BRIT School on her C.V. I took a step back and wondered: was her attendance motivated by a need to follow the likes of Jessie J, Adele and the like?! I do not mean to put them down but I consider their talents limited when you look at some of the other artists out there. They (BRIT School alumni) have a more mainstream edge that lacks real depth. Luckily, considering her classical training, you get an artist who, I suspect admires those artists, but does not sound like them.

Instead, with Natalie Shay, you have someone who has taken from the facility and learned all she could. Rather than copy them and aim for that chart-ready sound: what you get is an artist who aims for absolute quality but has one ear for the demands of the mainstream. I have hopes, unlike some of the graduates from the BRIT School; she will push against rigid commercialism and easy sounds; go beyond the obvious and appeal to a broader, more appraling demographic. Shay has learned a lot – and continues to do so – and would have gained insight and training from some fantastic tutors. The most effective way to build a solid and promising career, I feel, is to have that majority desire for instruments and unschooled objectivity and supplement that with a music school. That way, you get the best of both worlds but, when it comes to it, are driven by a desire to inspire and change music – rather than own Spotify and rake in streaming records! Natalie Shay is already making dents in the music landscape and, at nineteen, is facing the pressures impressively. The BRIT School teaches artists to adapt to the social responsibilities of music and stand on their own two feet; to go into the world with that knowledge and passion stoked. Shay has learned a lot and, with the schooling she has under her belt, is based in a wonderful city. It can be hard adopting the London life and living with the constant pressure and rush. Whilst it can be hard to deal with the rush of people and the sheer volume of the place: the amount of venues and musicians playing means there is always something to do; always somewhere to play. With the BRIT School coda and ethics ringing in her ears; Shay has bonded with artists in London and taking advantage of the opportunities put before her. Among the venues she has already played there is The Roundhouse; Ronnie Scott’s Jazz Club and Brooklyn Bowl.

There are a lot of stunning venues in the capital but few artists get to play them. The competition is high but, with Natalie Shay’s talent and desire hot; she has won awards – The Guardian’s Music Award and Best Undiscovered Talent (London Music Award) – and gained acclaim. Whilst I have stated I am not adverse to what the likes of Ed Sheeran; I always worry when artists/P.R. companies put his name alongside someone like Natalie Shay. They are entitled to – as she is entitled to like him – but there are so few comparisons between the artists. Aside from the inevitable, and slightly depressive, mention of iTunes chart success (never a mark of true credibility and depth); the teenage musician has her own path and is distinct from the likes of Sheeran – I really wish artists/organisations would stop mentioning his name as a mark of quality/what music is! I shall not rant about Sheeran and what he stands for but, if you look at how he came into music; he started at humble lows. He busked and struggled for gigs and, when thinking of Shay; she has not exactly had everything handed to her on a plate. The effort she has expended, and the gigs she has performed, means the rewards have come. There is no plangent strumming and bland Pop songs with Natalie Shay: she is a colourful and eclectic artist who appeals to people like me - those who grew up with the best music and rebel against the worst traits of the mainstream. Natalie Shay prides herself on the live instrumentation and authenticity of her music. I feel London has played a part in that. The urgency of the city, and the great live music one sees daily, has got into her bloodstream and affected her. I shall move on but, with London before her, the young songwriter has embraced the challenges and obstacles. There is so much about Natalie Shay that defies my perceptions of what a modern Indie/Pop artist is all about.

I have mentioned how, with that BRIT School education, she might be a generic chart act who will not stay in the mind years from now. There are few modern artists who have the potency to create nuance and durability. One could look at a young and beautiful female artist and feel, in terms of sound, they will be another lightweight artist who aims for the chart positions – refuting anything challenging and taking risks in the industry. Natalie Shay has subverted perceptions of what a young songwriter now is all about. That early affinity with music has given her a hunger for success and credibility. The individuality of Shay means she does not remind you of other artists; there is not that feeling she is in things for fame and money; the mind bonds with a real musician who has gained the ear of some of the music world’s biggest names. Whatever you attribute it down to; you cannot deny the hard work and endless graft of Shay has got her where she is today. The quality on display comes from the lessons learned in the live environment; the artists she was raised on; the teaching she has received – and the artists she has shared the stage with. Soul II Soul, JP Cooper and Glen Matlock are a few of the names Natalie Shay has shared a stage with. Those are some varied and extraordinary names, for sure! Not only has Natalie Shay shared the stage with big names; she has been inspired by the work of Sundara Karma – and had music produced by Pete Dowsett (The Vaccines). I have a sense of regret and pain big artists get to gig alongside legendary artists. I often feel they have only earned that right because they are successful and popular – rather than good and worthy. Natalie Shay has earned her honours because of the way she attacks music and the authenticity she puts into every note.

