FEATURE: Joy Division: Has Music Lost Its Sense of Fun?

FEATURE:

 

Joy Division

ALL PHOTOS (unless credited otherwise): Unsplash

Has Music Lost Its Sense of Fun?

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THE answer to the question, I guess, depends on whether…

you view things in binary terms. One can say things are not the same as they were and, when it comes to the mainstream; maybe there is not the same festivity and frivolity as past decades. It is a complex debate but I think there is a definite shift between the mainstream Pop artists and talent elsewhere. It is not as though the 1980s and 1990s were banquets of good times and uplifting anthems: plenty of downcast songs were around; if it was all fun and glee then that would be cloying and pointless. I have been looking at the music coming out at the moment and there are a few sparks here and there. Some have criticised the lack of genuine excitement and innovation in modern music. In some genres, such as Grime and Alternative, you might see flickers of progression and the unexpected but, when it comes down to it – most of the results are quite serious and angry! I am pumped new bands like Shame are coming to the forefront. They seem genuinely able to capture a mood and desire for change and motivation. I have heard few bands able to get under the skin and get me excited – the last was Royal Headache a (fair) few years ago now. I am sure their careers will be long but their qualities and kudos come from other areas.

PHOTO CREDIT: Getty Images

They are angry but intelligent; they document the realities of life and youth but, although there is wit and humour; it cannot be accused of being too much ‘fun’. Perhaps that is a drawback of genres like Punk and Rock. That said; genres like Pop and Electro/Dance, the most reliable when it comes to fun music, has become a bit more serious lately. There are hotly-tipped acts like Sigrid and Billie Eilish – they are going to take some big steps in 2018. They are fantastic teen artists who are pushing Pop forward but you have to wonder whether, in a bid to be seen as mature and against the commercial grain, they are sacrificing a certain frivolity for depth and meaning. That may seem an insane criticism – being serious and intelligent is more important than shallowness and empty fun – but, if you see music as a complex and diverse scene – should we not have more fun to balance out the seriousness and study?! I worry too much emphasis is being played on making songs downbeat and emotional; trying to get into the heart – rather than make the body and mind dance and jump. There are acts around in the mainstream – like Tune-Yards, Superorganism and The Go! Team – who I am excited about. Invention and alacrity run through their sounds; they fuse genres and sounds to provide the listener something wildly exciting and engaging.

IN THIS PHOTO: Shame/PHOTO CREDIT: Dan Kendall/Loud and Quiet Magazine

They are proof modern music can be serious and good without being too po-faced and lacking energy. I will come to the differences between older scenes and music today but, before then, a look at a BBC article that has been on my mind. They have been looking at modern Pop and noticing a movement towards something slower and sadder:

“In a 2012 paper entitled Emotional Cues in American Popular Music: Five Decades of the Top 40, E. Glenn Schellenberg, and Christian von Scheve analysed two key elements in hit pop songs. Taking the biggest hits in the Billboard charts from 1950 to 2010, they charted a song's tempo - how fast the backbeat is - and whether it is in a major or minor key. As a rule of thumb, music which is written in a major key tends to sound happier, and minor key songs sound sad.

This isn't a foolproof measurement of a song's overall happiness - some of Coldplay's most sob-worthy choruses are in a major key - but they did find that the public taste is towards more minor key songs with a slow tempo, such as Naked by James Arthur. Even the major key pop songs have got slower, suggesting fun is becoming a scarcer commodity, highlighting, as they put it, "a progressive increase of mixed emotional cues in popular music".

IN THIS PHOTO: Superorganism/PHOTO CREDIT: Getty Images

Songs have become less tonally interesting and complex: modern songs are simpler, angrier and more personal. The melodies being used today are not as rich and varied before; there are fewer chord shifts and there is a homogenisation of musical discourse – songs are becoming steadily louder and easier to understand. Maybe this is because, in order to grab attention, songwriters are going for something instant and uncomplicated. There is so much competition and choice: can anyone risk being overlooked if they go against the tide and provide songs that hark back to past days? The diversity of transitions between note combinations has decreased over the past fifty years. Artists are no less talented but the scene has changed. Artists, now, are expected to get their songs heard and racking up streaming numbers; appeal to demographics who do not want to dig too hard to find pleasure. Tomorrow; I will look at why we need a modern-day David Bowie in our midst: an innovator and icon that can last through the ages and compel generations. I do not think that is impossible. Now, we are seeing too many brief and transitory artists: few are sticking around and enduring for as long (as Bowie). Innovation and progression do not need to mean you lose a sense of fun and captivation.

Maybe, as the BBC article investigated; we are seeing a general weakening of the music scene. Do we favour sounds from the past? Is modern music able to last in the imagination?

“…That said, it's interesting to note the results of a 2014 poll conducted by Vanity Fair, in which 1,017 adults were asked a series of questions about their musical preferences.

When asked which decade has the worst music, their responses fanned out in broadly chronological order, with the 2010s getting 42% of the vote, the 2000s getting 15%, and the 1990s, 1980s and 1970s coming in fairly equally with 13%, 14% and 12%. This might lead a casual reader to conclude that the people polled were all of a certain age, but it seems to be an evenly held opinion. Of people aged 18-29, 39% voted for the 2010s, while the figure for the over 30s was 43%, which indicates most of the fun is in digging up old songs, rather than keeping up with the new”.

Most of my tastes go back to past days: I keep digging up big 1990s Dance anthems; themes and bangers that compelled me when I was young. I am listening a lot to Oasis and Blur; to dizzying 1980s Pop acts like Madonna and Talking Heads. I know those decades had their fair share of depressing artists but I can rely on older music to get the spirits up and blood racing. A few songs from the past few years, naturally, has left their mark and made me smile. Maybe the rules have changed and the consumer is looking for something different.

IN THIS PHOTO: Madonna/PHOTO CREDIT: Pinterest

Whereas, before, complexity and lyrical exploration was the mark of a great song: now, tracks are becoming more compressed and ‘economic’. Fewer words are being utilised and there is a push towards repetitiveness. Listeners will skip past a song – on Spotify or YouTube – if they are not hooked and won within a few seconds. The first minute of a song is crucial: people will wander off if there is not something immediate thrown at them. The brain likes familiarity and knowing what is coming next. One would think, in an attempt to achieve that, songs would be able to look back to glorious days and how those tracks lodged in the head. A lot of modern Pop has become sadder and self-examining. There is a tendency towards the first-person: songs are less about communities and crowds; it is to do with the self and an individual’s mindset. Does the move from overtness and bonding the masses to a more confined and personal style of music mean it has to become more emotive and serious?! I can understand a need to project truth and a certain anger as the world becomes more tense and unfair. The planet has always been in a bit of a state: turmoil and division are not new or out of the blue. There is a fear ‘fun’ has to be cheesy and juvenile. It does not have to be that way. Over the past few weeks; I have looked at bands like ABBA: able to summon enormous fun and energy whilst writing undeniably detailed and deep songs. It might sound simple on the surface but there is exceptional musicianship at the core.

We know Pop music is being put into the fore this year. It is a good time to examine the artists who will make a difference – and seeing what sounds they come up with. Acts like Sigrid can bring fireworks and sunshine but she is among a band of artists providing a more mature approach to Pop. You can argue the current crop – including Katy Perry and Lady Gaga – are exciting and vivacious but, when you listen to their music; do the songs stay in the head for all that long?! It is difficult to see how music can change so that artists eradicate depression but ensure their music is nuanced, meaningful and important. We need our musicians to speak about what is going on in life; not worry about traditional configurations and demands – many are too eager to follow the pack and produce something simple, repetitive and commercial. I do not have the answers myself but, aside from a few artists who remind me of a time when music was fun, incredibly exciting and moving – the scene is busier but I wonder whether there are other reasons behind the downturn. I have brought in some explanation and facts but maybe the truth is simpler: modern music is more concerned with the first-person and personal woes; the days of getting-the-masses-grinning music is reserved to certain genres and artists.

We have older music if we want to get the face grinning and memories flooding back. Modern music is great but I am fearful there is less fun available for those who need escape and disconnection. We all spend our days working, busy and stressed: the desire to unwind and submit to music is at the top of my mind when I get home. Because of that; I am straight onto YouTube and listening to my favourite songs – most of these are from an awfully long time ago! I can feel myself in need of relief and seeking something that gets my eyes wide and mood elevated. Some modern artists do that but most are suitable for introversion and anger. Those great solo artists and bands provide great music but I do not really go to them for a blast of excitement and happiness: they have their place and unique role. Maybe this is something we need to address as we embrace change and new artists: ensuring music does not lose its character and fun amidst the rush and hastiness of the modern industry. I have not lost hope but I feel there are questions we need to ask. If we want listeners of all tastes and ages to remember music of today years down the line – rather than look back for comfort and reliability – then we need to ensure there is a fair balance of the serious and genuine pleasure. I cannot be alone in wanting music to put me in a better mood and get make me feel happy. If we can make changes, even small, towards a return – in terms of mood and complexity – to the music we turn to for safety; I feel things will be a lot better all-round. How that will be done is a different point. There is the promise of an upbeat-revolution but, in order for it to truly take hold, we must get out of the current ruts and be brave enough…

TO break the rules.   

FEATURE: On the Comeback Trial… Are All Band Reunions a Battle Against Disappointment?

FEATURE:

 

On the Comeback Trial…

PHOTO CREDIT: Unsplash

Are All Band Reunions a Battle Against Disappointment?

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WE all know how those big films end...

PHOTO CREDIT: Unsplash

Whether it is Fight Club’s split-personality revelation; the bombshell that upset a generation of children watching Bambi; the exceptional twist that came with The Sixth Sense – all of us remember those epic-ending films and ask ourselves whether we really saw it coming or not. Now, in the age of full disclosure; we struggle to avoid spoilers and having our expectations shortened – it is hard to escape the assault from the media and how anyone can share anything online. Music suffers from the same problems. Albums do not contain twists or plot-turns: the sounds and sensations we witness can, though, flabbergast and excite. Reviews and teasers take some of that surprise and happenstance away. Whilst a lot of great music arrives unexpectedly; there is one angle and area of the game that is becoming more predictable: when famous bands reunite. I have been ‘compelled’ by those Pop bands of the 1990s/2000s that have come together, one suspects, to relive the magic and ecstasy of their heyday – one also suspects they are more motivated by money and flagging solo careers. I heard a story about S Club 7’s Paul Cattermole selling his BRIT Award – I guess life outside of music is not treating him so well! Other members of the long-gone band have forged careers (of varying fortunes). Rachel Stevens had a short-lived solo career before getting married and giving birth.

IN THIS PHOTO: S Club 7/PHOTO CREDIT: Alamy

I doubt she will record anything else in the future – she does various T.V. appearances but is limited to the role of ‘reality T.V. contestant’. Tina Barrett did some acting roles but she is back in a slim-lined S Club 3 – alongside Bradley McIntosh and Jo O’Meara. It is a bit sad seeing three-sevenths of a formerly okay-ish band trying to recapture their best days. I am not sure whether they are even recording new material – or playing their older songs on a rather ‘modest’ touring scale (small clubs and venues). I doubt the seven members will ever come together – few people care one way or the other. The band had some good hits back in the day, but now, it seems rather fallow and sallow. It is a pale and empty version of what they were: the commercial lure and value of nostalgia has brought other bygone artists back together. A lot of the bands from past days split because of faded fortunes and tensions. It seems there are lingering issues between former member Cattermole and current S Club 3 member O’Meara. The former claims the latter is a bully – someone too controlling and spiteful. Other Pop bands, like Blue and Five, have tried a reunion but have been limited to some rare performances and misjudged singles. I know the music industry has changed since, say, the 1990s but it does not seem to resonate with those who were successful back then.

IN THIS PHOTO: Spide Girls/PHOTO CREDIT: Getty Images

Why would anyone think a retooled S Club 7 or Spice Girls could succeed?! There has been endless chat about the Spice fivesome returning to the fold. They really only created one decent album (Spiceworld). The band formed in 1994 and started to flag once Geri Halliwell left – in 1998, the girls had to adapt to life as a foursome. There has been a poorly-received musical from Jennifer Saunders; endless rumours and big-money tease. I hope they never do reform as it would be a rather weak version of who they were. The fact the Pop bands like Spice Girls and S Club 7 were popular is because of when they were performing and what they represented. Now, the game has Little Mix and Fifth Harmony; Ed Sheeran and Taylor Swift – updated versions of the Pop bands I was growing up around. It is a more modern and fresh scene and one defined by a crucial consistency: it is very much for the young. If the sight of once-famous Popstars gyrating around a stage appeals to those who cannot really hang onto the past – how will they fare if they make an honest attempt to fit into today’s mainstream?! Most of the hottest Popstars of the day are in their teens/twenties – maybe, you have some validity when you are in your thirties. The members of former bands are, largely, into their late-thirties and forties.

PHOTO CREDIT: Unsplash

Unless you established bands like Foo Fighters and Coldplay, for example; there is little commercial validity (being in a band) when you are a certain age. That sounds all-sweeping but how many bands in their forties/late-thirties can you name? Most are younger and, in a scene dominated by solo artists; there is far less demand for the traditional group – far less those who have broken up and are reforming. New hopefuls like Shame and Yonaka are providing hope: if they broke up and returned a decade down the line; one feels they would not get a second glance! Steps formed back in 1997 and enjoyed a run of success during the decade – they recorded past the 1990s but critical focused waned following their debut, Step One. Many felt, when they split in 2001, that would be it. Claire Richard and Ian ‘H’ Watkins left on the final night of the band’s Gold: Greatest Hits tour. They might be one of the few bands who had a hard split and returned harmoniously after many years apart. Last year’s Tears on the Dancefloor was the second album from Steps 2.0. – the same members who last recorded together on the 2000 album, Buzz. 2012’s Light Up the World was mostly covers-based and did not fare well with critics. It was a departure from their previous work and was seen as alienating and weak. Last year’s follow-up was, by comparison, a finer effort.

PHOTO CREDIT: Getty Images

The songs are original – albeit, with a writing a team penning the songs – and contain some of the glee and invention of their first incarnation – even though the members are all comfortably in their forties. I am not sure how they will sustain a career given the demands of the modern market: maybe they have another album in them before attention goes away. It is not only Pop bands reforming that shows there is more trial and diminished returns – inherent in a comeback – than success and a natural continuation. Other 1990s bands like Space (who reformed and split again in 2005) Blackstreet (they did not split but were A.W.O.L. for a long time!) have had mixed success: Reef, Cast and Shed Seven have come back from premature ends and reformed with success. Shed Seven, especially, are enjoying new recording and gig opportunities. Their music is not a repeat of where they were in the 1990s: last year’s Instant Pleasures was a critical hit and showed they could mix it with the best of the new breed. Whilst I argue there are some disastrous and ill-advised returns: there have been reunions that have actually worked and continue to foster great material.

IN THIS PHOTO: Shed Seven/PHOTO CREDIT: Getty Images

Eagles reunited and recorded for a while before Glen Frey’s death. Squeeze recorded new material after their split – although they have not been talked about for a few years. The more successful among the reunited include Blondie and Fleetwood Mac. Aside from big bands of the 1990s like James getting back into the studio and recording new stuff – some of those decades-old bands are enjoying a new lease. Blondie’s last first-phase ended with 1982’s flop, The Hunter. Many did not think they would return: 1999’s No Exit, with Maria as a stunning example of what they could capture, was a more successful and better-received L.P. It wasn’t until 2003’s The Curse of Blondie until critics were back on board. Led by the always-alluring and talented Debbie Harry; Clem Burke’s phenomenal percussion and Chris Stein’s epic guitars – the bond they shared, and mutual respect present, means the next phase lasted longer than many expected. Even after another eight-year gap; the band returned with Panic of Girls – an album that did not get a huge amount of love. Last year’s Pollinator was a stronger effort and, following such a long gap; many argue that time apart (since their previous record) did them good. Blondie are a band who has created some of the best albums ever – 1978’s Parallel Lines among them – but their modern versions have been a little mixed.

PHOTO CREDIT: Getty Images

Pollinator suggests they are back on a solid foundation and have found writers/producers capable of keeping their fortunes and spirits alive for many years to come. I have not even mentioned bands of the 1980s like Spandau Ballet, ABC and Duran Duran who have reformed but, in a time that has forced them to adapt – and drop a member in the case of Spandau Ballet – they are changed and out-of-touch with today’s music. It all sounds a little middle-aged, lifeless and pointless. I admire a band that still has friendships and is keen to keep on recording. The material they produce, however, is always going to be compared to what made their famous -   they will never capture that magic and create anything as good as that. I wonder whether there is a point beyond money and trying to remain relevant. Fleetwood Mac are an usually exception of a band who have never really gone away. Their recording output is not as prolific as one would hope – Time was the last album before the band took a hiatus. 2003’s follow-up might not be considered a reformation record. Many claim the band never split: they have left gaps between albums and there was no acrimony. Tensions reached their peak around Rumours/Tusk (1977 – 1979) and, since then, they managed to keep on recording and going.

IN THIS PHOTO: Fleetwood Mac/PHOTO CREDIT: Danny Clinch

I wonder whether they will ever get back into the studio and release another album. The band are performing - and on the road - so it is clear they still have affection and passion for what they do – Lindsey Buckingham and Christine McVie even recorded an album together last year. Stevie Nicks was the only band member not to appear on the record – maybe a sign she is not willing to get back into the studio quite yet. I know the band have overcome hurdles and survived some blow-ups. I wonder whether they will go from touring and gigs to getting another record together. It is always hard finding fresh inspiration that is going to get you into the minds of critics and fans – even if relationships are okay between the members. I think bands that reformed do it for a couple of reasons. Punk acts like The Pretenders (mostly Chrissie Hynde from the original line-up) do it because they love music and do not want to live in the past – unwilling to trade on past glories and cash-in regarding nostalgia. Some of the Pop bands I mentioned do not want to enter a new phase and produce great material: they are more concerned with trying to rekindle some of the fame and attention they had in their first phase; unable to produce anything significant, modern or relevant. It is, therefore, a mixed-bag when it comes to reunions.

IN THIS PHOTO: The Smiths/PHOTO CREDIT: Pictorial Press Ltd./Alamy

Some of them can work – Blondie and Fleetwood Mac – but more of them fail and, at the very least, are not as exciting and quality-laden as you’d hope. Alongside those reunited bands are those many of us want to get together: The Smith, Oasis and Led Zeppelin among the most talked-about. There is a fear that the bands could not create material that justified the build-up; relationships are strained (Oasis and The Smiths unlikely to see their leaders on the same stage); whether they will do it for music or the money – cynics will jump on the fact these rumours are attached with multi-million-pound gig offers and recording contracts! I hope the bands do not get back together - as it will taint their legacies and, like The Stone Roses (and a couple of rare singles), it will not materialise into anything long-term and productive. The members are all getting on and many have their solo careers. We must accept bands break up for good reasons and it is always risky trying to relive the past. There have been some successful-ish reunions but most are seen as gossamer-thin compared to the heady days when they ruled music – fading and ageing members who seem out of touch with the current scene. I love looking back on great bands and artists that inspired me growing up: I do not want any of them to come back together and try to repeat what they did all that time ago! Maybe Oasis could pen a few good hits but it is not the 1990s anymore. Music is looking for fresh artists and something unexpected. Whilst it is tempting to imagine which bands could come back together; the reality is the finished result is a bit sad. I admire their reasons for coming back to music – even if it is just for cash – but, when all is said and done; sometimes it is better to leave these bands…

IN THIS PHOTO: Oasis/PHOTO CREDIT: Getty Images

BACK in the past.   