I worry when certain artists go into music with a limited soundscape. Their lyrics are all about love but each line has a cliché, generic feel. There is no real excuse for taking a lazy and limited approach to music. There are too many dead-headed writers who witlessly write about relationships and provide nothing more than plaintive guitars and bland production. This year, as we are seeing, there is a prediction: the Pop market will replace the more sterile and commercial sounds with something a bit more expansive, rich and original. There are tipped artists who will come through and splice genres into a more colourless pot; break conventions and shake things up. Natalie Shay has taken opportunities and has the great live reputation. People have bonded with her and come to her shows to be moved and affected. I am keen to promote those great live performers who put the audience in the palm of their hand and do something exceptional. That is the case with Natalie Shay. She has been playing for a few years now but, as new material comes out, it seems to strengthen her performance skills. There is a close relationship between the live performance and studio recording. Shay has learned a lot from gigs and put that into her new material. Likewise; when she has a song out in the ether; the demand goes up and that confidence boost produces more gigs – and that experience compels and improves the next release. I mentioned how Shay prides instruments and a live-sounding and making her music as real and tangible as possible. Another reason she has accrued a great reputation is the way she approaches love and common themes. She does not, on This Feeling, employ tropes and stereotypes. The song is about the passionate desire one has for someone – we can all relate to that feeling. It would be hard, therefore, to project a song that spoke to the individual. That overriding and inescapable passion is unique to everyone; it is a complicated set of emotions with that one core: to get what you crave and keep it safe.

PHOTO CREDIT: Grace Benita Photography

I will come to the song in a minute but, looking at the layers and sides of Natalie Shay; it would be easy to predict and put her in a box. I have mentioned how some get the impression (some people) look at a young female artist and consider them ingénue, attractive and shallow – not able to offer any real quality and remembrance. Those are not my feelings but one does see a lot of that in music. It is an attitude that needs to change. Whether you feel all female artists with a certain look/sound are going to sound the same; not produce the same energy and strike as the men – there is sexism still present and it is something we need to eradicate. Natalie Shay’s raw vocals have soulfulness to them and manage to balance bigger artists like Adele with more credible acts like Amy Winehouse. The punchy drums and gritty guitars have electricity and body; the songs are superbly produced and the songwriting is consistently strong. This Feeling is a song that, days after its release, has gained a lot of praise and love. It is the strongest offering from the songwriter and will lead to more material. This year will see her build her foundations and gain huge applause. I am excited by what is to come because Natalie Shay is an artist that does not fit into conventional holes. She can balance the needs of the mainstream/commercial outlets but has the personality and underground-hero vibe that will appeal to those who prefer their artists less mainstream and more authentic. That ability to reach all the people is what will see her grow and reach new heights this year.

This Feeling does not start the way you’d expect! Rather than a very Pop-minded strum or a calm breeze; the song teases and beckons you in. There are faint chords and electricity suggested. One gets the hint a storm is on its way but not exactly sure when. The percussion and guitars unite and there is a race afoot. The beats stiffen and then pound; the guitars ramble and climb. Although the hero is not by her side; he is with her and taking her a long way. Mathematical equations and terminology is used to describe a relationship/imminent bond that is going through some trials. Maybe the lovers have been together for a while but it seems they are apart now. The heroine’s voice is pumped and passionate as she keeps time with the composition. The song has blood-rush strength and swagger that manages to employ some mainstream strands (big production and anthemic appeal) but the lyrics and vocals go a lot further. The wording is original and bold; you get a sense of a mercurial mind who approaches love in a different and fresh way. The entire composition is a huge and epic thing. There are light and spacey notes that melt inside the stringent beats and swelling guitars. You are compelled to move alongside the music and get involved with the sheer physicality of it. Buoyed by the passionate flames that burn through; the chorus sticks in the mind. It is about the feeling of love and hot desire and how it remains strong. Things are more complex than that. You can put love in the cold or go through challenging times but that overarching sense of desire and love comes out. I listen to the song and feel it is a lot more personal than it is commercial. The first-half of the song makes its mark and gets the feet and arms moving. You are bonded to the electricity and energy of the composition – you also start to imagine where the song came from.

I know we all go through love and pining but there is something special about This Feeling. Shay explores the gambles of love and how it can be unpredictable. She urges the boy to take a chance on her and ignore the usual pitfalls. It is hard to explicitly understand where she comes from – as each experience is different – but the determination and force one gets from the vocals hooks you in. There is never a moment when the song comes down and descends into dreary territory. Many might say that endless pressure and sound is a desire to get to stadiums and into the charts. Maybe that is true of some artists but Natalie Shay is a musician who places credibility and inspiration above commercial demands. You get sucked into the wonder and sheer vitality of the music; it is singalong and anthem-promising but has that quality and nuance. You want to listen to it after the first spin and know it will not evade the memory. Anyone who cynically feels the big chorus and edgings towards Pop means it is aimed at a certain market. This Feeling is not a song for the traditional Pop market. The dominance of Indie/Alternative sounds mean it goes much further and will appeal to those who have their ear attuned to the more credible side of the dial. By the final notes of the song; you still have the chorus ringing in the ears and have the vocals resounding in the heart. It is a solid and impressive song from an artist who has made improvements and steps – whilst retaining her sound and personality. It is going to be wonderful seeing how she grows and where her music goes from here.