INTERVIEW: Fernweher

INTERVIEW:

 Fernweher

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I have interviewed a few artists from Italy…

but none have the same ingredients and components as Fernweher. I have been speaking with him about his new track, Frozen Beauty. It has a stunning video – and one I was eager to know more about – and prefaces the E.P., The Son of the Black Ocean. I ask Fernweher about the E.P. and what we can expect from it; whether there are gigs coming up; how he feels being settled in the U.K. (he is in Belfast at the moment) – which new artists are worth exploring.

I find out which musicians/albums have been most important to Fernweher; why comparisons to James Blake are not exaggerations; advice he would give to new artists of the moment; whether he has any downtime away from music – and whether he made any resolutions this year.

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

Hello there! As you can imagine, this week, for me, is very exciting. My debut single has been released (on Friday) and, in five days, I've reached around twenty-thousand views on YouTube - and I am receiving many lovely messages from people that are enjoying my project.

This makes me feel very happy.

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

I am a twenty-three-year-old guy from Italy, living in the U.K., and am an aspiring music producer.

I started studying Classical and Jazz music in Italy when I was eleven - focusing on piano and singing lessons. Then, I developed a passion for songwriting and Electronic music. Nowadays; I’m studying Music Production because, in the future, I’d like to work as a composer for movies and T.V. In the last two years, I have been working on my first solo project called The Son of the Black Ocean - which is anticipated by the single Frozen Beauty.

This is going to be a conceptual E.P. containing five songs - which I self-produced. It is inspired by the work of my favourite artists: James Blake and Björk.

Frozen Beauty is your latest single. Can you tell me about the song’s origins?

I wrote the first-draft of this song in my hometown of Bari (in Southern Italy). International artists don’t have real opportunities to grow - and I felt stuck in a paralysing mud where each day was exactly the same as the one before. I was surrounded by people who were forced to (pretend to) be happy…but, I have never managed to integrate myself into this ‘fiction’.

Frozen Beauty is my melancholic chant: like the howl of a wolf who feels lonely and afraid of the future.

The video is very striking and dramatic! Was it fun filming it? Who came up with the storyline?

First of all; thank you so much! I’m really sensitive about it because, for me, it’s not just about the song but the whole project itself...

It took three days to shoot the video and it has been a very fun and constructive experience. The video was shot in two of the most beautiful places in Apulia (Cisternino and the Salento coast) - which was elected most beautiful region in the world by National Geographic. I wrote the storyline myself together with the song - because it’s a visual project and, in the video for the second single, the Frozen Beauty story will continue.

In the video, I tell the story of two lovers – metaphorically, ‘The Ocean and his Shore’ - who run to each other to meet. (‘His’ instead of ‘its’ to represent the personification.). Their race represents the path of our lives hindered by demons. Each of these fantastic creatures embodies future fears, failures; different directions, changes (the growing waves) and even death itself.

It is not our daily race that scares us but what will happen next: “This is a new day how does it feel?” “Our love is immortal/we are frozen beauty in this world” is the hymn that the Ocean is singing to his Lover - referring to a love which is locked-frozen in time and consequently immortal. When they finally meet, filled with hope pictured by the lantern’s light; the demons are half-way-ready to take their lives. The multiple finales refer to the possibility of choosing different directions in life: will they meet or will they let their choices possess them?

It’s up to you to decide (until the next video will be released).

The E.P., The Son of the Black Ocean, is out later this year. What kind of themes do you explore on that E.P.?

It’s an E.P. containing five songs and they are all connected by the same themes: the connection between the self and the universe; the importance of water.

Each one of us, from birth, establishes a physical and spiritual connection with all that surrounds him - and the answers can be found only in this personal connection with the great black ocean: the universe. However; the universe is too complex and mysterious to be understood.

(The flow of things is hidden from our gaze).

Water, on the other hand, shows us that nothing is stable: that time and the evolution of events always win; so we must prepare ourselves for an endless transformation. It is exactly here that ‘The Son of the Black Ocean’ is born. He surrenders himself, passively, in the black water-uterus. The currents will carry him away deciding his path. Dipped in water for a long time, he ends up losing weight; leaving a part of his energy to the ocean. He was trying to learn how to perceive energy (for how) it flows directly into the universe; aspiring to reach a level of pure energy in an empty place without the influences of the world - a personal spot where he was able to focus only on sensitivity and reality.

Cultivating this sensibility was his mission.

Will there be any more singles between now and the E.P.’s release? What do you have planned?

The answer is ‘yes’ - but I don’t want to anticipate anything honestly. It’s a story and it needs to be followed to be understood...

Your work involves building layer after layer with instruments – before you remove everything to the bone. What was the reason behind taking this approach?

To start; I’d like to point out that I’m working a lot on sounds and (on how) to recreate dark atmosphere. I was told that the intro is too long and that the vibe is a little too slow and atmospheric - or that the voice processing detracts from the richness of the voice. The thing is that my goal was to recreate a minimal and ethereal dimension to focus on simple feelings - and give to the listener the chance to paint his own image. The main melody is not more important than the background voices.

Each sound has its function; just like the British artist James Blake did with Dubstep: with stronger sounds, major changes and an ABAB scheme For me; it would have been just another Electropop song (and this is not the case).

You hail from Italy – but you are based in London now. What was the reason for coming here? What are the main differences between Italy and London?

To be honest, I've always preferred to write songs in English - since all the music I listen to comes from the U.K. or U.S.A. I moved here to follow all the incredible artists that are realising new music in the U.K. - and creating new trends and to study music production. At this very moment, I’m based in Belfast.

I’ll be back in the U.K. very soon.

I hear shades of James Blake in your work. Which other modern artists are you inspired by? What music did you listen to growing up?

I’m so honoured hearing that. Really!

James Blake and Björk are my biggest inspiration but Bon Iver, Sigur Rós; Radiohead and FKA twigs are also among my favourite artists.

IN THIS PHOTO: River Tiber

Who are the new artists you recommend we check out?

In the last two years; I discovered River Tiber, SOHN; Sampha, Moses Sumney and Active Child - which I really recommend checking out.

IN THIS PHOTO: Sampha

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

I like to create lists of my favourite albums every once in a while…and I know exactly which are the most important ones for me:

The Colour in Anything - James Blake; Homogenic – Bjork; 22, A Million - Bon Iver

I don’t like to explain why; because these kinds of things are personal - but I can say that each song in The Colour in Anything is perfect. Everything is connected and it’s not just Electronic music - but a reinvention of the Soul genre itself. Moreover; its poetic writing leaves me confused and fascinated every time I listen to it.

As for Homogenic; this album is a masterpiece and it’s the perfect combination of Classic and Electronic music. The main theme is the wish to rush headlong into a life lived to the fullest; an unbridled yearning for the sublime (“State of emergency/is where I want to be” she sings on Joga).

22, A Million, instead, reflects, exactly, the alienation of our time - and it is a great reinterpretation of Folk music in this contemporary era.

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

My only advice is: don’t follow any trend or record-label-rules. Music is magic and you should make it your own.

What tour dates do you have coming up? Where can we catch you play?

For the moment; only the first single has been released - and I’m not playing anywhere until the whole project is born.

Do you have any ambitions of resolutions for this year at all?

My goal for this year is to introduce The Son of the Black Ocean and the story behind it to as many people as possible…especially here in the U.K. My ambition, instead, is to have one song of mine placed in a movie or a T.V. show.

That would be a dream.

Will you get any downtime at all? How do you spend your time away from music?

I’m not even thinking about this…

Now that Frozen Beauty is out; I’m only thinking of doing my best to create something beautiful.  When I’m not producing any music, it’s because I’m travelling, studying or working to finance my music projects.

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 Need a Forest Fire - James Blake (ft. Bon Iver)

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Follow Ferweher

Official:

https://www.fernwehermusic.com/

Facebook:

https://www.facebook.com/fernwehermusic/

Twitter:

https://twitter.com/IAMfernweher

Spotify:

https://open.spotify.com/album/13cOZtpZs3cxwk0CJmPsKY

FEATURE: The January Playlist: Vol.3: Supplies That ‘Fix Me’ (Listen to Your Friends)

FEATURE:

 

The January Playlist

 IN THIS PHOTO: Kylie Minogue/ALL PHOTOS (unless credited otherwise): Getty Images

Vol.3: Supplies That ‘Fix Me’ (Listen to Your Friends)

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THERE are dips and highs…

IN THIS PHOTO: Tune-Yards/PHOTO CREDIT: Eliot Lee Hazel

when it comes to the world of new music. This week is pretty big - but does not quite have the same muscle as when David Byrne and Jack White unleashed new sounds! Justin Timberlake, Jorja Smith and Beck are on the block; Declan McKenna, U2 and Tracey Thorn have new songs/videos out – as do Editors and EELS.

I have collated the best new releases from the week – included are cuts from Beth Ditto, Bleachers; Kylie Minogue, Tune-Yards and Young Fathers.

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Justin Timberlake - Supplies 

Jorja Smith (ft. Stormzy) - Let Me Down

PHOTO CREDIT: V Magazine

Bleachers - Alfie's Song (Not So Typical Love Song)

Beck – Fix Me

Declan McKenna – Listen to Your Friends

Gengahr - Before Sunrise

Tinashe (ft. Offset) - No Drama

Tom Grennan – Sober

The Chainsmokers – Sick Boy

George Ezra – Paradise

U2 – Get Out of Your Own Way

PHOTO CREDIT: Rahi Rezvani

Editors – Magazine

Moon Taxi – Nothing Can Keep Us Apart

EELS – The Deconstruction

Kylie Minogue – Dancing

Rae Morris – Lower the Tone

Tracey Thorn – Queen

PHOTO CREDIT: Bella Howard

Burna Boy (ft. Lily Allen) – Heaven’s Gate

The Wombats – Cheetah Tongue

Betty Who – Ignore Me

Moose Blood – It’s Too Much

Beth Ditto – I’m Alive

Young Fathers – In My View

Fall Out Boy – Church

Troye Sivan – The Good Side

First Aid Kit – Postcard

The Go! Team – Hey!

Tune-Yards – Coast to Coast

The Vaccines – I Can’t Quit

Hinds - New For You

BØRNS - Dear BØRNS

SUUNS - Watch You, Watch Me

TRACK REVIEW: Ferris & Sylvester - Better in Yellow

TRACK REVIEW:

 

Ferris & Sylvester

Better in Yellow

9.4/10

 Better in Yellow is available via:

https://www.youtube.com/watch?v=mbCW4e4T4FI

GENRES:

Folk; Singer-Songwriter; Blues

ORIGIN:

London, U.K.

RELEASE DATE:

17th November, 2017

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I shall not obsess too much about…

PHOTO CREDIT: Daniel A Harris Photography

the fact Ferris & Sylvester are a duo. I have spoken a lot about two-piece acts – so I shall not go back to that well too much. What I do want to look at is the bond between Issy Ferris and Archie Sylvester. I will also talk about sounds that reflect New York’s Greenwich Village/the 1960s; pairing two distinct personalities into a cohesive whole; how a consistent act can ensure they are kept in the mind; why the likes of Ferris & Sylvester should feature on the big ‘ones to watch’ lists; how the London-based duo will progress from here – and how their visual aspects aid and heighten their music. You only need listen to the music of Ferris & Sylvester to know they have a deep friendship and understanding. I am not going to speculate whether the connection runs into a romantic territory – I am not a tabloid journalist – but you can see a real affection and love between them. You know they are committed to one another – but that respect and bond are all to do with making the music as good as it can be. Every new act I look at; I explore the sound on offer and how it came to be. The duo met as solo musicians and, over time, established this ingrained partnership. Since early-2016; the stunning duo has made big steps and changed their sound. They have a solid foundation but it has taken in new shades and influences over time. Every song of theirs I hear; I can hear that kinetic energy and the close ties Ferris & Sylvester share. They are always on the same page and have a democratic working process. If it was a duo where a passion/sexual relationship was involved; perhaps there would be fewer compromises or fewer risks would be taken. The fact the London duo produce music that flies and flows leads me to believe they place the songs themselves above everything else. Sure, they are close-knit and together but the deepest connection they have is the need to get their music out to the people.

What amazes me is how complicated and simple the relationship, at all once. The duo produces music that sounds easy and accessible but, when you listen hard, you can hear the work and effort that goes into it. There are layers and different angles; it is a heady brew that throws so many colours into the pot. It is an intoxicating and arresting spread that, I imagine, is the result of a lot of conversation and experimentation. I might be wrong but I feel there are a lot of extensive rehearsal sessions and that pursuit of excellence. That is the hard part of the bond: the easy part is how the music flows and sounds effortless. You know the duo has that trust and comfort at the heart of their bond. The music runs free and both players have the chance to express their identities and truths. Both, as I shall explain, come from different musical backgrounds; they are motivated by separate genres so, when coming together, lesser duos might lazily and sloppily combine those sounds. Ferris & Sylvester have those discussions and ensure there is an even balance. When in the writing/recording stage; the two converse and make sure there is no imbalance. There is equal weight and a sense of fairness so both performers are happy and able to express themselves. When you hear the songs come out of the speakers; you get the view there are never any cross words or frustrated debates – although they may flare from time to time – and nothing gets in the way of the pursuit of excellence. I hear a lot of duos and the two are either in a relationship or friends. The former, usually, means a lot of familiar, samey music – they do not make huge sonic leaps early – whereas the friends are more wide-ranging but less intense. Ferris & Sylvester manage to achieve both sides: they can produce heartfelt and deep music but it has a sense of emancipation and playfulness. It is a hard balance to get right – one the duo manage to nail and own.

I want to talk about the Greenwich Village-inspired sound a number of artists are utilising today. There are a few acts, like First Aid Kit, who put together some of Bob Dylan’s Folk sound and infuse their own beauty and direction into the music. There are few who overtly employ the sort of sounds one would experience in New York’s Greenwich Village in the 1960s. There are Blues and Folk licks; a passionate wave and exceptional guitar-work. The songs have melody and bright choruses but there are intelligent verses and richness. It is interesting to hear a contemporary British twosome tackle a distinctly American sound. They deftly take from the classic-era of New York Folk and bring in the colour and rare energy you get from modern-day London. One hears their music and their hearts and bodies stay in the U.K. – the effervescent and colourful buzzes, rushes and shades. New York’s Greenwich Village, to me, is symbolised by something more passionate, intellectual and pastoral. You get the history and heady sensation of older-days Folk; the modernity and urgency of the current times. It is hard listening to modern music and casting your mind back to the past: summoning scenes and visions that are eye-catching, filmic and romantic. You get that with Ferris & Sylvester: they have that affection for classic sounds and a time that kick-started a revolution. It is not only, with them, about 1960s Folk and revisiting that era. The guys, on Better in Yellow, show they are willing to keep that classical sound but put in a lot of modern colours and ideas. It is hard to achieve that balance of old-and-new but, throughout their career, I have seen them evolve and blossom. I will move onto other subjects but, before then, a look at why the New York/Greenwich Village dynamic is one more acts should be exploring. I have been listening back to bands/artists who are either inspired by that time or were part of it in the first place. Dylan is the one that springs to mind; Jeff Buckley, in the 1990s, updated Dylan’s sounds and, in New York’s East Village, seduced crowds with his stunning covers and modern Folk/Rock brew.

Movies have looked at musicians like Judy Collins, Peter Yarrow and Tom Paxton: idols who ruled Greenwich Village and changed music forever. They were seen as ‘protest’ artists but that is a lazy label for acts who were doing something meaningful and showing a conscience. The need to transcend celebrity status and project ego was a result of the shared community and respect that scene had – artists who were affectionately driven to do something new and brave. The gigs were human and open; they were about bringing people together and articulating something deep within everyone who attended. We do not really have a scene like that anymore: many argue we should do something to revisit a time when there was a bond between musician and a sense of rebellion. We have artists who protest now - but there isn’t really a solid and distinct movement like the one in the 1960s. Ferris & Sylvester are not politicised, as such, but they are inspired by the sort of love and harmony that was being created back then, there. They have the desire to produce music that casts one’s mind to the N.Y.C. harmony; the spirited gigs and the sort of possibility that hung in the air. I want to see more modern acts assume this mantle. Times are tough so we need attempt to forge a movement that can address what is happening around us in a very honest and productive way. I feel, through time, artists like Ferris & Sylvester will be able to do that. They clearly know their music history and why movements like that – the 1960s Greenwich Village scene – made such a difference.  

I have mentioned how Ferris and Sylvester (very formal with my naming!) have distinct personalities. Issy has softer tones and takes more from Folk. She puts me in mind of modern artists like Laura Marling and legends like Joan Baez. There are bits of Joni Mitchell and Carole King – some of the greatest artists who have ever walked into music. Archie’s Blues background provides a more spirited and electric edge. The mix of acoustic and electric was daring when Bob Dylan took to the stage in the 1960s and faced a divisive and unsure crowd. It is not quite that risky now but, in terms of quality, there are few acts around who can mix soft and energised and keep the music fresh, developing and original. I am interested looking out at the world of music and how it is developing. We look back as much as we do forward: artists are splicing together embers of past decades and allowing their own music to parabond with their influences. That is how much has been since the start but, the more artists that come into the community, the harder it can be deciphering which are worth sticking with – and those who are merely promising. Ferris & Sylvester get into my ears because, when listening to their music, I am transported back to the 1960s and '70s. I am planted in the modern time but get all those classic sounds racing into the brain. There are a lot of duos were the two players are very similar and samey. I hate to go back to Royal Blood but I think, when considering how little they evolved between their two albums, it is their like-mindedness that is responsible. They are unwilling to break from the meaty riffs and stadium-sized sounds that put them into the public forum. Others, away from the mainstream, are similarly stilted and limited. The best duos – and bands – are those who can bind two distinct personalities and channel that into a cohesive unit. I have mentioned, musically, how Ferris & Sylvester’s members differ. In terms of personalities and ambitions; they are on the same page.

I am interesting thinking about their childhoods and which artists were played on their parents’ stereos. I can imagine Ferris was subjected to a mixture of 1960s Folk and some of the idols of the 1970s. There would have the classic, everyone-heard-them artists – The Beatles and The Rolling Stones – but the progression of Folk (from Bob Dylan and James Taylor through to the examples that came through in the late-1970s) and changing face of Pop would have inspired the young hopeful. She would have felt a connection with those artists and felt a simpatico. We often fall for certain artists because they speak for us; their mind and hearts align with ours and there is something about their sounds that runs deeper than any personal/human connections. Sylvester would have engaged with the more vibrant and raw artists of the Blues. Maybe the 1940s examples – more acoustic in nature – would have played a minor role. I feel artists like Eric Clapton and people like Jack White would have made their mark. The way the duo come together and unites their influences is the stunning part. You would feel distinct players would struggle to find an understanding and sense of cohesiveness. Because of their sense of respect and affection; you get music that seamlessly tangles and conspires. I am fascinated seeing where they go from here: Better in Yellow is the sound of now and one of the strongest songs the two have ever created. Since their early work, The Yellow Line EP, they have made big steps and assumed greater confidence. They were working with producer Youth in those days – a pretty big name to have on your side! – and were recording in Spain. Now, their Made in Streatham E.P., shows a geographical and sonic change. Its title is very much of London; the sounds and more developed and eclectic – the result of increased performances and greater creative imagination.

That E.P. departs from the glamour and sunshine of Spain. It was laid down in their South London flat and shows new influences and direction. They are taking a lot from the people and city around them.  Every change and rumble gets into their head and inspires their drive. I can imagine the two – whether connecting as lovers or friends – listening to a lot of old music and discussing their tastes. They would put that together with current sounds but you get a sense the pair have that deep love of what came before. I can hear that come through in the E.P. and, as singles get closer together – they are recording more and putting out material much more readily – it seems they are becoming more determined. I have seen a lot of ‘ones to watch’ polls come out the last few weeks. There are predictions arriving that tell us what we should be listening to this year. NME is the latest to release their one-hundred chosen acts for the year. Their cover features the likes of Shame, Banks and Pale Waves. There are a lot of cool and vibrant acts out there but one feels there should be more artists like Ferris & Sylvester on the list. Maybe their rundown is based more on fashion and chart potential – although each act mentioned is very good and has their own sound – but I feel there is too much emphasis on profitability and commercialism. I am excited by the likes of Shame and feel they are one of the few acts – like Pale Waves – who cab genuinely put something unique into music. I hope they do not chase the Spotify dollar: artists often obsessing more over streams and figures than making inspiring and progressive music. I see something in Ferris & Sylvester that leads me to believe they can be staples years from now. I feel the London-based duo will make big steps and, in years to come, become headline favourites.

They have already achieved much but, as 2018 unfolds, that will only get better and strengthen. Their music is getting into some important ears and, with each single; they are bringing something new to the plate. I was going to review London Blues but, seeing as I asked them a few weeks back, they have a newer single out. There are differences between the songs but both have a real sense of potential and unity. They can bring festival crowds together and inspire new musicians. Each track (Better in Yellow) has its own direction and shows how far the songwriters have come since their debut. The Made in Streatham E.P., to me, will be about the realities of South London and hopeful musicians making it in the modern world. One of the reasons I feel the duo will be among the best artists to watch is the fact they take care of the visuals. Their music videos are fresh and imaginative; they are scenic and compelling. The same can be said of their photos: they cast the duo in different settings and are always colourful, bright and alluring. There are a few dodgy shots – a few blurry ones that have, somehow, slipped through the net – but most of them are clear and interesting. I feel a lot of the artists being tipped for greatness lack the understanding and appreciation of visuals. If they are being elevated and primed for greatness; one feels they need to consider the necessity of visibility and imagery. That might sound shallow but journalists and fans will connect deeper with a musician that is willing to show their face. Ferris & Sylvester are out in the open and give information away; they put photos out and want their followers to see what is going on. This year is a big and important one for the duo. They have some great gigs coming out and, with that E.P. dusted, they will look to embrace the summer and attack the opportunities up for grabs. I know they will think about more material but, right now, it is about getting their names heard and discovering channels they can exploit. I know they will be championed and heard but, with so much competition out there, it can be hard to stand out and effect. I know their hard work and creative ethics means, before long, the tastemakers and stations will connect and (lovingly) play their music.

PHOTO CREDIT: Daniel Alexander Harris

The teed-up percussive sticks lead to a countdown – or count-up, more like – that leads to leads to some slightly off-kilter vocals. They are wordless but have a distinct ‘sound’ that means they are urgent and a little off-tune; infused with plenty of emotion and curiosity. The duo comes together to tell a story of someone who looks better with their hair down. The focus – seemingly female, you’d imagine – does not suit that bowed-down, shy look being projected. They are wearing dark and boring clothes and hiding their face away. Our heroes know (they) will look better in yellow: something more engaging, alive and confident. It is the story of someone who, for some reason, has shied away from people and had their confidence knocked. Although you get the sense an individual is being addressed: it is a more general song that compels those who are down-trodden to open their hearts and let the light back in. If greens and blues and calming and nurturing: yellows and more expressive, energised and frenetic. I get the feeling both of our performers have been in the same position. They are not willing to share their pains that personally but, in the form of a central heroine; they seem to vocalise some of their own pains and insecurities. The composition retains their blend of Folk and Blues; it has a peppiness and spirit; it is lifting and melodic. The vocal blends – Ferris had a deeper and sensual voice; Sylvester slightly lighter and softer – give the song so many different strands and complexities. You get loads of emotions and sensations when hearing the duo blended in harmony. The ill-fated and suffocated girl does not suit black and that downturned smile has been there for too long. The London duo is choosing a new wardrobe and suggesting a fresh emotional dynamic.

PHOTO CREDIT: Sam Rookes

The girl has thrown her clothes away and, rather than it being a teenage tantrum; this is a crisis of confidence and identity. You get a real blast of festivity and energy when the chorus comes in. There are horn blasts and strummed guitar; percussive rhythms and a real groove. The vocals are light and strident; it is a catchy and incredible sound that gets into the head and compels the mind to wander and imagine. That is what all great songs should do: put the listener somewhere else and get them to envisage their own story. I was thinking about the reason why the girl has been feeling down and hiding away. You sense someone who used to have such a flair and hope - but maybe love and a bad time has dented her sense of worth. There are Blues riffs and stunning solos as the duo urge the girl to keep the yellow on – not sure why she dispensed with that colour and followed a darker path. Maybe she feels a lack of self-assurance and is not sure whether she can come back. I said the song has a more general tone: one can implant themselves in the scene and extrapolate something relevant and meaningful. I was caught out by the changing music scene and fabric. We go from horns and Folk to something Blues and sexy. As the video’s heroine – responsible for those opening vocal notes – has yellow paint poured on her head (managing to smile, despite the fact is must have been uncomfortable!); there is that transformation and realisation. She is awakened and knows things have to change. The chorus keeps coming back as the duo are keen to enforce that message and let the truth be known. Nobody will come away from the song without some form of reaction. It is a track that puts a smile on the face and shows what a solid and engaging presence they are. Ferris & Sylvester have come a long way – and will continue to do so – and, as this year goes on, have the chance to play Better in Yellow to a lot of people. It is another terrific song from a duo who are among the very best in the country right now.

Before February; the guys play OMERA (30th January) and will perform at Green Note on 15th (February); hopping to The Magic Garden on 25th. Those are some important London gigs – and it sees them perform alongside some great acts. They sold out Battersea Arts Centre and, by all means, had one of the best gigs of their lives. It is clear there are eyes and hearts being thrown in the direction of Ferris & Sylvester. The likes of The Guardian, Rolling Stone and MOJO have paid tribute to the band – declaring them geniuses and artists who deserve mainstream success. They headline Camden’s Green Note and, from there, will have their sights set on big success. There is momentum behind them and, with every song, they are getting bigger and more noticeable. Better in Yellow is another stunning song from the duo and an indication of where they are headed. I imagine there are going to be a lot of big gigs and good times for them throughout 2018. I wonder whether an L.P. is the next step from them. That might be a good way of ensuring they pick up more reviews – the media is more interested in albums rather than E.P.s – and getting their music featured on radio. They have a couple of E.P.s under their belt and will be thinking about the next phase of their careers. I cannot wait to see where they go because, with every move, they are getting more assured and confident. This year has just begun but there are those racing out to provide their hot-picks and recommendations. There are familiar names coming through – Sigrid, Tom Grennan and Billie Eilish among them – but there are those, like Ferris & Sylvester, that deserve to be among them. They provide a more refreshing take on the sort of acts being proclaimed right now. The biggest music magazines and newspapers can see the potential: let’s hope everyone turns onto their music before long! Better in Yellow is a bright, stylish and incredible song from a duo that is very much…

IN fashion right now.

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Follow Ferris & Sylvester

Official:

https://www.ferrisandsylvester.co.uk/

Facebook:

https://www.facebook.com/FerrisandSylvester/

Instagram:

https://www.instagram.com/ferrisandsylvestermusic/

Twitter:

https://twitter.com/FerrisSylvester

SoundCloud:

https://soundcloud.com/user-362621295

YouTube:

https://www.youtube.com/channel/UCnwh5bFthR6r-X0jQTZuFcA

Spotify:

https://open.spotify.com/artist/1LnhhjMNydIGawXsnfNhCf

INTERVIEW: Albert Man

INTERVIEW:

 Albert Man

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A fresh year wouldn’t mean much if I failed to catch up with…

Albert Man and ask him about his latest musical happenings! I speak with the songwriter about his single, Say Something Loving, and whether this means more music is afoot. He discusses his 2017 and what it was like working at Sticky Studios; what we can expect from the Say Something Loving launch-night; some new artists he fancies – and records/artists who have inspired him.

I ask about whether he has advice for new artists and, looking at his own music, how he has improved; what he thinks of the modern mainstream – which artists were coming to his ears at a young age…

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

I’m a Northern singer-songwriter living in London - playing and writing Pop songs on keys; performing both solo and with a band in London (and further afield). I created a new music festival called Music Makers Festival (www.musicmakersfestival.com) last year with my manager and wife (Manoja) to showcase musicians we wanted to help promote.

Say Something Loving is your upcoming single (out on 2nd February). Its title puts me in mind of a song from The xx. I am guessing the background to this song is different! What is the story behind your track?

I came up with the idea for the song or the first few lyrics while I was travelling on the Tube. The idea came from just seeing the way some couples spoke to each other. I think everyone needs something loving said to them every so often. It’s about not forgetting to do just that no matter how long you’ve been in your relationship.

I think, sometimes, people forget that especially in the hustle and bustle of their everyday lives and, hopefully, listening to this song will encourage people to be nicer to the ones they love (smiles).

What was it like working with Adam Coltman at Sticky Studios?

I really enjoyed working with Adam at Sticky Studios. We got on well and had similar personalities; not to mention we look pretty similar too (smiles) A great-sounding track just came together really quickly. Adam was just on it; he knew exactly what I was after and we worked really well together in the studio. Sticky Studios is very well-known for some incredible artists that have recorded there such as Ed Sheeran, Shawn Mendes; One Direction, Christina Perri; Paloma Faith and Wiley - and it’s where Ed Sheeran recorded all of his early work.

The official launch, on 7th February, takes place at 1901 Arts Club. Is that somewhere you have played before? How are you feeling about that date?

I have never played there before - but Manoja always finds special places for the events we run together. We wanted to find something intimate for this single launch and, when we saw this really beautiful old Victorian house, we knew it was the right venue for this event. There’s a grand piano, too, which is always a special treat for me (smiles).

I can’t wait to play it on the night - and I think all my wonderful artists supporting me on the night will be playing a few songs on it too. The venue is a short walk from Waterloo Station – so it’s easy to get to. I think everyone is going to love the venue!

You can still get tickets for the event at www.albertman.com/tickets.

What can we expect if we come along? Can we expect some exciting support acts?

Definitely, I have to mention the grand-piano again (smiles) which you don’t get at most gigs (and I’ll be playing with a full band). I also have two brilliant support acts: Hattie Briggs (Fender Undiscovered Artist 2017) and Saarloos from Dublin; a new collaboration between Brian McGovern and Craig Gallagher (both of whom have supported Gavin James on tour). I am excited about this event - as I think it’ll be a special one with this combination of the beautiful venue and amazing musicians joining me on the night.

Will there be more material arriving? Is there anything in the pipeline?

Glad you asked! I have loads of new stuff...

It’s just a case of getting the funds and time to get back in the studio. Also, I like working with different people and in different studios; so still looking for the next producer and studio to work with.

How would you say you have grown as a musician in the past year? Do you feel like 2017 was an important year for you?

2017 was a very important year for me. Manoja and I try to keep goals every year - so we have a good idea on what we are trying to achieve. I released an E.P. and live-album. My E.P. launch-night at St. Pancras Old Church was sold out. I played twelve festivals over the summer including The Great Escape, Camden Rocks; Liverpool Sound City, Reverb Festival; Tramlines and Standon Calling. Also; I organised my own music festival with Manoja called Music Makers Festival (www.musicmakersfestival.com).

I think, as a musician and songwriter, I keep evolving and I think I am a better songwriter now than when I started. I learn a lot from my previous songs - and the new ones feel a bit more grown-up than some of the earlier ones. I wrote loads of new songs at the end of 2017. I’m so excited to get them recorded.

Tell me about the musicians and sounds that you were inspired by as a youngster. Which artists compelled you as a child?

I always loved David Bowie, Elvis Presley and The Doors. I also was a big fan of Talking Heads, Joy Division; The Staple Singers and Huey Lewis.

I think they all influenced me a lot as I was growing up.

What do you think of the modern scene? Do you think the mainstream is as strong as in past years?

I think, maybe, we have too much choice and music is too accessible making for more-fickle listeners. It’s great to see some really talented artist like Rag'n'Bone Man in the mainstream, though - so there’s always brilliant new artists out there.

IN THIS PHOTO: Million Miles

Who are the new artists you recommend we check out?

Million Miles: https://www.facebook.com/milmilesmusic

Howard Rose: https://www.facebook.com/howardrosemusic

Billy Lockett: https://www.facebook.com/billylockettmusic

IN THIS PHOTO: Billy Lockett

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

Nevermind by Nirvana

Because Smells Like Teen Spirit was a song that really struck a chord with me when I was a kid.

David Bowie’s Hunky Dory

For being such a mind-blowingly brilliant album with lots of piano in it.

Pulp’s Different Class

Because Jarvis Cocker’s a lyrical genius.

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

Don’t rely on anyone else to do anything for you: learn how to record your own demos and make your own website, videos and posters etc. It is very much D.I.Y. when you’re an independent musician - and it is fun learning all these new skills to represent your work the best you can!

What other tour dates do you have coming up? Where can we see you play later in the year?

I’ll be booking lots of shows after my launch on 7th Feb to help promote the single - still waiting for confirmation on some of these. The next gig after the launch is a house gig at The Drawingroom (in Chesham) on 10th March.

You can keep track of my upcoming gigs at www.facebook.com/albertmanmusic/events or www.albertman.com/gigs.

Do you have any ambitions of resolutions for this year at all?

I would like to get one of my tracks played on a T.V. show or movie this year and organise a tour outside the U.K.

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).

Let’s have a bit of Talking Heads and Burning Down the House (smiles).

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 Follow Albert Man

Official:

http://www.albertman.com/

Facebook:

https://www.facebook.com/albertmanmusic

Instagram:

https://www.instagram.com/albertmanmusic/

SoundCloud:

https://soundcloud.com/albertmanmusic

Twitter:

https://twitter.com/albertmanmusic

Spotify:

https://open.spotify.com/artist/3EmYYAAyNTytyQvyhkE75o

YouTube:

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

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 PHOTO CREDITS:

Top photos of Albert Man were taken by Arnab Ghosal (http://www.arnabkghosal.com/)

The photo of Albert in a red T-shirt was taken by Nick Kent (http://www.nickkentphotography.com/)

The final. black-and-white photo is courtesy of Manoja Ullmann

INTERVIEW: Will Varley

INTERVIEW:

PHOTO CREDIT: Brett Walker 

Will Varley

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TODAY is a day, in terms of interviews, defined by some…

PHOTO CREDIT: Brett Walker 

‘older’ submissions. My second interviewee of the day completed his answers when his last single, All Those Stars, was released/being promoted. Will Varley has a new song out: Seven Days shows he is on a roll and will provide a stunning album. I talk to him about that album (Spirit of Minnie) and the inspiration behind All Those Stars. Varley discusses his musical background and artists he is inspired by; what he has planned for this year – and the advice he would offer to new artists coming through.

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

Pretty good. I’ve mainly been learning to drive. Got my test tomorrow.

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

My name is Will Varley and I write stupid little songs and watch daytime T.V.

All Those Stars is out. Can you reveal the inspiration behind that track?

You know when you hear, on the news, that they've found a new planet and they say it's sort of like Earth…and you get a bit excited? Then, they tell you it's forty-three-million light-years away and your heart sinks. That song is about touring, working; trying to find your way and thinking, in the great scheme of the universe, that those stars aren't really that far away at all.

Spirit of Minnie is your new album. What is the story behind the title? What sort of themes and stories inspired the record?

I met a taxi driver in Minneapolis one night in winter - it was the coldest place I'd ever been. The air felt like ice when you took your hands out of your pockets. The album is named after a song on the record - and the song is the story that taxi driver told me.

The L.P. is out on 9th February. Will there be any more singles/videos realised ahead of the release?

Yes. There will be another couple of tracks released before then.

The album is produced alongside Cameron McVey. What was it like working with someone who has been in the same studio as Massive Attack and Neneh Cherry? How important was his input regarding the album’s sounds and sensation?

It was very cool.

He's got an amazing way of working - which was fascinating to be a part of. He's been crucial to the sound of the new album and I'd love to work with him again.

On 9th February, the day the album is released, you play Shepherd’s Bush Empire. How excited are you about that?

It's the biggest show I've ever played as a headline.

For me, that show is a huge marker to work towards: a moment to take stock, see how far things have come and, possibly, how far things can go. I used to walk past the Empire on my way to open mic nights in Shepherds Bush back in the old days.

It's genuinely unfathomable to me that I'm headlining there in a couple of months.

PHOTO CREDIT: Brett Walker 

2016’s Kingsdown Sundown gained acclaim and applause. How do you think Spirit of Minnie differs? Are you still exploring new territory and sounds five albums in?

I hope so. I think it's important to keep moving. If you stagnate too much you start to chase your own tail - and it felt really important to me to have a vague sense of fear going into this new album.

How did you get into music? Was it something you were fascinated by at a young age?

Everyone is fascinated with music...

Some good friends of mine had a baby recently and it's incredible how the baby responds to music and not much else. I suppose though, in terms of my own music, it was my dad playing records in the car when we were kids that introduced me to songwriting.

Which musicians struck a particular chord with you?

Neil Young, Bob Dylan; John Otway, Tracy Chapman and Billy Bragg...I could go on! These were the records my dad was playing in the car - and these were the records that got me hooked on writing songs.

IN THIS PHOTO: Seán McGowan

Who are the new artists you recommend we check out?

I'd recommend checking out both the supports on the tour: Seán McGowan and Ida Mae. They're both excellent.

Other than that: Cocos Lovers, Low Chimes; Xylaroo, Gecko and Molly's Lips…

(There's too many to list...).

IN THIS PHOTO: Xylaroo

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

Blood on the Tracks by Bob Dylan, Elephant Lands by Cocos Lovers and Nebraska by Bruce Springsteen. (That would probably be a different list if you ask again tomorrow). I couldn't tell you why. We'd be here for hours.