I am confident Natalie Shay will grow as a performer and gain huge success in 2018. She has already gained a lot of ground and shared the stage with some big names. The BRIT School education has prepared her for life in music; the ability to cope with the pressure and some useful networking skills. The teaching she has gained, too, has collaborated with her childhood passion and knowledge. The skilled musician could have taken an easy approach to lyrics. Rather than pander to the needs of the mainstream charts; she has followed a personal path and done things her own way. In a year when the unique and pioneering artists will take a stand: it is a perfect time for Shay to come through and clean up. This Feeling is a song that sets out her stall and shows what a talent she is. I know there will be more gigs and, the better local reputation she gains; the more demanding venues from other parts of the country will be. I would love to see her tour widely and bring her music to other parts of the nation. London gets a lot of credit and focus but there is a rich music scene throughout the U.K. Plenty of people would leap at the opportunity to see her play near them and get that first-hand, close-up experience. She is still young but, in the past year or so, has managed to stick in the heart and make an impact. It is hard to say how far she can go but you only need to listen to This Feeling and you know 2018 will be a very strong and successful one for Shay. Make an effort to get involved with her music and dig deep into her catalogue. It is still early days for Natalie Shay but the development and material I have heard suggests she is here for the long-run. Each song has its own vibe but all the material is defined by quality, personality and depth. I have mentioned that word (‘depth’) a lot but I do so with good reason. There are few songwriters that manage to create songs that stay in the mind and compel you to keep coming back. Natalie Shay is one such musician and someone who has a lot more to say. This Feeling might take some time to embed in certain people’s brains but, give it enough time and you will…

FALL in love with it.

_______

Follow Natalie Shay

Official:

http://www.natalieshay.co.uk/

Facebook:

https://www.facebook.com/NatalieShayMusic/

Instagram:

https://www.instagram.com/natalieshaymusic/

Twitter:

https://twitter.com/natalieshay_

SoundCloud:

https://soundcloud.com/natalieshay

YouTube:

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

Spotify:

https://open.spotify.com/artist/6pDapjUwN36LXMdYk0WKuQ?autoplay=true

FEATURE: Vinyl Corner: Steely Dan – Can’t Buy a Thrill

FEATURE:

 

Vinyl Corner

PHOTO/IMAGE CREDITS (unless stated otherwise): Getty Images

Steely Dan – Can’t Buy a Thrill

________

IT has been a while since I ventured into…

IN THIS PHOTO: Steely Dan, 1972: (L-R): Jeff 'Skunk' Baxter, Walter Becker; David Palmer, Denny Dia; Donald Fagen and Jim Hodder/PHOTO CREDIT: Michael Ochs Archives

the dusty nostalgia of Vinyl Corner. The last album, I think, I featured in this spot (last year) was Joni Mitchell’s Blue. The reason for this feature is to highlight albums, I feel, are best heard on a record player. There are a few that have that potential: coming to life when you drop the needle and take them back to their true home. There was another reason I wanted to include Steely Dan’s debut, Can’t Buy a Thrill – two, in fact. The first concerns the timing: the fact the record was released forty-five years ago (last November, in fact). I forgot to feature the record back in November so that is a good reason to focus on it now. The other reason is the fact Walter Becker is no longer with us. The co-founder (alongside Donald Fagen) died suddenly last year and shocked the music world. Although there will be, sadly, no new Steely Dan albums anymore – we can rejoice and preserve the memories and wonderful songs. I go back and forth when it comes to the issue of the ‘best Steely Dan album’. I have been leaning towards Pretzel Logic (their third) because it is, to me, the moment the band became a duo. By that; I mean the sound was cemented and all the experimentation of the first two albums was crystallised into a coherent whole (on Pretzel Logic).

PHOTO CREDIT: Chris Walter/WireImage

I have been leaning back towards Can’t Buy a Thrill because, as I look at the where Steely Dan came from; one is amazed at the confidence and quality that was evident right from the off! My favourite song of Steely Dan’s is my favourite of all-time, ever: Deacon Blues. That song is the jewel of Aja (their penultimate album before they took a long hiatus) and sees Becker and Fagen in full-fat, all-in-the-pot mode. The sumptuous horns and incredible percussion; the luscious backing vocals and the musicianship that makes it a work of genius – it never gets boring and does everything that music should do. The Gary Katz-produced debut was recorded at Los Angeles’ The Village Recorder and, even in 1972, was seen as a luxury. Most big bands have the option to record in esteemed surroundings and pull in as many musicians as possible. That box of toys meant, conversely, it was a challenge and breeze for the ambitious duo. Fagen and Becker were not, strictly, the only members of Steely Dan at that point. They wrote the songs and created the drive but other singers/musicians were present from the off. One of the biggest issues of the album was the numerous bodies! The biggest criticisms levied at the album – very few in total – was the lack of leadership and some ill-advised inclusions.