The question 'why' and music are not the best of friends.

Aside from February’s gig at Shepherd’s Bush Empire; can we see you perform anywhere soon? 

Yes! I'm touring in the U.K., U.S.A. and Europe up until spring, and then, I'll hopefully be at lots of festivals next year, too.

All dates are listed at willvarley.com.

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

Get a good guitar-case. It'll keep your clothes dry and, if worst comes to the worst, it will double-up as a sleeping bag...

Also; don't worry if the darkness comes: it's exactly what you were looking for...

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 Final Tug in Your Unravelling by The Hellfire Orchestra

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INTERVIEW: Corinna Jane

INTERVIEW:

 Corinna Jane

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SHE has been a little under the weather this month…

so this interview, let’s hope, has cheered her right up! I have been speaking with the marvellous Corinna Jane about her past music and whether new material is due. She tells me about her highlight from 2017; how she saw in the New Year – and which new artist we should keep an eye out for.

I ask about her background – she was born in Germany and spent time in France – and whether she had an eclectic musical upbringing. Corinna Jane speaks about her favourite albums and what she has planned; whether we can see her tour soon – and why a gig at St. Pancras Old Church ranks as a career highlight.

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Hi, Corinna Jane. How are you? How has your week been?

I had lots of good intentions to get started for the New Year – but, alas, the January bugs have got me! Sadly, I am on my second bug of the year - but the downtime has been good to plot the way for the coming year...

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

My name is Corinna Jane and I'm a quirky, piano-driven; Pop-Rock singer-songwriter who tries to unravel life's complicated emotions in a, hopefully, entertaining way.

Last year was busy and eventful one for you. How does it feel looking back at the past few months? What are the fondest memories?

Last year definitely featured some wonderful milestones...

The most notable one for me was appearing on London Live TV's prime-time evening show (being interviewed live on television). It was a dream come true: I had visualised a moment like that for a while and it was surreal to get to do it.

Hopefully, the first of a few!

I guess performing at St. Pancras Old Church must rank high?! What was that show like?

I have done hundreds of gigs but, by far, that’s one of my favourite venues I've played. You can't beat the feeling of playing in a historical, spiritual building that is hundreds of years old surrounded by beautiful stained-glass windows. The atmosphere was unlike any other gig I've played; there was a lot of warmth and the feeling of people coming together to really get lost in music...

‘Going to church’ took on a new meaning!

Can we expect any new material in the coming weeks? Will there be an E.P./single coming shortly?

I have unreleased material that I intend to release this year; however, I have also been working on an exciting Cinematic-Pop collaboration with someone - which we are just putting the finishing touches to and will be releasing shortly. You'll be hearing from ‘Animatiq’ very soon. Think of it as a modern, dark; emotional (slightly Bond-esque) kind of cinematic experience!

You were born in Germany and spent time in France – most of your life has been in England. Has that moving about been quite uprooting or has it been important and inspiring spending time in each country?

That is a very good question - and probably not one I've given a lot of thought to (which is unlike me as I am a master over-thinker)! I think my pride in having spent my childhood in Germany - and having a French mother and British father - has completely shaped my identity. I don't ever feel purely from one country or nation. I think connecting with different nationalities and speaking three languages has meant that I am able to easily relate to different people and way of thinking. I'm not saying I'm a chameleon but I think that my upbringing (and my creativity) means that I can get along with a range of people from all walks of life.

I think having all these influences of different European cultures has made me feel quite free-spirited in the sense that I don't like to follow crowds: I dance to my own beat.

How important are the French and German languages/dialects when it comes to music? Is language an important part of what you do?

Many people have asked me over the years - why I don't sing a song in French or German?! It's not that I'm not open to doing so: it's mainly because my thinking-language has been in English, which is where I can draw my poetic thoughts from. The trouble is that Pop music is so internationalised nowadays, which means that even in Germany (less so in France) English is often used as the language in lyrics.

Having said that; I recently wrote a song which, musically, definitely felt more French and, therefore, I will see if I can attempt to write a French lyric version - it's actually more fascinating to me how a melody can feel ‘French’ before you have even put pen to paper!

How early did music come into your life? Were stations like MTV quite instrumental?

Music came into my life right from the beginning…

My earliest memory of playing music is when I was a toddler figuring out how to play Richard Marx's Right Here Waiting on piano - which my father would always play. It was his playing, and introducing me to MTV, which initiated my life-long obsession with Pop music.

Who were the artists you looked up to when you were growing up?

I remember being very little and seeing this really cool woman on MTV playing the guitar; looking sassy and playing this song called All I Wanna Do. It was that moment on that I realised I wanted to be like Sheryl Crow and write songs - looking like a star - on the T.V.!

Your music has been taken to heart by stations and publications in this country. Is it encouraging when you get such good feedback from people?

Yes. It completely validates the reason why I do this!

Whenever I hear stories from people who have taken a song to heart and made it about their own experiences - this is when I know that what I'm doing has some value. I grew up listening to artists who felt like my friends as they sang about emotions I could relate to - who became the soundtracks to my life at varying stages. If I can do this for other people, then my life's mission will feel complete. When BBC Radio 6 Music and BBC Introducing (nationally) played my tracks; I felt like everything suddenly made sense.

This is why I worked so hard towards this.

2018 is here. What are your ambitions and dreams for this year?

As I've mentioned already: I'm excited to be launching the new side project, Animaitq. I'm very intrigued to see where this can go as it's still me, but it's an even more dramatic side - that's the beauty of collaborations. I'm working with a very talented film and commercial composer, Stephen Frost, and we believe there's some magic in what we're making. I think one of my dreams would be for a song to make it on to a movie or a T.V. show as a soundtrack - or even a theme-tune!

IN THIS PHOTO: Isaac Gracie

Which new artists do you recommend we check out?

I'm a fan of Isaac Gracie – I love his E.P. He really knows how to write a beautiful, melancholic and heartfelt tune.

What tour dates do you have coming up? Where can we catch you play?

This is pretty open at the moment as I'm just planning for this year. However; I'll be supporting the awesome Fred's House at the Ent.Shed (Bedford) on 6th April.

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

The Killers - Hot Fuss

It just screams out my teenage years. It takes me back to all the little tweenie dramas; the school bus to school, the romances; the house-parties. An exciting time but, seriously - there is no band that sounds like the Killers. Their sound and lyrics are utterly unique.

Marina and the Diamonds - The Family Jewels

She's such a unique Popstar but, sadly, a little underrated. She has a very distinctive voice and has such a wild imagination when it comes to her whimsical, yet highly melodic, music. Her lyrics don't just touch on the usual topics such as love: she goes deep-down and pokes fun at some of her dark sides and her quest for recognition. I found it very relatable - and she sounds like no one else.

Avril Lavigne - Let Go

I was in two minds about citing this but the reality is that, when I was a little girl, EVERYONE had a copy of this album. The songs were melody-driven, fun and feisty. She was this antithesis to all the more polished Popstars. She definitely inspired me growing up to want to write Pop-Rock anthems - and be a real show-off on stage. She certainly defined and era. I must confess that I also had people telling me for years that I looked like her twin. Ha!

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

It's a tricky time to navigate yourself as an artist because the old paradigm has changed: the gift and the curse is the Internet. On the one hand; you have all the means to promote yourself and cleverly play the game independently. On the other hand; you have to compete with a lot of other people screaming for the same attention. However; the silver lining is that it's not all about the major label anymore.

Try not to fit your sound into a particular mould in order to fit current trends - do what feels right to you and you WILL find your audience!

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 do love a bit of Country - and one of my favourites is Kacey Musgraves! I love this song, Die Fun.

________

 Follow Corinna Jane

Official:

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Facebook:

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SoundCloud:

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FEATURE: We Need to Talk About Katy: Why Witness’ Poor Sales Mean the U.S. Star Needs Protection – Not a ‘Tough Talk’ from Her Label

FEATURE:

 

We Need to Talk About Katy

IN THIS PHOTO: The cover of Katy Perry's album, Witness/ALL PHOTOS (unless credited otherwise): Getty Images

Why Witness’ Poor Sales Mean the U.S. Star Needs Protection – Not a ‘Tough Talk’ from Her Label

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I was flicking through the music news when…

I came across a story regarding Popstar Katy Perry. Witness, her latest album, entered the U.K. charts at number-six and has sold fewer than 60,000 copies to date. Her previous albums have shifted more than 500,000 copies – this latest revelation is seen as a huge (commercial) disappointment. Capitol Records’ Steve Barnett has a great relationship with the label’s star but, as he said, there need to be tough conversations and a serious review. Katy Perry has a very distinct demographic – mainly young girls and teenagers – and there is nothing radical about her new record. Witness is a bit bigger and bolder than most albums out there. One cannot accuse her of toning things down or taking a more mature and soft approach. Maybe that is the problem, perhaps? There are those who might look for an evolutionary shift but, considering her fans have been with her since the start – I wonder why the sales have dipped. It is natural for an artist to encounter some poor sales. That should not be met with record bosses’ stern expressions and a rather serious chat. It is like being at school: Katy Perry, the A-grade student, is seeing her results slips and, as such, the headmaster has got involved. Prism, released in 2013, was considered a cleaner and tighter album than previous efforts; a fun album that saw Perry embrace the mainstream wholly.

PHOTO CREDIT: AJ Numan

It gained some mixed feedback but many saw it as a decent and appealing record – one that could cross borders and draw in non-Pop fans. That has been the same impression with her other albums: ever since her 2001 debut (Katy Hudson); there has been a split but a general consensus the music she puts out has energy and a smile on its face. She trades in upbeat Pop bangers and songs designed to get her fans dancing. Witness, maybe, has more in the way of contemplation and introversion but it is not exactly a record full of ballads and Jazz standards! From a sonic and stylistic viewpoint; you cannot claim poor sales are the result of a radical creative left-turn. The tour she is on right now (named after her album) is picking up impressive tickets sales – one cannot claim Perry is lacking fandom and love. I am not her biggest fan but have listened to her albums and cannot see a huge shift between them. The record label is guiding her to a particular sound and style. They want her to remain as she always has been with, perhaps, a few different aspects here and there. Perry delivered the goods on Witness but I wonder whether some pre-release reviews caused damage.

Songs like Witness and Swish Swish (ft. Nicki Minaj) are her classic stock-and-trade; Chained to the Rhythm (with Skip Marley) a big hit – other songs are more anxious, muddled and conceptually flawed. There is ambition in the record but some critics noted a dependence on reverb/effects; a record that was trying to say something without putting its finger on it; a little bit of a lunge for creative credibility. I look at that last point and wonder whether Perry’s management and label are responsible for any negativity. She has been given a certain degree of freedom but, since hit albums like Teenage Dream (2010); she has tried new things and not wanted to get bogged down. There are plenty of collaborations on Witness; some songs have a similar tone but there is the impression of a young artist not wanting to get stale. Whose decision this artistic change was – the label or Perry herself – I am not sure. Witness topped the U.S. Billboard chart and was successful (in terms of the charts) in many nations. Songs have been spun on BBC Radio 1 and it has seen her embark on a very lucrative tour. One cannot say, by any measure, Witness marks a failure! Maybe it is less bombastic and sun-seeking than her previous albums: the thirty-three-year-year-old realises she needs to start acting her age…to a degree, anyway! I am pleased that the album does not try to revert back to her 2010-stage; she is moving forward and, yes, there might be one of two weaker moments.

Her fans, without offending, are not the type to look at reviews and be disheartened. They buy Perry’s music because it comes from an artist they connect with. She is an idol to them and, unless she embarks on a seriously misguided sonic path; they are going to follow her and buy her albums! The four-year gap between Prism and Witness means, maybe, there was too long a wait for new material. Perry was busy touring after Prism’s success so could not have been expected to race into the studio and lay down new material. Those dates and demand are crafted by the same people who are questioning Witness’ sales. The bosses cannot point the finger at an artist who has followed their orders and delivered a huge album. After the rigorous dates and exhausting performances; one could not expect to get her into the studio that quickly. Again; management and the label are responsible for when Perry records and when they want a record. Witness was released on 9th June (2017) and, as it is not the most summer-sounding album she has released; maybe that decision was flawed. Other artists have come onto the scene that has the same sort of sound and dynamic as Perry. Pop artists are springing up all over the place – fans might go looking for their next fix if they feel they are deprived of music. With more competition coming in – younger and fresher – it is inevitable artists as established as Katy Perry would see a slight downturn. It has happened to everyone from Lady Gaga to Rihanna: you can never keep the gas on all the time and, so many years after her debut; one can forgive a slump (of sorts).

We are buying music digitally so it is hard to say how many people actually bought her album. If you can get it for free – or hearing it from someone else – that does not reflect the complete picture. Videos for singles like Swish Swish and Chained to the Rhythm commanded multi-million views on YouTube; they were soundtracks of the summer (although both songs were released earlier in 2017) and did not suggest an artist in trouble. I know Perry will go on to release many more albums and change her sound. As she is in her thirties; the music might get more mature and considered – it is down to management and the record label to look after their star and ensure she is marketed and branded appropriately. That four-year wait is partly responsible for less-than-staggering sales figures but you cannot put too much pressure on an artist. Perry will only feel ready to record and inspired if they have enough time to breathe and opportunity for personal space. Maybe there are issues with her longevity and what people expect from someone like Katy Perry. She is seen as this ever-cheery American singer who brings the bangers and has that Californian swagger. That is all well after a few albums – and when you are in your twenties – but I wonder whether a naively means fans/labels expect her to be that same person today.

The market has plenty of other artists who can do that sort of soulless, yet fun, type of Pop. It is a staple among the pre-teens but, as her fans get older; Perry needs to make music that is meaningful to them – not ensure there is arrested development. She needs to appeal to the same demographic she did at the start of her career but, with a need to do something different; can she appeal to everyone at the same time?! Maybe a slight muddle and head-splitting marketing nightmare mean Witness’ slight sales should be an alarm. Perry is at a stage where she needs the label and management to sit down and have a constructive talk about the next stage of her career. She wants to remain popular and relevant but cannot repeat what she has been doing for years. Rather than admonish her for – what they see as – poor sales; sit with her and have a constructive talk. The next album might need to arrive sooner than 2020/2021 but, as she is slammed with touring, there will not be any more material for a while yet! I am not expecting those management conversations to be too brutal or career-ending. They will not terminate their association with their star but, I feel, there will be a push to get more material out and return to her early days.

I feel Perry, in a move to forge a more age-appropriate identity, has taken gambles and done something impressive. She is trying to please older and new fans – we cannot expect that sort of leap to be a total success. The touring demands, YouTube views and positive reviews (there are a few) show she is not lacking in affection and popularity. Sales figures are not the total sum of an album and, with streaming so readily available; I wonder whether we can ever get an accurate reflection of an album’s worth (on that basis). Surely the reviews are more important? Witness has been well-received by many but, regarding those who were less effusive, maybe this will help her grow and strengthen for her latest album. The latest absurdity in Pop means we are putting too much pressure on modern artists to conform to a very business-orientated approach to music. If they do not shift one-million units – or break Spotify records – then they are past it and fading. We are seeing plenty of great albums denied good sales and proper spotlight: poor records getting a lot of kudos and breaking records all over the shop. One cannot put too much stock in trade: the quality of the music, and the demand for the artist, outweighs all that. The fact Perry played last year’s Glastonbury means her music is getting her onto some impressive stages. She, like Lorde and Taylor Swift, are Pop artists who are capable of reaching listeners in different age brackets and genres (those who prefer other styles of music). Witness is not the sign of a decline and catastrophe: it is an album that has resonated with her current base – and one I found more consistent than previous records – but, perhaps, means her label needs to get into talks to think about her direction. Rather than turn their nose up at lacklustre sales; they need to be more supportive and ensure their precious talent is able to grow and remain. Perry will be on the scene for years to come and, following Witness’ reactions and reviews; I do not feel the American needs to go into a protection scheme…  

ANYTIME soon! 

FEATURE: Palookaville Bible Dust: Is It Possible to Achieve Your Dreams in Music?

FEATURE:

 

Palookaville Bible Dust

ALL PHOTOS (unless credited otherwise): Unsplash

Is It Possible to Achieve Your Dreams in Music?

__________

THIS thought is sponsored by a bit of a crossroads…

that has come into my life. In terms of my writing; I enjoy what I do and am always looking to improve and build. One of the biggest ambitions I have is to heighten my site and take it in new directions! The reason I am not pumped and racing ahead is that the ‘real life’ side of things is holding back that charge! The last couple of years have, without doubt, been the worst of my life: in a wretched job I hate and cannot get away from; unable (despite endless mailing and applications) a job in London/Manchester; taking steps backward and spending time in an area/around people I hate (except for my family). It is a horrible and stressful time and, above all, is that desire to get away, move to the city and start living – it seems like a distant dream. The half of me that is succeeding and growing is online-based and intangible. I can gauge the appreciation an artist provides after a review/interview; see the sort of people responding to the stuff I put out there; know a few people are discovering my work and taking heart from it – there is an emptiness that remains when I think about it. I love what I do – or would not dedicate all my free-time to it – but that desire to take a more physical and multimedia approach to my music is always on my brain. The only way I can subsidise my dreams, and make real progression, is to move to London/Manchester; get a better/better-paid job; go somewhere more social and pleasant – locate to an area I feel more comfortable and happy.

I know a lot of musicians in the same position: they can dream big and love music but, because of the domestic/work side of life; they feel a bit trapped and lost. This may sound like a feature that should appear in a business publication but the point remains: can you achieve anything in music if you keep passionate and remain focused? It sounds a bit New Age and quasi-philosophical: have that positive mindset and, before you know it, things will happen. I am not one who validates notions of karma, parity and fate: one must go out and earn luck. People do not get what they deserve – they get what they get, unfortunately. I feel, at thirty-four, so far behind where I want to be as a person. I know a surfeit of relationships and sociability will be amended when I relocate; a job will come soon enough – I feel like I have been enclosed for too long; not getting any breaks and unable, like a bee caught in the sun, unable to escape from a jam jar. If I were in any other industry, away from entertainment/media, I think I would be much further ahead. I would have more job opportunities and it would be simpler to go into the career of my choice. I feel, as bad as things are, my love of music and need to follow it to the ends of the Earth are keeping me ticking and in the game – able to rationalise a lack of love and happiness.

I guess every part of the media/entertainment world is difficult – not something you can easily slide into and get paid right away. A few days back; I wrote about the music media and how difficult it is getting paid work – many have to undertake unpaid internships and, with it, there is that hardship and struggle to make ends meet. I hear lots of horror stories where artists, with a lot of ambition and desire, are felled by the realities and hurdles of music. They set their sights on success and a certain game-plan: after a while, the scales fall - and those dreams they once had seem to die away. It is upsetting to see but I wonder whether more (in terms of numbers) positive messages should be put out; a way for artists/creative to keep going and be provided with some positive enforcement. I can’t imagine a more depressing and numbing environment than where I am right now – in terms of work and how far away I seem to be from the rush and excitement of London – but there are two options: make a drastic break and task a risk (knowing, if I quit a job and move there without one, I could fail) or remain where I am, put the hours into my writing, and hope that it pays off. The former option is more attractive and tempting: the latter is the one I have to abide by...