David Palmer, the soulful, blue-eyed voice you hear on Dirty Work and Brooklyn (Owes the Charmer Under Me) – that was something critics jumped on. The as-yet-solidified band were trying out singers and, in an attempt to fit into the mainstream, perhaps; hiring a popular, conventional singer seemed like a way to get the singles out to the masses quickly. The problem with created spectacular music from the very start meant many could see a distinct sound coming through; a unique personality that was to define future albums. Palmer’s oversung, impassioned performances seemed jarring against the looser, more sardonic performances of Donald Fagen. That said; Dirty Work is seen as one of the best Steely Dan songs ever. Closer Turn That Heartbeat Over Again sees Palmer co-lead with Fagen and Becker – the blend of three voices makes it a more pleasing brew; without the distinct and unaccompanied sound of Palmer alone. If one feels non-Fagen vocals are a bad thing; they might try and explain the brilliant Midnite Cruiser. Some claim the vocal from Jim Hodder – the band’s drummer sadly drowned a few years after the album was released – was not very Steely-esque and did not fit into the ethos. Others protest against the chorus: dropped from nowhere and not as intelligent and complex as other songs on the album. I refuse all assumptions completely. The song is a blissful anthem and, unlike Palmer’s over-earnest and soulful croon; there is enough beard and whiskey in Hodder’s voice to make it stand out and impress. It is the enriching, soul-lifting chorus that, to me, seems to define what Can’t Buy a Thrill is all about: songs that get into the head and remain there for years (decades, even!).

IN THIS PHOTO: The band during a recording session for Can't Buy a Thrill

Originally released in a two-channel stereo format; there was a four-channel quadraphonic mix, too. There are differences between the two mixes but, whatever version you have; it is the sonics and audio richness that makes the music inspire and endure. The lyrics and vocals are sublime and consistently impressive but it is the complete package that makes the album such a scary-good debut – all the players and elements fusing to create a Californian symphonic. A lot of the popularity and renewed interest in Steely Dan’s debut revolves around the sheer accessibility of the record. Its music shifts from Mambo and Soft-Rock to Swing and Rock. It is a fantastic spectrum and freewheelin’ record that manages to have a simple breeze and studious countenance all within the same moment. The lyrics are sardonic, cryptic and humorous; the vocals are varied and nuanced; the music takes you somewhere special and safe. Maybe, in a good and bad way, the album’s cover defines what is contained within. Steely Dan went to create some near-iconic sleeves – Pretzel Logic and Aja spring to mind – but many mauled the debut’s cover because it was messy and crude; childish and garish. In fact; it is the colours, images and tripped-out sensations one discovers that creates intrigue and showcase the tropical flavours of the record. On a song-by-song basis, there are few stronger Steely Dan albums. Can’t Buy a Thrill might not have the coherence and faultless nature of Pretzel Logic; the authority, richness and sheer audacity of Aja; the hidden treasures and layers of Katy Lied – it is, however, their most addicting and record player-perfect creation.

It is a vinyl you hear from beginning to end; immersed in the obvious highs (Dirty Work, Reelin’ in the Years and Do It Again) and underrated gems (Midnite Cruiser, Kings and Change of the Guard). The ten-track L.P. is rife with discovery and brilliance. Do It Again and Dirty Work are the perfect opening one-two. The latter, despite criticisms of Palmer’s vocal, has that swirling organ and amazing chorus. The chorus, in fact, seems to define the album. Every one gets into the brain - but each is different. Do It Again is a sharper, Fagen-sung chorus that contrasts from the semi-operatic qualities of Palmer. That contrast, in lesser albums, would seem like a weakness and lack of focus. Here, in the hands of accomplished musicians; they are natural companions and, in a sense, embodiments of different personalities and lovers (the sharp-tongued and romantic; the soulful and sensitive against the wise and cragged elder). After the two big hits come two corking underdogs: Kings and Midnite Cruiser. The latter, I have talked about; the former is a historical song – almost cliché when it comes to debuts by Californian Jazz bands! – that sees the power-shift from King Richard to King John. The patrons and subjects raise their pitchers and glasses; the scene is set and, with a rousing chorus; it is a song that departs from the love-and-lies predictable and offers something truly different. Only a Fool Would Say That pairs Fagen and Palmer but gives the bigger role to the former. It is one of those Steely Dan songs that could have been taken from their latter, more assured records. On their first outing, it sounds completely alien and alarming – how, like all the other songs, it sounds so confident and free from nerves.

The second side is a little weaker but contains the album’s best-known song: Reelin’ in the Years is the one most highlight from Can’t Buy a Thrill. Those cutting, awesome guitar licks and funky-as-sh*t riffs are breezy and sunny as California but have the smog and danger of a New York neighbourhood. The solo was played by Elliott Randall and is often cited as one of the greatest from all of music! That is another reason Steely Dan succeeded from the off: not only relying on the two creators to produce the music. From Randall’s guitar and Hodder’s exceptional vocals/percussion; Jeff ‘Skunk’ Baxter’s guitar and Denny Dias’ guitar and sitar – all of the bodies that are crammed into the studio add their own textures and D.N.A. The remaining four songs on the record – Fire in the Hole, Brooklyn (Owes the Charmer Under Me); Change of the Guard and Turn That Heartbeat Over Again – provide rises and lows; plenty of lyrical brilliance and some of the finest music that year could handle. In a year where Exile on Main Street (The Rolling Stones), Pink Moon (Nick Drake); The Rise and Fall of Ziggy Stardust and the Spiders from Mars (David Bowie) and Harvest (Neil Young) were released…it would be hard work muscling into the crowd and getting critical attention. Not only did Can’t Buy a Thrill get reviews and attention: many saw the potential that would flourish in future albums; knowing, full-well, Walter Becker and Donald Fagen were onto something!

IN THIS PHOTO: Original album advertising art

There are faults and little knocks here and there – the cover-art and some of the Palmer vocals; the fact the first side is much stronger than the second; the lack of Jazz experimentation and interludes (too many different genres and commercial elements) – but they are excusable for a debut album. They, on their own, do not weight the album down or provide any disappointing visions. Their name might have derived from a dildo from a William S. Burroughs novel but there was nothing crude and sexual about the album. The hard work, quality and maturity come through from the first notes. Each song sounds free and unhindered but, at the same time, the result of perfectionist-pursuit and long nights honing and tinkering. It is a fantastically detailed album that interweaves and delves; it takes you by the arm and gets you to connect with music in a new way. For a debut album from an untested musical force; Can’t Buy a Thrill could have been a big failure and pretentious mess. The result was a record that has stayed in the collective mindset for over forty-five years and started the career of the mighty Steely Dan. I would suggest anyone who has an interest in music, texture and musicianship investigate Can’t Buy a Thrill - and, if you can afford, buy it on vinyl. Place it down, let the needle drop and close the eyes - and let every note wash over you. It would be forgivable to suggest an album like Can’t Buy a Thrill would lose some of its charm and potency so many years from its creation. If anything; the Steely Dan debut has grown stronger…

WITH each passing year.

FEATURE: Spotlight: Eva Lazarus

FEATURE:

 

Spotlight

PHOTO CREDIT: Domas Zinkevicius 

Eva Lazarus

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LAST year was a productive and successful one…

IMAGE CREDIT: Daniel Córdoba García

for the multi-talented songwriter, Eva Lazarus. My first exposure to the Bristol musician was her track, Bad News. That song looked at the tough times when the lovers were split; the fact the heroine is a bit of trouble but, when they are together, they can be really good (for one another). The song has that laid-back vibe and a mix of Reggae and Soul. Garage, Bass and Pop fuse and infect the music: the lyrics and vocals weave together and create something stunningly vibrant. The chilled-out bliss and tranquil-chill contrasts against the fierce undertones and strident beats. The concoctions get into the head and blood; the song stays in the mind and leaves a sweet taste on the tongue. That track compelled me to get more involved with Eva Lazarus and, through this year, I have been following her developments. Amsterdam was released late last year and features a hook-up with Mungo’s Hi Fi. Other moments from the young songwriter – Live My Life and Bad Gyal – see the heroine shift and shape. The voice remains in the realms of Reggae, Drums and Bass and Soul; able to go from classic sounds to a more urban, retro versions. Backed by urgent production, racing compositions and solid support; the young songwriter retained her personality and core but stretched her talents into new areas. It is amazing to see, over the course of a few songs, the way she can mutate and inspire.

The songs, especially last years, show how far she has come. Eva Lazarus is a name who is getting into the minds of some rather big sources. She has the backing of national radio and media but, as we head through 2018; it seems this will be her year to strike. There is more material coming and, following a successful E.P. campaign; it appears she will be busy and in full attack-mode. I am compelled to see what comes and whether the songs she has already recorded make its way through. Amsterdam and Bad News have similar undertones but are different songs. Each has that devilish grin and sense of the bad girl coming good; wanting to be better and not having any stress in her life. Amsterdam’s sweet-leaf swagger puts me in mind of a smoky and acrid room with no cares and some cool Reggae playing on the stereo – even if the singer had a different idea for the song. Eva Lazarus shows she can work with other producers/talent and people are responding to that! The big-voiced, big-haired talent is an M.C./songwriter who spans genres from Hip-Hop and Jungle to Soul. There is no escaping the fact eyes will turn her way and, with it, hearts will melt.

Having played Glastonbury and BoomTown; performing to record crowds and smashed the local scene – we have an E.P., collaborations with Sam Binga and Zed Bias coming; more airplay and exposure to go with it all. The backing crew, ‘The Afronaughts’, remind me, in a way, of Bob Marley – a modern-day Wailers, perhaps. Instead, we have a very modern-focused musician who wants to get the people dancing and take away the cares. That is a rare thing to find in music. You get some artists who have that agenda but for most; one feels there is a more success/money-driven motive. I have been looking around at the artists who can change things this year; add their own mark and provide music something magical. Eva Lazarus has the soulfulness of Amy Winehouse and the modern Reggae chops of Damien Marley; the flair of the strongest Rock band – the sexiness of the most impassioned Jazz singer. That rich musical heritage, understanding and upbringing stirs in the pot and fires an insatiable, heady smoke that filtrates and dominates. I urge everyone to get involved with her social media and take a look at how far she has come. I have concentrated on her recent work but the music of Eva Lazarus extends beyond that. The Bristol favourite has played around the country and, with her team behind her, has the potential to embark on worldwide gigs.