IN THIS PHOTO: Clairo/PHOTO CREDIT: Pinterest

I will come to possible solutions and industry-wide schemes but, when thinking about survival mechanisms – I have been looking at a couple of recent interviews with artists; making points that resonate with me. Clairo, a young YouTube star, might not be the first person one would study for perceived wisdom and inspiration – that is no slight but the preconception we have of certain artists. The U.S. artist has played sold-out gigs and, when speaking (recently) with Pitchfork talked about her rise and a successful 2017. She is a freshman (excuse the academic-based sexist term!) at Syracuse University and hopes to have an E.P. out soon. It will be, as she says, a sort of bedroom-era version of what she has done before. Whether that means dorm-made recordings – or lyrical arcs that look at the vicissitudes of home and a personal space – I am not sure. Songs like Pretty Girl have lodged in critics’ heads and, releasing it as part of a female/non-binary cassette compilation; the song is a wise and investigative number looking at how one can lose themselves along the way. Not only does the song connect but the way she is doing things is compelling. Rather than chase music and think big without a back-up-net; she is studying and recording in her spare time. Rather than become disappointed and make unrealistic plans; that pragmatic and practical approach to music is humbling.

IN THIS PHOTO: Rina Sawayama/PHOTO CREDIT: Getty Images

Another artist, Rina Sawayama, has looked at the addiction to social media on her self-titled mini-album. Songs like Ordinary Superstar and Cyber Stockholm Syndrome talk of YouTube vloggers and how we substitute real-life for the digital one. The interview she conducted with The Guardian got me thinking about something bothering me: how far along some of these YouTube ‘stars’ are; how dependent I am on social media. There are contractions when looking at Sawayama. She writes about those, like a drug, hooked on social media: she, herself, spends time on social media and, when at her most anxious, writes about that feeling. The East Asian writer is adapting to life in the Western world; creating something rare in this country – a lot of what she is putting out saying. It makes me think about how I approach journalism and live my life. I am too focused on the Internet and hoping things will happen there: getting out there and being able to wean myself from the screen is the biggest flaw I have. I feel you can achieve anything in music but there is a caveat: ensuring the time spent on social media/the Internet is right. That might sound subjective but, from my viewpoint, I am writing too much – when I could be out there handing out C.V.s – and assume, unless I am mega-busy all the time, I will get overlooked and forgotten – or my fingers will atrophy from lack of work!

The subcutaneous effects of social media mean we spend far too much time away from people – thinking all our answers and luck will come from there. I feel a lot of my malaise and depression stems from over-dependence on writing and unable to escape a trap: getting out there and feeling confident taking a few days off here and there might be a more sensible approach? I think all us creative types get too focused on grand ideas and goals; an unrealistic picture that we, inevitably, fail to live up to – maybe that is to do with the media and their ideals; the pressure and competition we see on social media. I know I will never be a one-man Pitchfork but I also know my work matters. Finding that middle-ground and reassurance is what makes the difference – that can only come from human interaction and feeling comfortable about your job/life/psychological well-being. My five-year business plan includes a professional writing/media gigs (radio or press); spending time in Australia, the U.S. and traveling the U.K.; settling in London/Manchester and, essentially (socially) making up for a lot of lost time. The core ambition I have is to keep the blog going but make it more interactive, visual and ambitious. The sticky-wicket is when I understand how that can be achieved: getting a job that pays me the money so I can afford to that – taking me back to the initial point and the bind I am in.

Many of us dream large and a lot of our depression and anxiety comes when we consider how far we have come; we deem ourselves ‘failures’ if we do not achieve everything right away – forgetting how important realisations and small (positive) steps are. Age does not matter – if you are not a big deal by a certain time – and change can occur if you take sensible steps to break out of a bad mindset/rut. That is the position I am in: I need to get out of a depressing funk and start thinking about things like work, living and location – rather than become too obsessed with writing every hour and feeling social media visibility is the way I will get that ‘dream job’. One of the biggest issues I have encountered is the fact most of the opportunities out there are advertised online. I have to spend a certain amount of time researching but, whilst I am on my laptop; there is that temptation to write and go on social media. Breaking that habit is hard but, in the long-run, is it the best thing to do. No matter how lofty your aims are, there is a way of achieving it. I hear of artists who want to get their music played on the national stations. Everyone is vying for the same honour – it makes things harder; working for visibility in a crowded sea. It may take longer than you’d hoped but, with persistence and patience, it can happen. You can contact these stations and keep them abreast of all your material; find ways of spreading the song to the people – the more people who hear it; the bigger it becomes and, in time, that gets to the big guns.

So much of modern music is about artists striving for something that justifies the work and time they put into things. A certain amount of Internet-time is required but it is important not to measure success and ‘worth’ based on other people. The media and music scene is open to everyone and there is no race to get to the top. I understand competition is tough but setting smaller goals (at first) and making those all-important connection is paramount. Every year, draw a plan of what you want to achieve and plan how you will go about doing that. Set aside a small amount of time every day and do something productive – even if it is emailing radio stations or booking gigs. I am taking this approach and, after a couple of bad personal years; I am ensuring I give myself enough time to find that acceptable work-life (social and actual) balance. Spending less time frittering time on social media – and seeing it as a replacement for human contact – spend your online time building your career and making concerted, daily steps towards the summit. The reason I have been so down is (because) I’m judging myself against bigger websites and sources: they all have teams and, as hard as I work, I could never match them (for quality or popularity). Reaching a few new people every day is a massive victory. It may not be a headline slot at Glastonbury but see music as a years-long career that will provide small gifts every year. I am determined to take a much healthier, pragmatic approach to 2018. I have dreams – and want to achieve them all – but, rather than get them all realised this year; I am setting myself longer-term goals and, in the process, providing more time to relax and become more sociable. Happiness and personal fulfilment are more important than anything out there. Every artist/writer can reach what they set their mind to – just don’t get hooked on chasing others and seeing surging too far ahead. See this fresh year as one that will bring success but may not, necessarily…

SEE all your dreams realised.

FEATURE: Linger: Remembering Dolores O’Riordan: The Playlist

FEATURE:

 

Linger

 IN THIS PHOTO: Dolores O'Riordan/PHOTO CREDIT: Billboard/Getty Images

Remembering Dolores O’Riordan: The Playlist

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I may be a bit late to lay a tribute down but…

PHOTO CREDIT: Getty Images

I was keen to add my voice! Whatever way you discovered The Cranberries; their intoxicating lead Dolores O’Riordan seduced and amazed all those who heard her. Many see Zombie – one of the band's finest tracks – as a call for common sense and a rebellion. It was the sobering shot against senseless violence and resonated with many in Ireland – all those who witnessed the 1993 bombing in Warrington. Its two young victims, Johnathan Ball and Tim Parry, were immortalised in the song. It is a powerful moment and one that showcased the amazing vocal range of O’Riordan. Linger is, perhaps, the one we all know the band for. It was a way O’Riordan found the band - a demo version of the song was the first thing she brought to them. Her songs looked at the heartache and disappointment of love but moved into political and social boundaries – unafraid to tackle something hard-hitting and important. Her incredible voice and songwriting inspired many other artists and compelled those who heard her. Many dressed like her and copied her style; others found a voice that spoke for them; others were intrigued by the paradoxical nature of her being. She was fierce and shy at times; inscrutable and down-to-earth. Her warm personality and friendliness is one of the biggest take-aways we have of the Irish star – everyone who came into contact with her was seduced and affected.

PHOTO CREDIT: Getty Images

Everybody Else Is Doing It, So Why Can’t We? was the incredible debut from The Cranberries. O’Riordan; alongside Noel Hogan, Mike Hogan and Fergal Lawler released a staggering record with standout songs such as Linger, Dreams and Sunday. It amazed critics and introduced the band to the world – the affection was there right from the start! In 1993, when there was still Grunge, huge Pop and Rock movements: The Cranberries were apart and doing something different. They were a unique group who did not want to fit into any rigid formats and moulds. That was personified by Dolores O’Riordan and the way she performed. No Need to Argue, released in 1994, was the band’s best-selling album and dispensed with the double and triple-layered vocals – preferring a clean vocal sound and a more focused production. Zombie was the big hit from the record: I Can’t Be With You and Ridiculous Thoughts were other standout songs that showcased the band’s consistency and evolution. By 2003; the band went separate ways and needed time to do their own thing. They would come back in 2009 and, as recent as last year; there was talk a new album would arrive (this year). Something Else, released last year, featured acoustic renditions of their best-known songs – and showed the band were keen to move forward in addition to looking back.

PHOTO CREDIT: Getty Images

To me; Dolores O’Riordan was that rare voice and artist who did not want to repeat what was out there: she was a rare bird whose song motivated so many other artists to take to music. I have heard so many stories of musicians being awed by The Cranberries and this stunning voice; an incredible woman who was unlike anything out there. It is devastating O’Riordan is no longer with her – one of the greatest voices of the past few decades. Her death is not suspicious but one wonders why a forty-six-year-old could be taken from us so swiftly! She was in London for a brief recording session and, word has it, was excited about getting into the studio. I cannot believe she took her own life – she was diagnosed as bipolar and suffered mood-swings – and the fact she was here to record new music means she was looking ahead. Whatever the reason behind her death; there are many who will feel the effects for years to come. It is a huge loss to 2018 and a reminder of what a sensational talent has left the world. I know there will be nobody like Dolores O’Riordan again: that same mix of incredible intensity and knee-buckling beauty. In a sad week that has seen the death of an incredible artist; we have the fantastic back-catalogue that will…

IN THIS PHOTO: Dolores O'Riordan in 2016

LIVE forever.

FEATURE: The New Astrology: Which Artists Can Make a Genuine Change This Year?

FEATURE:

 

The New Astrology

IN THIS PHOTO: Sigrid/PHOTO CREDIT: Getty Images

Which Artists Can Make a Genuine Change This Year?

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THIS is a sort of music Winterwatch where I look…

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

around and search for the artists who will (start to) make an impression. They are not brand-new but, as I search for the artists who will make an early impression on the year; tune-yards are going to be ringing in the ears. Merrill Garbus is, essentially, tune-yards and, since 2009, she has been making some of the most innovative music around, Bird-Brains was picked up by 4AD in 2009 but, when she moved to California in 2011; WHOKILL was recorded and by 2014, with bassist Nate Brenner in association – Nikki Nack made a huge impression and signalled her out as one of the finest voices on the scene.

IN THIS PHOTO: tune-yards/PHOTO CREDIT: Eliot Lee Hazel

The latest record – and brilliantly-titled at that! – I Can Feel You Creep Into My Private Life – is out on Friday and is promising to be something special. Its title derives from a meditation course Garbus was enrolled in – one relating to race and white privilege. Songs like ABC 123 have gained a lot of airplay and, before tune-yards tour the U.K. in March; we have an extraordinary album to look forward to. Lyrics (on the record) explore everything from race to cultural appropriation: downbeat, serious lyrics paired with upbeat, sprite compositions.

IN THIS PHOTO: shame/PHOTO CREDIT: Dan Kendall for Loud and Quiet Magazine

Shame are, despite their name, another act that are going to kick this year off with a bang. They refute the idea the leather jacket-wearing, womanising Rockstar should be purged – it is a notion best left in the past; reserved to previous decades. Shame are an angry and fuelled band but you will not find them assuming the mantle of a beer-swilling, drug-taking band. There is, as they have said, an attraction to that lifestyle: they make music to reach the people and know modern life is not like that now. Money is tight and bands like them cannot afford that kind of existence – not that this is a bad thing! Taking inspiration from the likes of The Fall and Iggy Pop; the music you get from the Londoners is ferocious but has depth and plenty of hidden layers.

One Rizla is a song that outlines their lack of concern with reputation and technical proficiency – “My voice ain’t the best you’ve heard…But do I give a fuck?” Like tune-yards; shame are a force we need in music. The former is more about social consciousness and those weirdly original and unexpected songs: Shame are more direct and a band that summons rebellion and power – commodities that have been missing in the music industry for a while. The quintet formed when they were in their mid-teens and would play the same sort of scene as their London mates – going down their own path and establishing themselves in their own rights. Expect the boys to go far!

IN THIS PHOTO: Skelhorn/PHOTO CREDIT: Getty Images

There is a lot of excitement around female artists – especially in Pop – and I shall come to a few I am very excited about. Skelhorn is someone who has been compared to older-days singers like Elvis Presley. He is from Liverpool and, whilst these are early days; there is a real buzz around him. That striking voice gets into the heart and he is someone who will be a big star before too long. He has been performing since the age of fourteen and been recognised by local stations (around Liverpool). He has performed and toured with three different bands and now, stepping aside, he is picking up the veins and embarking on a solo career.  There are some positive vibes projected his way: make sure you check out Skelhorn and why he is being tipped as a future talent of serious note.

PHOTO CREDIT: Sudan Archives/PHOTO CREDIT: Theo Jemison

Sudan Archives is a twenty-three-year-old violinist/vocalist who writes and plays all her own music. She is a self-taught musician and, inspired by Sudanese fiddlers; R&B artists and West African rhythms – you get a brew that swirls around the brain and strikes the heart. She grew up in Ohio and, as she said, messed around with instrument around the house. Noting how violinists and fiddlers in Africa played; she wondered whether this style could be blended with Electronic music.

That fusion of Folk and Electronic was a real turning point for the America. Critics are raving – and it is easy to see why! The talented artist mixes beats – laid down on her iPad – and pairs that with traditional, warmer instruments. Sudan Archives moved to L.A. aged nineteen and has won plaudits from some big sources. Her E.P., Sudan Archives, is a confident and nuanced work from someone who is going to make a huge mark in 2018.

IN THIS PHOTO: Sigrid/PHOTO CREDIT: Getty Images

Sigrid has recently been named by BBC as their artist to watch this year. The announcement came as a shock to the Nordic artist. Debut single, Don’t Kill My Vibe, was a revelation – it gathered millions of Spotify streams and saw her a much-demanded name on the circuit scene. There is already talk she can go on and be headliners at Glastonbury one day – she has already played at the festival. Notable highlights from 2017, like playing Rockslide (Denmark) in June, have seen her music go far and wide. Thousands have seen her perform and everyone comes away with the same impression: they are witnessing someone who will go very far.

She has released a four-track E.P.; got the ear of BBC; been played on our best national radio stations – topping numerous ‘ones to watch’ polls and proof the Pop/Alternative music of 2018 is going to be a very different affair. Sigrid will play U.K. dates in March and head to Coachella in April. Since her debut single in April; that rise has been steep and heady. Who knows how far she will go?!

IN THIS PHOTO: Madison Beer/PHOTO CREDIT: Factice Magazine

Madison Beer is a Pop artist who personifies the notion of a modern-day star: she is a huge hit on Instagram and has a legion of fans. The teenager is not your average Bubblegum-Pop purveyor: she produces more mature, deep music that is backed by that honeyed, alluring voice. From chilled and floaty to zesty and precise – her music switches direction and is hard to predict. I know she will make big steps this year and, in a Pop market that is filling fast; Madison Beer stands out and has the chance to make a real difference. That fanbase, tied to her natural songwriting ability, means she will have a very busy year. I have been following her work for a little while but, from song-to-song; I can hear a development and evolution. She is growing stronger and more confident; festival and gig requests are coming in fast – I would expect worldwide dates to follow through this year.

IN THIS PHOTO: Zoee/PHOTO CREDIT: Getty Images

Zoee has worked with Pub-Pop pioneers Rhythm Method but is an artist who stands alone. The Londoner performer mixes her stunning vocals with electronic templates; there is a balance of the melancholic and minimal – a veritable blend of contrasting emotions and polemic sonics. Her debut E.P., Insecure, was a triumph and picked up terrific reviews. Songs look at everything from loneliness, miscommunication and the perils of love. One can relate to her music but never get bogged down and bored – it is always engaging, fresh and surprising. There are a lot of great female Pop artists coming through but the ones I am highlighting are beyond the limits of the mainstream. I am excited how Zoee progresses and where she can head this year. Her live performances are being highlighted: a natural performer who can hold an audience in her palm.

IN THIS PHOTO: Julia Michaels/PHOTO CREDIT: Getty Images

Julia Michaels is not as new as some of the artists I have mentioned – but that does not mean she should be excluded. She was a huge success in 2017 and has already been nominated for a Grammy; written a string of hits and co-written for some of the biggest artists on the planet (including Justin Bieber). That husky, chocolate voice makes every word resonate and stun; the lyrics stray from the ordinary and cliché; the songs cross boundaries and subvert expectations. She is someone who can talk about lust and heartache and do so in a very new and unexpected manner.

She, like Baywaves, Moaning and Tom Grennan, are artists I am expecting to do good things. I have been reluctant to back Grennan but feel, the more I hear him; there is an artist that has a unique soul and a voice that warrants further attention. There are few male solo artists that stick in my mind at the moment. Grennan differs from the pack and manages to avoid the trappings of a lot of hot-tipped artists: writing in a very safe and cautious way. His songs are bold and are far stronger than a lot of the new music being produced. Baywaves are an act I am especially keen to promote. 2017 was a busy one for them and it saw many new fans flock their way. Gliss was released back in June: a stunning single that, to me, signalled their best work. Down 4 U followed and, like Gliss, got right into the soul. There are jangly guitars, hazy melodies and Pop vibes. It is a wonderful concoction that will see the Spanish group pick up awards and gig requests.

IN THIS PHOTO: Baywaves/PHOTO CREDIT: Neelam Khan Vela 

Abra Cadabra is as magic and surprising as his name suggests. The Tottenham M.C.is turning heads and offering something daring and bold. He has already teamed with industry-leading acts like Kojo Funds - and look set to set this year alight. I am looking out at the Urban scene and wondering which artists can come through - speak the truth and lead the people. There is something real and uncomplicated regarding Abra Cadabra’s ethos and ego – he is a pure artist doing his own thing; not willing to compromise an succumb to the lure of the mainstream.

IMAGE CREDIT: Getty Images

BASSETTE excites me and, like Sigrid and other stunning female artists; the hype and attention is warranted. She has a voice that has been compared to Amy Winehouse and, like the departed legend; there are hopes she could be an international star. These are early days but I know BASSETTE will go from strength to strength. Her music is among the finest I have heard in a while; that voice fills the mind and takes you somewhere magical. Another female artist I tip to do big things, and has been garnering great praise, is Catherine McGrath. She is a talented Country artist from Northern Ireland and has had a very successful past couple of years. I feel her best work is ahead and, as we look to the musicians who will do wonderful things. Her clear voice and instant songs have seen her tipped as a potential crossover artist. I expect her to go a long way and, perhaps, get a lot of U.S. dates. I am aware of what she can do but, as she gets more gigs; that sound get stronger and more astonishing.