The stunning confidence and ability to step into any lyrical or musical territory is a talent most musicians would kill for. The themes look at the ups and downs of love; the good-girl-gone-bad and cheating boys; the need to kick-back and indulge once in a while. Above all is the need to embrace love and focus on the positives. Even when Eva Lazarus is looking at scarred relationships and the perils of fidelity; there is an abiding hopefulness and energy. I am pumped to see what the E.P. contains and, as we go deeper into 2018; how many dates will Eva Lazarus get? She will play Bristol but one feels a U.S. tour would be in order. The sort of music she is throwing out has a huge potential and I can imagine American audiences would eat it up. Whatever her plans is; do not bet against the Bad News creator riding high with the best and brightest of 2018. These are exciting and great times for her. I have seen her develop and grow in stature; get those great reviews and spins from D.J.s. The hard work ethic of Eva Lazarus means she played big festivals and smaller venues alike. Tongues are wagging and there is a feeling of expectation in the air. A lot of songwriters might not be able to live up to the hype. When it comes to Eva Lazarus; she will see those rising hopes and meet them with…

PHOTO CREDIT: Amanda Thomas Photography 

MUSIC that takes the breath away.

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Follow Eva Lazarus

PHOTO CREDIT: @abigalatiaphotos 

Official:

http://www.evalazarus.com/

Facebook:

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

Twitter:

https://twitter.com/EvaLazarus

SoundCloud:

https://soundcloud.com/evalazarus

Spotify:

https://open.spotify.com/artist/68eE2HHE6By6hOsOcsArcp

YouTube:

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

FEATURE: ABBA: Super Troupers: An Exhibition That Demonstrates the Importance of a Genius Group

FEATURE:

 

ABBA: Super Troupers

PHOTO CREDIT: Michael Ochs Archives/Getty Images 

An Exhibition That Demonstrates the Importance of a Genius Group

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IF you take an Internet trip…

ALL PHOTO CREDITS (unless stated otherwise): Getty Images 

and head over to the website of the Southbank Centre - you will find a bit about ABBA. In fact; it is more than a mere ‘bit. It is a full-on passion-exhibit that, as they say, takes you on an immersive and deep road into the back-catalogue and legacy of one of the biggest bands ever. The Swedish foursome of Agnetha Fältskog, Björn Ulvaeus; Benny Andersson and Anni-Frid Lyngstad, in the 1970s, created some of the finest music the world has ever seen. I wanted to write about the exhibit for a couple of reasons. For one; it is a must-see presentation that brings you into a unique world of ABBA. The landscape and mini-universe of Sweden’s best-loved export is narrated by Jarvis Cocker. It is only natural the legendary Pulp frontman should narrate the inner-workings and magic of the band. Many might turn their noses at that assumption but it is well-founded. His voice is a blend of emotions and contrasts; it is something you are gripped by and immerse yourself in. His alluring tones are perfect to take us into the world of ABBA. Make you sure head to the Southbank Centre because it is one of the must-visit events/exhibits of the winter. I am going to get up there because there are more and more music-based ‘galaxies’ forming that provide a deeper and more interactive way of connecting.

It is not only a collection of songs being played as one wanders around. The My Name Is Prince exhibition at the O2 is another case of a musician’s work being treated with respect and passion. Although Prince is not with us; memorabilia and rare artefact were presented to the public back in October. Among the exhibits on show is the orange-cloud guitar that was played at his 2007 Super Bowl halftime performance; Third Eye glasses from 2014; The Raspberry Beret cloud-suit from 1985 – and so much more! ABBA’s layout is a bit different: the Prince exhibit is more traditional in terms of a museum-style layout and, I don’t think, has narration. ABBA are still around – its members, anyway – so many will ask why go to the effort to celebrate a group that have not performed together for years?! That is a good question but, as Pop music starts to come into the ascendancy this year, more eyes are looking back. Pop has been somewhat generic and streamlined the past few years. So many exciting young artists are emerging and, with that, splicing genres and sounds. It will be a bolder scene and one (one hopes) defined by quality songwriting – as opposed to the commercial themes and plastic production. Who knows what will happen but the point is Pop is starting to come back into a credible realm. Many are taking from ABBA and, decades down the line; they are borrowing aspects from the Swedish group.

IN THIS PHOTO: Prince/PHOTO CREDIT: Dave Hogan/Getty Images

The Southbank Centre’s page (on the exhibit) talks about a very special year in the group’s rise:

“In 1974 ABBA catapulted into British consciousness as they won the Eurovision Song Contest at The Dome, Brighton. The Swedish pop group would go on to become a household name across the world, and later this month we celebrate their impact and their legacy with our immersive exhibition ABBA Super Troupers.

ABBA were a breath of fresh air to a 1970s Britain mired in a financial crisis epitomised by strike action, the three-day working week, and the effects of The Troubles. To help get a picture of the year in which the Swedish group arrived in Britain, or indeed to relive it all over again, take a look at our timeline”.

That description pretty much sums up why the group have endured and are celebrated – and why their potency and appeal has never faded. You can look at the timeline on the website and see how their songs fitted with the changing times. To me; their arrival was the European wave of colour and Pop that added something dynamic and fun to the rather strained and grey sky. It is interesting looking back and the industrial strife, political tensions and uncertainty. The same can be said today: we are living in a time when everyone is nervous and not sure how things will work out.

I feel ABBA are not part of the 1970s in the same way other acts are. We have had genres like Glam and Disco; Grunge and the New Romantics. Some of those sounds have survived today but the original pioneers are gone; their music is not as heady and explored as once was – much has moved on and evolved since then. The same cannot be said of ABBA. Although the songwriting was done by the boys of the band – Benny and Björn – it was the complete band that made the music come to life. In fact; many could argue those sumptuous lead vocals made the music come to life. The pressures of touring and the levels of fame – complete with some inter-band issues – meant their lifespan was not as long as many would like. The always-mooted reunion rumour is never far away and it seems the appetite for revival is strong. The official ABBA website shows where it started to go wrong for the group:

“In March 1980, ABBA took their tour to Japan for what turned out to be their very last live concerts in front of a paying audience. The rest of the year was devoted to the recording of ABBA’s next album, Super Trouper, containing classic hits like ‘The Winner Takes It All’ and the title track.

In February 1981 the final blow was dealt to ABBA’s happy-couples image of the 1970s, when Benny and Frida announced their divorce. This still didn’t stop the foursome from working together. At the end of the year, ABBA’s eighth album, The Visitors, was released, with ‘One Of Us’ as its biggest hit single…

…Through the course of 1982 the energy was gradually running out of the group, as Björn and Benny set their sights on writing the musical Chess and Agnetha and Frida were reviving their solo careers. The only ABBA LP release this year was a compilation double album of their hit singles, entitled The Singles – The First Ten Years, including two new songs. Although the single ‘The Day Before You Came’ was one of the group’s most accomplished recordings it failed to become a worldwide hit on the scale they had been used to. At the end of 1982, ABBA decided to take a break. If they wanted to, they reasoned, they could always get back together after a few years.

More than three decades after ABBA’s “temporary break”, there still has been no ABBA reunion. But the group’s music lives on: the 1990s saw the beginning of a major revival, with successful cover versions and high-profile movies using ABBA songs on their soundtracks attracting a great deal of attention. The compilation CD ABBA Gold, released in 1992, has sold more than 30 million copies to date. The 1993 companion album, More ABBA Gold, went on to sell 3 million copies. The box set Thank You For The Music followed in 1994, containing all the hits, selected album tracks, plus rare and previously unreleased recordings”.

That shows, A) why it was inevitable the close-knit group would fall and, B) why the public have been pining for new material and taking the group to heart. It is amazing to think they achieved so much in a short period.

ABBA shot into the public consciousness when they took Waterloo all the way to the Eurovision Song Contest in 1974. A special plaque was fitted in Brighton last year to celebrate their famous win. The affection the British public has for them, especially, is heartening and obvious. There are similarities between the Pop we produced in the 1960s and the variety ABBA brought to these shores. The Waterloo album, their third, was released in 1974 but, aside from the title-track; there was little to suggest the band would endure for this many years. It was a promising collection…but better albums were to come. Their third album (ABBA) was released in 1975 and was a marked improvement from their previous effort. Mama Mia and S.O.S., two staples of the group’s routine, were on that record: there were hardly any filler tracks and a total of seven singles were released from the album. The upgraded sound of 1976’s Arrival saw the band, as the title implies, coming onto the scene with conviction. Dancing Queen, Knowing Me, Knowing You and Money, Money, Money were on that record. They, again, are staples and showed the band were becoming more adventurous and confident. Those big hits saw people all around the world flocking to see the band. They are classics that are in everyone’s head and we all know the words for – even if we do not admit it!

The biggest drawback when confessing an appreciation of ABBA is the stigma and criticism people give. Many see them as cheesy and bland; a band that appealed to a small sect but never really produced quality. The group had to fight these criticisms from the start and were seen, by some, as over-hyped and sterile. The thing is; the band got strong and ABBA: The Album boasted Take a Chance on Me and The Name of the Game. Voulez-Vous had the title-track, I Have a Dream and Does Your Mother Know. 1980’s Super Trouper was their penultimate record and was when the strains started to show. Even though the material was up to its immense standards: tensions and the rigours of touring was having an effect. The title cut looked at the spotlights (‘Super Trouper’ is a name given to spotlights used for stadium concerts) and the glare of fame. There is the loneliness of the road and the rush of performance: all the ups and downs the band has experienced in the seven years before then. Super Trouper and The Winner Takes It All notched up another two number-ones for ABBA and 1981’s The Visitors looked at the band as isolated outsiders on the edge of dissolving. The album signalled a move from the lighter Pop of previous albums and explored the downsides and pains of splitting – more serious songs and music that dug deeper.

Isolation and regret were themes explored through the album and, for a band that were going through challenges and huge strains – the fact they produced one of their (if not the) best albums of their career was amazing. Unlike other huge bands with a short seven-eight year career (The Beatles springs to mind!) it seemed the best music was being made at the end. It led many to ask why they split and how things had gone bad. The relationships within the group and the demands of their daily lives impacted the harmony within. The Gold: Greatest Hits compilation was released in 1992 and became an instant hit. Over thirty-million copies have been sold and it showed, years after the band’s split, there was a huge appetite for their music. That collection of songs showcase an immaculate band who could pen affirmative music with immense choruses; gorgeous harmonies and some of the finest lyrics in modern Pop – far deeper and more profound than many gave them credit for! One can look at the destruction and break-ups that led to the end of ABBA -  we are here to celebrate and commemorate. The ABBA: Super Troupers exhibit is a must-visit for any fans of the band: anyone who is a newcomer to the music should go and see what made the songs shine; how the band came to be and what drove their world. It gives an insight into a once-in-a-generation group who changed music and laid down some of the finest Pop music ever. Maybe they will not back together but they have, in their short career, transformed music and inspired legions of artists. Visit the Southbank Centre and listen to the music; revel in the glamour, glory and gold that means their 1970s/1980s-produced music…

REMAINS treasured and relevant to this very day.