IN THIS PHOTO: Catherine McGrath/PHOTO CREDIT: Getty Images

MALIKA is another wonderful artist whose track, Falling (with Snakehips), was a classic R&B cut. She has, since then, released the stunning single, Run. The song featured on the E.P., Songs About C, and suggested what is to come this year. She enjoyed modest acclaim in 2017 but, as the music has had a chance to bed-in; I expect more gigs to come her way. I know she will continue to grow as the year goes on; ascend and climb the ladder and show why she is one of the most exceptional young artists around. There are a lot of great artists who are doing the same sort of thing but, when one thinks of MALIKA, you are not reminded of anyone else. I am pumped and ready to see where she can head through this year.

IN THIS PHOTO: MALIKA/PHOTO CREDIT: Getty Images

Kymberley Kennedy projects the same sort of emotions in me. Her music is really starting to gain traction and, as we progress; I expect her to get some rather notable acclaim. I can see her picking up awards and being invited to play festivals. It is exciting discovering an artist you just know will be around for many years. Few have the same passion and drive as Kennedy; the songs are exceptionally physical and emotive. You cannot listen to her with a lazy and undedicated mind: you go in with a willing heart and submit the sheer grace and potency. I am going to follow her and back everything she does.

IN THIS PHOTO: Kymberley Kennedy/PHOTO CREDIT: Getty Images

My final act to highlight is FALSE HEADS. They are a band I interviewed last year – I know full well what they can do! Iggy Pop has already fallen for their charms and, when you listen to the Gutter Press E.P., you understand why! It is a loud and vivacious Punk offering from four lads who have a lot to say. As the world gets more fraught and unbalanced; I expect them to have a much larger role in music. It is an opportunity-laden time when they can join the likes of IDLES – another band who can get the jaw dropped – and conquer the festival circuit.

IN THIS PHOTO: FALSE HEADS/PHOTO CREDIT: Getty Images

There is a big demand for bands who go beyond the conventional and summon something genuinely thrilling. No danger with these guys: every song bursts out of the speakers and motivates the body! I am excited by their progress already but know they go a long way still and mark themselves as one of the best British bands around. Ensure you follow them as they throw down the gauntlet this year!

I have collected a few names that are being tipped and being featured on those ‘ones to watch in 2018’ features – those that deserve the acclaim and look set to add their voices to the year. A lot of the pollmakers’ predications, I feel, are flawed or a little rash. They might proclaim an artist and then, a few months down the line; one finds the shine and promise has faded. It can be hard deciding which artists are going to do big things. These are a smattering of musicians to look out for - but there are more worth looking out for – I will throw the spotlight on as many as possible! I feel 2018 is going to be one of the strongest years for music in a long while.

IN THIS PHOTO: Yonaka/PHOTO CREDIT: Getty Images

The solo market is still (very much) the champion: great bands are coming through but they are not getting as much time as solo acts. That is the way it’s been for a while but there stunning bands – from Anteros and Yonaka to Duke of Wolves – I have been following a while and know how good they are. The predictions thrown out by the newspapers/websites hold sway and truth. There are some great artists coming out of those articles that, I hope, will get the recognition they have been working for. It will be exciting none the less and, when it comes to some promising artists worth getting behind; the artists you see above are well worth…

IN THIS PHOTO: Duke of Wolves/PHOTO CREDIT: Violet Verigo

HANGING your hat on.  

FEATURE: Just How Should I Feel Today? The 'Blue Monday' Playlist

FEATURE:

 

Just How Should I Feel Today?

ALL PHOTOS: Unsplash

The 'Blue Monday' Playlist

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TODAY is, as we all know, the dreaded ‘Blue Monday’.

it is meant to be the most depressing/unhappy day of the year; one of the least productive and gloomiest; where we all hunker and retreat...waiting for that Tuesday relief! We are past the Christmas period and the festivities - and no longer reminiscing about the start of the New Year. It is that awkward period of the month when we are past all the good stuff and do not have a lot to look forward to. Rather than wallow and spend the final hours of the day sad: I feel a burst of uplifting music is a good way to end this Monday with a bang! I have compiled a collection of songs that aim to raise a smile and get the body moving; shake those blues away and ensure the year’s unhappiest day is put to bed…

WITH positivity. 

FEATURE: The Long Fade: How the ‘Greatest Hits’ Album Has Become Near-Obsolete

FEATURE:

 

The Long Fade

IMAGE CREDIT: Getty Images

How the ‘Greatest Hits’ Album Has Become Near-Obsolete

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THIS notion has been prompted by a feature I saw…

PHOTO CREDIT: Unsplash

in The Guardian over the weekend. It explored the idea that, in the modern time, the concept of the artist/band ‘Greatest Hits’ album has all but died. It is interesting looking into it as, with streaming and the way music is marketed, people are listening to songs over and over for free. If you consider the last greatest hits collection you bought: I am guessing it might be a few years old by now. I think the last time I raced to get one was when Radiohead released theirs back in 2008. The eighteen-track L.P. featured music from their finest albums and, as a single source of Radiohead music; it was pretty authoritative and pleasurable! I did, of course, have a few of their albums up until that point – The Bends and OK Computer; Kid A and Amnesiac; Hail to the Thief and In Rainbows – but it was good to have all the best hits on a single disc. Some had the temerity to claim the so-called ‘best of’ was not quite up to the mark – there were notable omissions from the pack. I wonder whether that is a problem when launching your greatest hits collection: fans will be divided and there is never a consensus of what constitutes the ‘very best’. Given the fact that, in 2008, Radiohead were being talked about as near-finished and past their best days – was it a move to rekindle interest in their work? 2007’s In Rainbows was a triumph, mind: a tight and lean album of beautiful love songs that showed the band were in a league of their own.

IMAGE CREDIT: Getty Images

Those who harked back to their classic albums – The Bends and OK Computer – considered In Rainbows another twist away from their best days – although In Rainbows was to be their last album that contained guitars (in a major role). The material on Radiohead’s greatest hits collection satisfied many but there are always niggles when it comes to rejecting certain songs. You cannot please anyone so I wonder, because of that, there can ever be a true ‘greatest hits’ collection? It is an interesting debate and one that divides fans. The labels and compilers are pretty savvy when it comes to collating the material – they are not going to deliberately exclude great songs and annoy the fans. I wonder whether, given the fact we can get any song at our fingertips; it is impossible pleasing those who want, in this situation, the cream of the crop?! A couple of other considerations – when looking at the greatest hits album – is what they represent. There are a few issues: the oxymoronic qualities; whether a band/artist, when releasing this album, is ending their career; a transfer to another record label – a lot of the releases are seasonal and designed to get a bit of quick revenue. You can argue whether some artists (who release greatest hits) have actually done enough to warrant that acclaim. I think Snow Patrol released their version of greatest hits – one would struggle to name a few songs of theirs that really remain in the mind!

PHOTO CREDIT: Unsplash

There was a time when the biggest artists released greatest hits collections; some, if their catalogue was wide enough, produced a few volumes. It seems, at a time when there are fewer long-lasting acts; the idea of that definitive album is a thing of the past. You can talk about quality and whether a certain artist has enough decent material to warrant a greatest hits album. A lot of artists, when they put these albums out, are switching record labels and, in an attempt to get their money’s worth; the label will throw together a handful of the best songs for the fans. That sounds cynical but, in a way, it is a way of celebrating the end of one phase of their career – before embarking on the next part. Others see these albums as a way of signalling the end of a career. In Radiohead’s case; there were genuine fears they were bowing out of music. That is not the case as, in the decade since their greatest hits record; they have released two further albums – 2016’s A Moon Shaped Pool is considered one of their best. In a lot of cases, it can be the impetus to reignite the spark and try something new – almost like shedding the skin or seeing how far they have come. In a lot of incidents; artists are nearing the end of the road so, in one final fling, they release their ‘best of’ to their fans.

IMAGE CREDIT: Getty Images

One of the funniest things about the greatest hits record is why artists feeling the need to put a new song into the pack. Technically, if you are giving fans your best songs; how can a brand-new song constitute as ‘greatest’ – as it is foreign and, in most cases, weak! Blur did this in 2000 when they added Music Is My Radar to the package – a song that, whilst not weak, was not exactly as statuesque as some of their classic material. Given the fact a band like Blur has more than enough genius material in their locker; it makes me wonder why they needed to toss in a new song?! Maybe a standalone single would be better; putting it on their next album? To me, that kind of inclusion signals a downturn in fortunes – they want to show they still have new material coming out but not confident it will resonate. Again, like Radiohead, Blur have put out two albums since their greatest hits – The Magic Whip was released back in 2015.  I am not sure what the fate of Blur is but, in 2000, there was an inkling things were a bit strained and not as they were. It is okay putting out these collections but is the one-shop approach to your best material an opportunity to get more money from your fans?! A lot of these albums, usually, are released near Christmas – where people are spending more – and there is that seasonable aspect. The past few years have seen fewer greatest hits collections come out, mind.

PHOTO CREDIT: Unsplash

That makes me wonder whether people are favouring studio records – or if streaming has made the notion (of greatest hits) no longer financially viable. It can be quite hard asking people to shell out more money for an album that is, in essence, available on other albums. The reason I snapped up Blur and Radiohead’s greatest hits is the fact I wanted that definitive, classic collection – even if, like many, I felt there were some obvious exclusions. It is good having all the best songs together without the need to skip tracks. I feel, however, a band/artist’s best work is valid only when released in the context of a studio album. I like hearing the big hits – but only when they are surrounded by those lesser songs. It is goof building up to that epic song: the emotional hit you get cannot be described. It can be quite odd hearing all those songs from different time periods and forming a single experience. The scattershot, fragmented nature of the greatest hits album means a lot of people are sticking with studio albums. In some cases, in the past, there was that aim to get people interested in an artist – the greatest hits album was a good way of getting new fans involved and building up a new base. I feel, however, there are some artists that warrant that ‘best of’ album.

IMAGE CREDIT: Getty Images

I wonder whether, given the changing nature of consumption, people will demand single-disc collection. I feel services like Spotify are more popular because, essentially, anyone can collate their own ‘greatest hits’ – any artist from across time. There is something pleasing having a C.D./vinyl where you have the best hits of your favourite act. I remember the pleasure of owning The Beatles’ 1 – where all their number-one songs were put together. They have their ‘red’ and ‘blue’ albums – the former had all their earliest hits; the latter took it from 1965-ish to the end of their career. Maybe the nostalgia I feel is best left in the past: modern music is much more pick-and-choose. People do buy albums, of course, but we live in a time when playlists are everywhere. One can easily assemble their own assortment of songs so there is less demand for the traditional greatest hits packages. I can think of a few modern artists who, in time, should put out a greatest hits C.D./vinyl – I would like to see one from Queens of the Stone Age and Arcade Fire – but, apart from that; I am not sure whether any spring to mind. It is those legendary artists whose work needs to get to the next generation – they are primed for a single/double-disc honour. Perhaps it is a sign of a past time but I, for one, think there is something sad regarding the decline of those best of/greatest hits albums. Maybe we will see them come back in but, as digital demands dictate direction; perhaps there is no way back. Thinking about it has, at least, compelled me to spin me the greatest hits albums from Blur, The Beatles and Kate Bush…

 PHOTO CREDIT: Unsplash

I might dig out Radiohead’s whilst I am at it!

FEATURE: The BRIT Awards 2018: The Nominations Playlist

FEATURE:

 

The BRIT Awards 2018

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

The Nominations Playlist

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EMMA Willis announced the nominations for…

IN THIS PHOTO: Emma Willis/PHOTO CREDIT: Getty Images/Next

this year’s BRIT Awards yesterday. The biggest revelation from those announcements was the fact Dua Lipa is the most-nominated artist. She has been nominated for a total of five categories: Best Female Solo Artist, Best Breakthrough Act; Best Single (for New Rules), British Album of the Year (for Dua Lipa) and British Artist Video of the Year (New Rules). It is a great haul for the newcomer – who enjoyed a stellar 2017. She scooped a rare number-one for New Rules last year – and the first female artist to do so since Adele’s Hello in 2015 – and impressed critics with her eponymous debut album. That record boasted instant Pop songs with big choruses and plenty of hooks. It is not a surprise to see her gain so many nominations: Ed Sheeran got four nods and, given the year he had (last year); it is a shock to see him overtaken. The ceremony will take place on 21st February and we will see whether Dua Lipa can win all five awards. I have seen the categories and I would expect her to walk away with three awards: Best Breakthrough Act, Best Single and Best Artist Video of the Year. New Rules broke ground – and rules! – so it should be the odd-on-favourite to win the singles category. The video for New Rules is not as innovative as her latest (IDGAF). She should still walk away with that prize - as it is an integral part of the record-breaking song. Stormzy’s Gang Signs & Prayer is, rightly, nominated in the album category – I fancy that to pip Dua Lipa – whilst Jessie Ware seems like a more sensible choice for the Best Female Solo Artist award.

Sheeran will probably win the Best British Male Solo Artist award but I do not fancy him to win any of the others – he has an album, song and video nomination, too. It will be a big night for Dua Lipa: it will be an important one for female artists. In a year where forecasters have predicted a Pop storm; the balance-shift of genres and genders – it could not be a male-heavy ceremony that put the spotlight on someone like Ed Sheeran. Let’s hope the hype and buzz translate to awards for Dua Lipa. She is an example of a modern Pop artist with more guts and vocal variation than most of her peers. Even though she has an army of producers and writers helping her music get to the masses: I fancy she will step out on her own in future albums and establish herself as a stunning songwriter. The night will see Ed Sheeran, Stormzy and Sam Smith play – Rag’n’Bone Man is tipped to play, in addition (he is nominated in three categories). Dua Lipa and Foo Fighters will play at the awards; with President Trump gaining a record level of unpopularity in the U.K., many hope that will see the fiercest and boldest nominees (Liam Gallagher and Stormzy) spout-off and let him have it!

IN THIS PHOTO: Liam Gallagher/PHOTO CREDIT: Getty Images

Say you want about the BRIT Awards – they are not seen as credible and relevant as other options; too focused on the mainstream and Pop – but there is a good mix of artists on show! I am pleased for artists like Dua Lipa but more interested in other acts who have gained nominations. Maybe Dua Lipa will be crowned best female but she is up against stellar competition: Kate Tempest, Laura Marling; Paloma Faith and Jessie Ware are all strong and popular artists who could win it. The British males on show will include Liam Gallagher, Stormzy; Loyle Carner and Ed Sheeran (with Rag’n’Bone Man). I hope Loyle Carner wins as I loved his album, Yesterday’s Gone, and feel he is one of the strongest newcomers on the block. Let’s hope Wolf Alice win in the British Group segment. The xx and Gorillaz are worthy adversaries but Royal Blood (a duo rather than a group; overrated) and London Grammar (disappointing second album) should be seen as outsiders – although I have a feeling Royal Blood might win! Those are the only categories where the ‘cooler’ and more credible British artists could get a say. When it comes to albums, singles and videos – that is likely to go to a Pop act. Sampha is nominated as one of the best breakthrough acts: Dua Lipa is likely to get that, one would imagine.

IN THIS PHOTO: HAIM/PHOTO CREDIT: Getty Images

The international nominations always excite me – even though the BRIT Awards are noted for recognising British artists! I would think Kendrick Lamar will scoop International Male (Beck and Childish Gambino are strong rivals) whilst the group category has Arcade Fire and HAIM among its nominees. Lorde and Björk are nominated for International Female and, whilst I feel Björk should win every award she is up for – I was more impressed by Lorde’s sophomore record (Melodrama) and feel she warrants the gong. It is good to see a lot of female musicians nominated; although, British Breakthrough Act has one female nominee (Dua Lipa); Dua Lipa is the only woman nominated in the album category – HAIM are the only all-female group nominated for International Group. The O2 will play host to the event and, when the winners to the ten categories are announced; we should see some pretty special happenings – I know Dua Lipa will have a big night regardless of the number of awards she takes home. I really would like artists like Liam Gallagher and Stormzy to whip up some excitement and controversy – the thing becomes too boring and conservative if someone is not swearing, throwing stuff around and slandering a politician! It will be an exciting night and, as the Playlist below shows; the music nominated is certainly varied and cross-genre! Let us see who goes away with the most statues on the night. The BRIT Awards always create some sort of news so, as 2018 has just got underway; I hope one (or more) artist can…

IN THIS PHOTO: Stormzy/PHOTO CREDIT: Getty Images

DO something special.  

FEATURE: ‘Generation MTV’: Revisiting a Time When the Iconic Music Channel Ruled the World

FEATURE:

 

‘Generation MTV’

IMAGE CREDIT: Crush Creative/Behance

Revisiting a Time When the Iconic Music Channel Ruled the World

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I promise this will be the last of my pieces…

IMAGE CREDIT: Getty Images

that take a very long, hard look at music’s past. It seems illogical that in the ultra-modern, fast-and-frantic arena of modern life there is not at least one music channel. That is unfair because we still have MTV and VH1! I will mention them but I am thinking about the way we digest music and how life gets away from us. There are so many shows across the board and channels coming out of our backsides. We have YouTube and websites that offer video content; there are countless T.V. channels and you can get anything you want with the touch of a button! It is all impressive and means the average consumer is spoilt for choice – one can get abreast of all the latest music happenings and news. I have been thinking about the way we consume and how gigantic the market has become. Music is growing all the time so it is only right T.V. and the Internet should catch up – to ensure all the data and visuals get to our eager eyes. MTV still exists, as I said, but it is a station that has a different role. Nowadays, there are music videos played on it but they do a lot of original programming. It seems like the majority of their content is some form of reality (T.V.) show – with a tenuous musical foundation.

IN THIS PHOTO: A promotional shot from the MTV show, Ex on the Beach/PHOTO CREDIT: Getty Images

You can, if inclined, watch a show about Hip-Hop lovers and spurned girlfriends; U.S. upcoming artists and their interesting/highly staged lives. We have entered a time when ‘reality’ takes the form of scripted domestic dramas masquerading as real-life events. VH1 does the same and it seems like the words ‘music T.V.’ are fungible. It need only have a vague concept of music to qualify for a spot on the channel. The stations do have time for new music but it is galling seeing so many shows – not revolving around musicians and albums – taking so much time up. Maybe music has changed so much the nature of demand means sound has overtaken vision. We can get the latest videos on YouTube - so there is not a great need to see them on the T.V. I guess that is the consequence of an age that has fostered so much technology and machinery: we do not rely on more conventional options for our content anymore. I know MTV still holds a valuable place in music but, as other services have usurped its position; it is worth remembering a time when the station was the pinnacle of the music industry. It was in everyone’s homes - artists made videos just so they could get on the station. It was a huge time - and one that leads me to the start...