INTERVIEW: Joshua KYEOT

INTERVIEW:

 Joshua KYEOT

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THE stunning voice of Joshua KYEOT is the first thing…

that strikes you when you hear the sublime music. Only One was released last October and gained huge applause. I ask him about his upcoming single, Playground Sweethearts, and the inspiration behind it; the musicians he was raised on; what comes next for him – and whether there are any tour dates coming this year.

The talented songwriter discusses the importance of South London (his base) and new artists to recommend; how he spent this Christmas; the way the stage and his music interconnect; the albums that mean the most to him – he provides some great advice for new musicians.

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

I’m well and I’m blessed.

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

My name is Joshua KYEOT and I'm a singer, songwriter and entertainer. I released my debut single, Only One, last October – although; I have been performing around London for a long time now.

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

Christmas was great - and that is exactly what I did. I spent it with the family, lots of babies running around; cousins, screaming and food. I got very competitive playing Articulate with the fam – trash-talk and all the good stuff.

Playground Sweethearts is your upcoming single. Can you tell us about its story and the meaning behind the song?

It is about a boy who was once too shy to express his feeling to a girl he knew when he was much younger. He met her a bit later on life and has regrets and is tired of regretting - so he is doing something about that.

Which musicians, would you say, have helped craft your sound? Who did you look up to growing up?

I've always loved the music of Stevie Wonder and Michael Jackson as well as Sisqo! My music is rooted in certain things you may not directly even hear in my music. I grew up on Hiplife, Highlife; Africa and Ghanaian music. I also took inspiration from the music my sister was listening to: Garage, R&B; Dru Hill, SWV... 

Some Hip-Hop too, definitely.

So far in your career, you have supported Izzy Bizu. Was that a cool experience? What is she like to play with?

It was truly a great experience.

To be given the chance to support a terrific artist whose journey is still very close to its beginning...and see her do what she does on stage and simply learn from her - that entire experience was great. I loved it.

Reminds you, if you aren’t sure, that you are on the right path…

South London is where you are based. How important is the area regarding your inspiration and music? Do you get inspired by the people around you?

I get inspired by the people around me; mainly because they are people with stories worth hearing about and learning...

Whether it’s the kids on their bikes being as mischievous as I was when I was their age; the dudes working over at the chippy - I am certainly inspired to learn from what I see in the people of South London.

IN THIS PHOTO: Gareth Esson/PHOTO CREDIT: Getty Images/Artist

Who are the new artists you recommend we check out?

Gareth Esson, Shakka; MUNDU, YEBBA and Rukhsana Merrise.

IN THIS PHOTO: YEBBA/PHOTO CREDIT: Getty Images

What do you think of the modern music scene? Do you feel music is in a good place right now?

I feel music is always in a good place; simply because there will always be great musicians doing what they love. The issue is finding it. The music scene tends to be difficult to love as an artist because it is usually controlled by ‘the MAN’ - but the companies like AWAL, and artists like Stormzy and Chance the Rapper, leading the charge on the Indie front…

I can’t be too upset.

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

Tough question; but I‘ve got it…

Michael Jackson – Bad

The first artist I truly wanted to be like. The music video for Bad was simply the coolest thing I had ever seen (and might still be)!

Sisqó - Unleash the Dragon

The first singer that I really tried to sound like and mimic. I remember there was a day when I was really upset because I thought I could never be a singer - because I didn’t sound enough like Sisqó. I listened to it over and over again.

Paramore – Riot

The first C.D. I bought all by myself with my own money with no one else chipping in. I wanted the guitars they had and to be able to scream and rock-out like Hayley Williams.

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

I would say work tirelessly and be willing to learn.

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

Few interesting things in the work: please follow me on all social media to keep in touch!

How important is it getting your music out there? Is the stage somewhere you feel alive and ‘at home’?

The stage is a place I love and can’t get enough of - but, still, it puts me on edge; at least before I start. I don’t want to talk to too many people before the show: just focus on my performance and perfecting it. I am quite particular about how I want my music to sound - and arrangements and all that - and I take preparation very seriously.

Once I’m on stage, I’m flying.

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

Certainly. I am looking forward to releasing new music; playing more gigs, learning more and building on the momentum from all the work done in 2017.

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).

Fantasy - Earth, Wind & Fire, please!

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 Follow Joshua KYEOT

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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)

​​​​​​​​​​​​​​​​​​​​

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)

​​​​​​​​​​​​​​​​​​​​​​​​​​​

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

________

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!

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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!

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 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

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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.

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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

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 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?

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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.