MTV was launched in 1981 and arrived at a time when stars like Michael Jackson were looking for an outlet. He is someone I will return to but, as the decade was starting to heat up; this exciting and new station arrived. It was, essentially, video jockeys launching the latest video – they would lead us into a track and then, like magic, the biggest video from our favourite artists. Nothing as youth-orientating and cutting edge had come into the world to that point. The station helped launch the career of artists like Guns N’ Roses and Michael Jackson. Jackson, in fact, caused controversy simply by being himself. The notion of putting a black artist on a popular channel seemed like a mistake waiting to happen. If it were to happen at this time there would be an outcry and the station would be in serious trouble – it was not seen as a huge deal by the public in the early-1980s. The only reason Jackson became a fixture on the station was the success of videos like Billie Jean. The iconic video resonated and got into the minds of the population. After such resistance and racism: the public reacted and, before long, that led to the inclusion of the fourteen-minute video for Thriller. Jackson helped open the door for black artists like Lionel Richie – acts who would have struggled to get their videos featured simply because of their skin colour. The first video on MTV was The Buggles’ Video Killed the Radio Star and, in 1981, the idea of a music video was a strange thing.

Rock bands and idols were given a platform to put their music on. Bryan Adams, Blondie and Prince were featured; The Police, The Cars and Duran Duran were stars of the 1980s airtime. MTV was a place where classic Rock acts and newcomers could mingle alongside one another. The fact videos could get to the masses meant artists were taking risks. Michael Jackson’s choreographed promotional meant acts like Madonna and Kate Bush became more daring in their videos – the latter’s video for Running Up That Hill (A Deal with God) features a beautifully sumptuous and fantastic dance between Kate Bush and a male dancer. The fact artists of colour (color) had to struggle to get screen-time before 1983 – when the barriers were truly down – was a mixture of prejudice and the original notion for MTV: a Rock channel that was going to play the best bands around (who were mostly white artists). The early days were fraught and exciting but the 1980s beginnings did create landmarks. A safe-sex campaign was launched in 1985 and the rising AIDS epidemic meant a mainstream station took action to connect with its young audience – prompting them to use contraceptives and be aware of the dangers. Something like that would be radical in 2018: the fact a national campaign ran on a popular music T.V. channel was a huge move.

It was not until the 1990s when the channel began to really forge into the consciousness... Public figures like Bill Clinton became fixtures – helping him become President of the U.S.A. – so the station gained a huge sense of purpose and power. MTV also featured – in the 1980s – its annual Spring Break shows (starting in 1986) and broadcast feed from Live Aid in 1985. It was a multi-discipline station that was engaging in popular culture but did so with a serious bent. The station kept abreast with every wave and trend in music. By the early-1990s; a combination of Pop-friendly and Hard-Rock acts were featured: Michael Jackson, 2 Unlimited and New Kids on the Block could often be seen in the same segment. Rappers like Tupac and Snoop Dogg were given exposure and it meant genres like Hip-Hop and Rap could get to the masses. It was exciting seeing the full spectrum of 1990s music get airing on MTV. If anything; music television is more compartmentalised and segregated than it was in the 1990s. The station was all about putting quality videos up: there was not the viewpoint artists did not fit in; that it was all about Pop/mainstream stuff. Videos, because of MTV’s rise, became more adventurous, funny and creative. Directors like Michel Gondry, David Fincher and Anton Corbijn showcased videos for the likes of Madonna, Nirvana and Beck.

It was a place where inventive creatives could push boundaries and dazzle viewers. As Grunge swept and artists like Nirvana, Pearl Jam and Alice in Chains took the reins; they were wrestling with popular stars like Tori Amos, PM Dawn and Björk – it was a magic time for music videos! The 120 Minutes show featured Alternative sounds Alternative Nation focused on underground videos. Older stars could find a place but it meant their music was becoming more inventive and bold – so they could keep up with the younger generation. Consider an artist like Peter Gabriel launching the Sledgehammer video in 1986. Few could claim that was anything other than an attempt to make a mark and rival the big names out there. Artists were not sitting back and producing limp, uninspired videos. From A-ha’s Take on Me to Madonna’s steamy and provocative videos of the 1980s/1990s – it was a time when artists were throwing their all into videos. That was mirrored in the music itself - and that relationship was part of the reason the scene changed and strengthened. Artists had another outlet – apart from radio – where they could speak to the public. By 1995, the station was playing over a-third fewer videos than ever. The ‘novelty’ of only videos meant people were going elsewhere. The introduction of social media and YouTube – the following decade – meant the station had to modernise and adapt.

It was inevitable the station would slump at some point but that near-fifteen-year period of rule helped change music and redefine the music video as we know it. So many young artists today source MTV as inspirations: seeing it as a youngster and those artists inspire and campaign. It was an exciting time and, even towards the end of the 1990s; there was still an important role for the station. A great article in Vanity Fair looked at the rise of MTV and testimony from people who were around at the time – and what it was like being part of the phenomenon:

“Billy Idol, musician: Radio guys would take one look at my picture with the spiky hair and say, “Punk-rocker. Not playing him.” Then MTV airs my videos, and kids start calling up radio stations saying, “I want to hear Billy Idol!” It really broke the thing wide open. We’d never touched the charts, and the next minute we had a Top 10 album. It was amazing. Nobody’d ever noticed me before. Now I’m walking down the street, and people are yelling “Billy!”

Stan Cornyn: It was reported back to us that records were selling in certain cities without radio airplay. We asked “Why?” and it turned out that there were music videos playing on MTV. An act like Devo is dancing around in their funny masks and stuff like that—and they take off in a market where nothing else is happening. You got to be an idiot not to say, “Something is happening here, let’s pay attention to this.”

Marcy Brafman: I knew we were doing something right when I gave my dad an MTV T-shirt. He’d wear it, and the kids would want to mow his lawn for free”.

IMAGE CREDIT: Getty Images

Despite the fact the MTV rollercoaster made history: labels and bosses were not impressed by its debut in 1981. It was not the most fashionable idea, and so, an advertising initiative was pitched. There was scepticism – but something had to be done:

“Les Garland: George comes rolling in with his easel and says, “Garland, who does MTV belong to?” Warner Amex. Wrong. “Pittman, who does MTV belong to?” He’s got this trick-question thing going with everyone in the room. Finally he says, “MTV is the color-TV phenomenon, you guys. If you are the kid on the block with the first color TV, all the other kids come to your house to watch it. Same with MTV. It’s that cool. It’s theirs, the kids’, it belongs to them. I came up with a campaign for a breakfast cereal called Maypo. We had sports stars like Mickey Mantle and Wilt Chamberlain saying, ‘I want my Maypo!’ This campaign is going to be a bunch of rock stars saying, ‘I want my MTV!’ Garland,” he goes, “can you get Mick Jagger to say that?” I go, “I think so.” He goes, “That’s who we got to get first. Mick Jagger is the most important rock star in the world. If we can get him to do it, the rest of them will be easy.” And I go, “I fucking love it”.

The rest is history - but I can understand why it was not fashionable and marketable at the start. When big artists started putting their voices to the cause, and genres/big artists mixed with one another – it became a hit and embed itself into the fabric of popular culture.

I wonder whether we could ever see another MTV again; something that captured the mood and flavour of the times. If the station is, essentially, a portal for poor reality shows and the odd video here and there – back in the 1980s and 1990s; it was a truly revolutionary station that opened up music and helped launch the careers of some legendary artists. The fact they gave a voice to black artists (eventually) was groundbreaking; showcasing myriad genres on the same station was unheard of. It made directors more inventive and reactive; artists made their music more ambitious and controversial – just so they could put that into a stunning music video. The world of music has changed but there is still a desire for a music station that pulls together old and new; the freshest promotional clips and the classics we all know and love. Maybe that will not happen on MTV but who knows: perhaps a new station will crop up that mixes videos with features and spots; news, music shows and documentaries. That would be awesome and I, for one, would do anything to see it happen. Dire Straits talked about – on Money for Nothing – about free chicks and money for nothing. You can forget all of that: all I really want is…

IMAGE CREDIT: Crush Creative/Behance

MY MTV!  

FEATURE: Free Billboards Outside, Ebbing Misery: Is It Possible to Have a Career in Music Journalism and Retain Financial Security?

FEATURE:

 

Free Billboards Outside, Ebbing Misery

ALL PHOTOS: Unsplash

Is It Possible to Have a Career in Music Journalism and Retain Financial Security?

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BEING working-class and a ‘certain age’ might preclude me…

from most of the best-paid jobs in music. A few of my earliest pieces this year revisit ideas I have tossed around before – one would hope my powerful and inspiration pieces (scan for irony!) would affect some sort of change! I am in the position, like many aspiring writers, where we want to project influence but are unable to – relying on our own resources and limitations of the free press. There is a definite austerity in music journalism that means the purse-strings are tighter than ever before. Gone are the heady days of NME when they were the must-read publication for the music masses. There are paid, quality music magazines about but fewer people are buying them. The online nature of music journalism means there are dozens of sites that can offer the reader the of-the-minutes new and events in the world of music. It is hard to produce a profitable magazine/music site and pay employees to. With rumours music journalism is on its last legs – in terms of the big-guns and profitable options – it makes me wonder whether an internship in music is a good thing. That is the only way a lot of people have in. Most labels, magazines and music studios have schemes where, unpaid, a hungry applicant can learn the ropes and get a first-hand look at how the industry operates. If you are lucky, months down the line, that might translate into a paid job.

Even if you are offered a job at the end; the wages can be pretty low and you have to work years before you are racking in anything vaguely impressive. That may be true of every job but there are those, like me, who have been writing for years and feel qualified enough to get a well-paid music job. Is it even possible in 2018?! Unless you are an established writer for a big paper – The Guardian or The Times, for example – you cannot really command too much of a pay-packet. Some of the best music publications around (MOJO among them) have paid positions but they are usually reserved for those with previous experience. Last year, when looking at how journalism still favours the middle-classes; I mooted the reason mainstream music was mostly middle-class was due to a lack of proletariat writers in the media. That may seem like a lazy viewpoint but there are so few working-class idols making music to bond the people – maybe, fearful there are few like-minded souls in the media who will respect and proffer their work. That is why I want to get to a position where I can change attitudes and create a genuine sense of optimism. That may be a bit pretentious but music journalism needs all the ambitious and hard-working journalists it can get.

I suppose the same is true of every musical corner: you need a lot of experience to command the best-paid jobs; there is a lot of grunt-work before you get that breakthrough. A lot of sideways moves and scrimping means the average music journalist might take years to get to a paid position. An interesting article was published in The Guardian back in 2014:

“Though laudably aimed at creating a fairer workplace for budding music industry professionals, the tougher enforcement from HMRC – with no alternative system to help young people gain the experience they need – could potentially be just as detrimental as it is helpful.

At the Liverpool Institute for Performing Arts (LIPA), our third-year placements do not fall within the remit of the HMRC's "crackdown" because – crucially – they are an integral part of an undergraduate degree. What worries us, though, is that some music companies will not realise this, and will be frightened off helping young people gain experience by HMRC's aggressive approach.

Fear of penalties

The concern is that, with unclear guidelines and the threat of a £200,000 fine looming above their heads, HR departments of music companies might close the door to all internships, rather than checking whether they are acceptable or not.

At LIPA we have experienced first-hand the problems this sort of ambiguity can pose. Recently we had to respond directly to one company who almost pulled out of a genuine student placement because of concern about how the business might be portrayed in the light of the additional scrutiny focused on work placements.

  We work closely with reputable music companies, and encourage our third-year students to do their research and then approach them independently, to set up a placement they feel comfortable with. At LIPA we regard this experiential learning as a vital element of the course and critically important in helping students to find paid employment when they graduate.

One might question why HMRC has decided specifically to target the music industry when there are, in my opinion, much more prominent offenders. Take for example the prime minister's recent assertion that exploitative treatment of interns is "unacceptable", yet it is reported that his own party offers non-paid intern positions to young graduates across the south of England.

Although there are plenty of reputable organisations out there, a damaging few take advantage of students by giving them menial tasks to complete such as distributing leaflets or picking up litter, and these companies undoubtedly deserve to be both penalised and monitored.

Securing a genuine internship

Young people undertaking any unpaid work experience placement or internship need to make sure they know what they are going to be asked to do before they commit. If a company can't be specific about what will be doing, then the placement should not be accepted.

At LIPA, we advise our students to look carefully at any voluntary opportunity to ensure that it is a genuine, mutually beneficial arrangement. We have also refused to distribute "opportunities" to students where we see that they are really thinly veiled attempts to get free labour.

So how do we begin to combat the problem, so that students and graduates still have access to real working experience without running the risk of exploitation? It's clear that changes are needed, as the current system of unpaid opportunities clearly favours those individuals who have the private resources, or family support, to enable them to work for free for some time”.

I might be taking legal liberties quoting from that article with such ferocity and lack of editing. I am willing to walk a plank of litigation to show that there is another side to the debate. There are some institutions that provide the national minimum wage and treat their interns fairly. I am not suggesting every company rips-off their interns – or they are all treated fairly – but there is that clear danger of working for a company and having to survive on nothing. There are apprentices in every industry but few that offer no money – maybe only the cost of travel. That instantly excludes everyone bar students and the wealthy. If you have enough money in the bank to survive a few months wage-free; an internship might be viable and stress-free. Privileged folk can take that route and students, who do not pay rent and get their parents to fund them, are the most south-after sector. The fact there is very few big-money music publications around means, yes, you might be getting invaluable experience and exposure at your dream company – will that ever lead to anything substantial and worthy?

Maybe a writer like Alexis Petridis can garner a high-five-digit salary but one suspect even he gets less than deserved. He has been in the business for years and would have started at that entry-level position. I worry, years down the line, there will be fewer magazines and websites offering any chances whatsoever. It means those getting into an internship today might not even have a job this time next year. It is a volatile industry but there are some publications and solid foundations – the broadsheets and best magazines – who will survive no matter what happens. There is a lot of music to cover so one cannot say there is a tariff on numbers and scope. The best way to dominate and stand out is to employ more people and diversify your pages. A site/paper like The Guardian could get even further in the industry if they sourced their talent from a larger pool. They could do features on Urban artists and record interviews – get someone who knows their stuff in the field – or do a series of features that look at different sides of music. YouTube and subscription sites mean advertisers may money – you’d suspect a few of the bigger newspapers have fairly deep pockets.

My problem is not necessarily to do with the efficacy and practices of the internships: I am concerned with the class imbalance and how the better-off are gifted more opportunities than those from less-well-off backgrounds. Many sites need a ‘relevant’ degree - which usually means something based around (but not in) music. A lot of writers do not know what they want to do when they are eighteen/nineteen so it is understandable that crystallisation comes a few years down the tracks. Degrees are expensive and many do not want to spend that much money learning a new skill – and accrue that debt and have the burden on their shoulders. There should be better ways around that problem than creating a divide. Middle-class and better-off have better contacts and can get through the industry quicker. They might have connections in the music business or, at the very least, be in a much better financial situation. Money is a big reason so many sites are not offering paid positions; it is a reason why music media is going online (rather than staying in print) – and it is one reason why people fear the industry will be marginalised in years to come. I have hope there will be a sustained interest in music journalism and, for certain outlets, they can remain in profit. I have spoken to a few people who have gone through internships – in record labels – and the only reason they have managed to survive is because they had more money in the bank (or their parents could fund them).

It is a hard industry but, if you find a company that can guarantee a paid job at the end of the internship – grab onto it and ensure you are treated fairly. Those who go through unpaid internships cannot expect to receive minimum wage for a long time after that. It is unfair, regardless of experience, to pay so low for so long. From my viewpoint; I want to work for someone like The Times or The Guardian and bring my working-class background to the role; write about a variety of things and exert some form of influence through my writing. I see there are internships with every publication/site but they are usually three months at the least. That means I would need to commute and pay rent for that time without earning anything. Even if travel is covered; I would be in the red and in trouble. Even after I complete my internship; there is no guarantee a role will come out of it – the idea is to gain experience and the skills needed to get a role in journalism/music. I would make the sacrifice were there a guaranteed job that paid a decent amount. Maybe I am naïve but I feel like there should be a reward for anyone who embarks on an internship. I wonder whether it would be possible to at least offer some financial remuneration to those who go through an internship. Maybe covering the cost of travel in addition to a little bit on top would be more attractive – and mean more would take that risk.

Maybe a better approach into journalism/production etc. is to work in paid jobs that have a similarity to what you want to do. You can work in the media department for someone like BBC or a role that offers something practical and useful. It might not be the most direct way in but you can earn money at least and have that on your C.V. I wonder whether there should be ways one can work in the industry if they take a degree in Music. They could study and then, with that education and knowledge; apply that directly to the role. Rather than wait for the degree to be over, and that debt to mount; offer the writer/talent a paid position so they can combine education and training. Maybe that is pie-in-the-sky but I feel the only way we can attract new and talented writers is by providing paid positions – or ensuring internships guarantee a job (well-paid) at the very end. It may seem like a rather costly way of ensuring we foster the next generation of journalists but, for an industry that is being accused of lacking relevance…

IT may be the only solution.  

FEATURE: Unfinished, Bittersweet: Why Classical Elements Elevate Music to New Heights

FEATURE:

 

Unfinished, Bittersweet

ALL PHOTOS (unless credited otherwise): Unsplash

Why Classical Elements Elevate Music to New Heights

__________

A few days ago…

I wrote a feature that looked at instruments: whether we are still picking them up and if, in a digital age, there is a need to learn one. It was interesting to investigate – I came out of the piece having learnt a lot about buying habits. I feel we are still buying instruments but in a less conventional way. The Internet is dominating and, although there are music shops on the high-street; we prefer the choice and value one gets from online sites. It makes me wonder how music will change in the coming years. Will artists favour machines and simulate instruments on digital tablets?! I wonder whether the conventional Rock sound will be overtaken by Electronic/Pop; a move towards something more colourful and less jagged. That is a simplified definition (of the genres) but I worry there is too much dependability on machines and electronics. I lust after the natural sounds instruments provide. I have been looking back at my favourite songs and there is a common component that comes out: a romance and elegance that can only be produced through Classical strings. It is not only strings, in fact: horns and brass; timpani and orchestral strands help take a song in a new direction. Like Jazz; there is a stuffy sector who feels that kind of music is for a certain person – it is niche and does not warrant any serious acclaim.

The title of this piece refers to two songs that employ some rousing strings: Massive Attack’s Unfinished Sympathy and The Verve’s Bittersweet Symphony. Both songs are considered anthems of the 1990s; they have got into the history books and are songs we, rightfully, hear a lot. It is more complicated than saying the strings helped get the songs to more people. The songwriting is extraordinary and the songs arrived at a time when the public craved something wonderful. Other songs in my rotation – like The Beatles’ Eleanor Rigby and Kate Bush’s The Man with the Child in His Eyes; The Cinematic Orchestra’s To Build a Home and The Streets’ Turn the Page – contain Classical input and instruments that elevate it beyond the ordinary. I am hearing a lot of modern artists assimilate strings and brass into their music. It can be quite expensive hiring musicians – many do not want to reproduce Classical strings and horns through their laptops. Whilst booking a professional musician adds a cost to recording - the result of adding that into the mix can make a huge difference. There is a perception that certain genres/instruments cannot be adapted and crossed. If you hear rousing strings and blossoming horns; teasing percussion and symphonic lust – that does not have to remain in Classical music. Look at the history of popular music and you can see the way artists have incorporated more ‘highbrow’ aspects into their songs.

IN THIS PHOTO: Max Richter/PHOTO CREDIT: Deutsche Grammophon

The reason I wanted to explore it due to misconceptions and underuse. Classical composer Max Richter has been causing earthquakes with his scales; setting his music to the words of Virginia Woolf (her last words, in fact!). All of the bands I grew up with – from The Beatles to Blur; Radiohead and The Rolling Stones to Led Zeppelin – have used Classical sounds in their music. Consider epics like Kashmir (Led Zeppelin) and A Day in the Life (The Beatles); more emotive tracks like The Universal (Blur) and How to Disappear Completely (Radiohead) – shivers are created and one is provided something truly spectacular and spine-tingling. It is the extra ingredient and kick that takes the song to rare heights. Maybe those bands have a bigger budget – and could afford to indulge their ambitions – but hiring Classical musicians need not break the bank. Modern music is utilising a lot of electronic sounds and, whilst that is proving popular, I think there is greater flexibility and potential inherent in Classical avenues. Any emotion can be simulated and produced in this corner; there is so much untapped potential artists are overlooking. There is, as I said, strings and Classical instruments need to score something quite refined and studious. Over the past few years; we have seen various songs and film-scores reimagined by using an orchestra. From Pete Tong’s Classic House project through to the Grime Orchestra/IXtra Grime Prom – there are collisions and unities that have taken one style of music and added new light and potential.

I am not a huge Classical treasurer and someone who grew up on that type of music. My exposure came young but I was always a little off-put by the lack of vocals and variation. There is a range of emotions and styles explored in Classical music: it, in its way, created sub-genres and styles of music we hear today. Bigger, edgier Classical pieces had the element of Grime and Hip-Hop; pastoral suites had a more Folk/Pop vibe; those epic, ever-changing cannons remind me of the Progressive-Rock greats. Transpose that connection and it is clear, consciously or not; artists from the past few decades take from Classical music and the variety inherent. Those who overlook Classical music ignore how complex, intricate and detailed the music is. The amount of work needed to create a Classical piece is immense. Maybe that amount of work – replicating it in the modern age – is quite daunting for anyone trying to update the wonders of the seventeenth and eighteenth centuries. I am not suggesting every artist needed to hire a forty-piece orchestra and book Abbey Road for a professional record - few have the potential and money to do that! There are artists, through all genres, that sprinkle in a little bit of Classic here and there. The common thread is how much is added down to something simple and unexpected.

Woodwind and brass can take a song in a new direction and provide extraordinary romance and emotion. Strings are nimble and spirited; they have malleability and can project in every direction. Classical music is one of those genres that can fuse with any other type of music. From Grime and Pop to Folk and Blues: there are no reservations; everyone is welcome to use whatever they feel. It can be quite tricky knowing what to incorporate into your music and how much – striking that balance is always hard. What amazes me is how few of the mainstream stars out there realise the potential of Classical. They put huge beats and layer electronics up; lots of fake sounds and synthetic charm to produce something quite anodyne. It can be rather jarring hearing something like that come out of the speakers: there is endless potential available to the songwriter who takes that gamble and breaks from convention. It is only a small group of musicians who are unaware of Classical music and what it can do. Maybe prices are causing restriction and limitation. One needs to get a genuine instrument and player to get the sound just right. It can be hard getting a part how you want it so, with the hire costs and studio time; the final bill can be quite steep – for something quite minor.

PHOTO CREDIT: Getty Images

Rather than consider Classical music as a necessity: it might be worth thinking about it as a treat. Every artist will go through fallow periods and lose a certain spark of inspiration. I feel a wonderful string quartet or horn section can rekindle a passion and vein of creativity. It need only be a bassoon or cello thrown into the mix to give that song unexpected nuance and vivacity. I feel genres like Folk are bonded closest to Classical – that has been the way for a long way – but other genres are starting to get in on the act. Hip-Hop and Grime acts are fusing something dignified and high-class with music that has a distinct ‘swagger’. I am not saying Grime/Hip-Hop is low-rent and scruffy: the genres are all about keeping it real and projecting a sense of reality. Melting these disparate styles of music together could be risky and backfire. If done correctly; the effect is outstanding. I would urge more modern artists to look at Classical music and how, over the decades, it has been used to heighten some of our favourite songs. Classical music has been proved to relax the mind and can increase the I.Q. – a brief spike has been noted in college students (in the U.S.) after hearing a snippet of Mozart. It can nourish and improve the mind; heal the body and help aid those with anxiety.

A couple of articles I have researched online how Classical music have inspired modern artists. One of them, produced late last year, explored how Pop choruses connect with Classical music:

“One of the main ways that classical music has impacted today’s popular music is with the chorus. The chorus, or the short melody repeated throughout most songs, was first seen during the Classical era. A vast majority of songs we hear on the radio today are structured to include a chorus. It’s typically the part of the song we remember the most, and we have the Classical era to thank for it!

The Baroque period, which is often associated with classical music, also had a notable influence on contemporary music – particularly the rock genre. Many modern rock songs copy the original intensity and complexity that you’ll observe in music from the Baroque period. Several rock artists, including Led Zeppelin and Muse, have also stated that composers from the Romantic period influenced their music.

Many of today’s pop songs are based on a handful of chords and sequences that were discovered during the Classical period. When you listen to artists like Adele, you might not even recognize the rich history that has gone into the music. Lady Gaga has also adopted Baroque themes into many of her songs”.

IN THIS PHOTO: Adele/PHOTO CREDIT: Alasdair McLellan

The Guardian, back in 2014, explored another connection between Pop and Classical masters:

“Most pop songs are based on a dozen or so of the most familiar chord sequences that were "discovered" in the late 18th century. In the present age, someone such as Adele is an original singer because of her voice, her attitude and her style. But the chords and sequences she and most pop writers are using have been around for a very long time. Perhaps the originator of the three-minute pop song was John Dowland, way back in Shakespeare's time, but I think the modern pop song was created by Schubert.

Schubert was a remarkable talent. Melodies poured out of him. He wrote 600 songs, and, like today's songwriters, his intention was to write music that would be instantly enjoyable. There's not a moment where he is trying to catch you out or where you have to listen 10 times before you get your head around a song. He wants you to get it first time; there's verse-chorus, voice and piano underneath, and he wants you to remember the chorus”.

There are famous songs inspired by Classical music and the influence is clear. The problem I have is either artists are not aware they are influenced by Classical music – that or they keep the influence hidden. It seems Pop is the biggest proponent of Classical music: songs that hark back to centuries-old music; the same dynamics and structures that delighted audiences so many years ago. That is pleasing to hear and proves you do not need Classical instruments in order to reproduce the sounds and sensations of the genre.

It can be a particular phrasing or a similar melodic progression; the way the song unfolds and the key changes employed. We know the mental and spiritual benefits listening to Classical music. It can release dopamine and open receptors that make one happier. It calms and soothes; it promotes intellectual growth and has been shown to increase the I.Q. In terms of new musicians; we know Classical has played an important role for years now. I feel we can go further and take a more overt approach to Classical. Its benefits are numerous, and so, if you want more people to respond to your sounds and stick with you – it makes sense Classical music is the way to go, right? At the moment; it seems like Classical is being heard here and there; it is more theoretical and supposed than proven and evident. I would like to see the genre take more ground and feed into the mainstream more effectively. If we can do that; we can create a richer scene and one that goes deeper and improves the body and mind. It would compel younger listeners to listen to Classical and, in the process, take up some of the instruments they hear. The benefits are numerous, and so, let’s get a lot more Classical instruments/strands into music – in a more obvious, strident and cross-genre way. I am excited seeing where music can go this year and what trends emerge. My greatest hope – although it might not happen this year – is seeing Classical music play a much bigger role…

IN the sounds of today.

TRACK REVIEW: Blushes - Honey

TRACK REVIEW:

 

Blushes

PHOTO CREDIT: Ellie Merridale

Honey

9.6/10

 Honey is available via:

https://www.youtube.com/watch?v=eaNqE_0Sl8o&feature=youtu.be

GENRE:

Alternative-Rock

ORIGIN:

Buckinghamshire, U.K.

RELEASE DATE:

12th January, 2018

_________

THIS review not only allows me the chance…

PHOTO CREDIT: Ellie Merridale

to step outside London (again) - but feature a band who are turning a lot of heads right now. Before I look at Blushes and their latest single; I wanted to address groups who have male-female vocals; a special year in music and how, I feel, great bands/artists are picking up on a need to revisit that time; tight and solid acts who boast incredible musicianship; making the most of opportunities presented to you; how 2018 needs to promote artists doing things differently – how the Blushes crew can develop and strike this year. I will, as I say, look at Honey soon but, before then, I want to look at bands in general. There is a smattering of decent options in the mainstream but, for my money, it is the solo artists that is king/queen. I have talked about this a lot but the point remains: what has happened to the band-market in the U.K.?!  I will come to look at a year in music when bands ruled the roost but, in 2018, it seems the solo artist is still being tipped for greatness. We have had some half-decent attempts at a unifying band – The Amazons gave it a go; IDLES seem like they are in this for the long-run – and the best groups we have are in the underground. I really like PINS and The Big Moon – two female-led acts that are showing why we need to look at sexism in the industry. That is another point but, the reason I love these groups is the fact there is real invention and originality. I find the Rock/Alternative sounds of Royal Blood dull and limited – the guys not changing things up between albums – and I long for artists who go beyond the obvious and provide something sensational. PINS, especially, excite me and, yeah, there are a few other great bands (False Advertising and Yonaka; Anteros are another great act to look out for) but it seems, when you look at all the lists of ones to watch – it is the solo artists that are favoured.

PHOTO CREDIT: Ellie Merridale

Maybe I am painting a bleak picture but I am glad there are bands emerging that have the chance to overhaul the dominance of solo artists. Blushes excite me because, like the bands I have mentioned; they go beyond what is ‘expected’ of groups and have that sense of quality and dynamism. They can easily fit into the mainstream but, rather than compromise their ethics and settle for something easy – they produce music that gets you thinking and sticks in the mind. I suppose it is quite hard creating music that truly distinguishes itself – as there has been so much recorded! – but the guys do it with aplomb. You get (with Blushes) Alternative muscles and melodic touches; lyrics that paint beautiful, captivating scenes and inter-band connections that allow the music to fizz and pop. I do not think bands will completely reverse the (im)balance but I am confident the likes of Blushes will make headway. There is a need for a group who can fill larger venues but do so without producing aimless riffs and generic sounds simply designed to get the body moving. In order to compel the mind; one must take the initiative and expend more thought – that can be quite a chore for a lot of acts! Blushes have been together long enough to know what the industry expects. They are among the hardest-working bands around and have a style and sound that is hard to overlook. You can look out at the mainstream and discover the odd band that is worth a shot but that desire to foster a genuinely fantastic act is palpable. There are contenders working underground and I feel, in a few years, Blushes can ascend and exert a lot of influence. I have alluded to the songwriting and originality of the band (as reasons to watch them) but there are others, too: the connection within the ranks and the fact they are not your typical all-male band.

PHOTO CREDIT: Ellie Merridale

I have highlighted a few great all-female acts up-top but, like False Advertising; Blushes have that blend of male and female – In fact, like those groups; it is mostly boys but, happily, they have that single female voice. I am not sure why this composition is proving popular but I am glad to see a shift away from the all-men groups we grew up on. There is nothing wrong with them but I feel something extra comes through when you mix in a female voice. Many assume bands with being male; you have female solo artists/duos but, really, the guys are the ones in bands – that is a perception that continues to this day. Look around and we can see the fantastic female-only/female-led groups worthy of time and affection. One of the reasons I prefer my bands gender-balanced is the relationships and songwriting differences. Whether compelled by a brotherly spirit; you see a band like Blushes and there is something quite sweet and charming about their performances. They are all tight and professional but, I don’t know; you know their friendships are different. Whether a female member adds discipline or rules to a band: things feel different and it is pleasing seeing a mix of genders in a band. Blushes are very close but it is the way they come together on stage and in the studio that impresses. A lot of all-male bands tend to be in competition with one another. You get a sense there is a bit of friction and a struggle for power. You get a feeling the songwriting process is not as democratic and focused as you’d hope; there are fraught and tense moments in the ranks – without a sane, more rational voice keeping things level. That may sound like gender stereotyping but, with a female member; you have that more mature and calm spirit that can keep the members together and ensure things do not get out of hand. Blushes are not your stay-at-home-watching-Netflix kind: they have rawness and energy that, like Yonaka and PINS, means they enjoy life as much as anything.

PHOTO CREDIT: Lauren Keir

I digress, of course, but it is interesting exploring the sonic and interpersonal differences between all-male bands and those who have female members. That will not matter to Blushes but I think that is one of their strengths. It means the songwriting can be more varied and allow different emotions in. I hope these great male-female bands get the attention they deserve this year because I think the days of the all-male band owning the scene are long-gone. I am a big fan of solo artists but they are gaining too much focus and celebration. Blushes will make some big steps this year and are already preparing themselves for a busy time. I mentioned I would come to a special year in music: I am listening to a selection of songs from 1994. Just now, I heard a one-two from Hole and Nirvana: Beauty Queen (Hole) and About a Girl – MTV Unplugged in New York (Nirvana). There is, on my list, Pearl Jam and Weezer; Portishead and Oasis – some Blur and Pulp to spice up the pot! Rather than list a selection of artists from my favourite year in music: I wanted to show why artists should look back and take note of that time – as Blushes are, to an extent. You can quibble it was a better time for music and things were easier then. The reason why bands were popular and dominant during that time was what they were saying; the sounds were original and they were breaking ground. It is harder to break ground this many years down the line but, those new acts who do not have commercial pressures, have an invaluable treasure-box of sounds to source from. Look at 1994-released music and listen to the variations and quality! I admire artists unwilling to repeat the past but I feel too many are copying what is already out there or creating music that lacks real wonder and memorability.

PHOTO CREDIT: Toby Henley

Blushes, I sense, have one eye on the present but keep their mind trained on the past. I am not sure how much 1990s music they have in their collection but I can hear the same innovation and spirit present back then. Maybe there were fewer limitations and hurdles in 1994 – fewer musicians and streaming was not available then – but I yearn to hear bands that take from that time and update the sound. I pick up on some of those U.S. guitar strands – Pavement and Hole – but there is a pleasing layer of melody and populism – Blur and Pulp-y in places – with some jagged edges that remind me of the Grunge/Alternative artists of the time. Whether this various strands and patterns will coalescence into something biblical down the line, I am not sure. I hear the band and get that sensation of old and new; the way they can stay rooted in the current-day but remind one of finer days. Let’s hope this business ethic continues in 2018 as they make plans and charges. Honey, as I will get to, is a song that announces their place in music and singles them out for great things! I have alluded to the male-female tones present in the ranks but, another reason they are so celebrated is their musicianship. That is a component that is not often highlighted when talking about bands. Blushes are exceptional musicians who throw their all into every song. Their songs are tight and ordered but there is room for rougher edges and some interesting diversions. Every note and idea packs a punch and there is so much richness in their music. I am not sure how much time they spend rehearsing but I can tell a lot of effort and work goes into their songs. In an industry that demands artists are prolific and always-visible: Blushes take time to craft music and ensure they are putting out the best possible product. The Jazz notes of Tiffany Marie add something magic; the electro-acoustic rhythms are sublime; it all comes together in a wonderful, heady brew.

PHOTO CREDIT: Peter Capstick

It is good discovering a band who works outside of London – the guys are from Aylesbury, Buckinghamshire – and I am glad they are getting gigs there. A part of me knows, in time, they will settle in London and take full advantage of the scene here. The fact they are so close-by means there are so many options in front of them. They do not have to struggle with the stress of the city but have it near them when they require gigs. Buckinghamshire is a county that gets overlooked – many assume it will be very quiet and dull. There are some great artists working in the county and it shows you should not judge somewhere until you visit there. The Green Man and The White Swan are a couple of smaller venues/pubs where local bands can cut their teeth; Coopers and The Aristocrats are reputable spots that are proving popular with musicians. Aylesbury is one of the more thriving parts of Buckinghamshire but there are great towns/villages where musicians can get gigs. Blushes know this but, as they grow larger; one feels they might relocate to the city. They have had some great opportunities and accolades presented to them in the past year. Since their formation in 2016, actually, they have been invited by producers of both London Live and BBC Radio 1 to feature on their platforms. Their debut E.P., Private Viewing, went down a storm and they have had tracks – To the Bone and Voices – featured on the radio station, Mix 96. With producer Ian Flynn; they have co-opted a nuance, yet organic, sound that emphasises the percussive boom and introduces a range of other instruments. I know they will continue to develop and progress but, so far, the band have achieved a lot. There are few who have a sound quite like theirs – something many radio stations and platforms are fully aware of!

PHOTO CREDIT: Ellie Merridale

2018 is here and, unlike last year, we need to start promoting a new type of artist. Last year provided some treats and great new acts but I feel we should take a different route this year. Bands, as I said, need more focus as there are some really good ones out there – differing from what has come before. The mainstream needs to recognise those artists that do things differently and are willing to add something fresh to the scene. We are seeing too many overly-familiar artists who too eager to get streaming figures high and appeal to a certain demographic. That is fine, to a degree, but it is creating a rather stodgy and dull scene. Blushes mix in cheekiness and Pop melody with strange instruments and some tough-strut. They are unafraid to venture into foreign territory and, because of that, are being earmarked as a band to watch. I know there are fellow groups who expend the same invention and, alongside Blushes, they warrant more acclaim and boost. This year is going to be marked by the solo artist once more. All the polls and rundowns are putting the focus on sole acts: what happens to all the bands who are keen to make a success of things? They might have to work harder but, I think, those who take the effort to stand out will find reward. I am not sure what Blushes have planned but I know they will continue to gig and get new material out there. It is a great time for them and who knows how far they can go. They continue to evolve and change; their music does not stay still and there is that insatiable and tangible energy and passion present. If this year is going to inspire listeners and suggest real change and growth; we should put more emphasis on those artists who have the ability to remain and inspire – even if it does differ from that is favoured in the mainstream.

Some crackle and eerie sparkle give Honey a slightly unnerving and disconcerted beginning. I was not expecting such a sound to come out from the introduction. It puts the listener in a certain mindset and you are looking at something quite dark and shadowy. An announcement comes out – “Good evening, ladies and gentlemen/ (and) Welcome to Saturday night” – and it is the band’s version of Top of the Pops. The male announcer tees the band up and it leads to a pleasingly Oasis-like drum thud. I mentioned the Manchester legends before: Honey’s first beats put me in mind of Oasis’ track, Live Forever. It is that mule-kick start that gets the blood running and, before you get settled in; that changes to something more swaying and seductive. Keys and fuzzing guitars give the song a mix of 1980s Pop and Electronic experimentation. It is a swooning and swaggering brew that subverts expectation and brings another layer into the song. The lyrics paint pictures of popcorn on the hob; the romance/domestic lifestyle that needs a bit of sugar sprinkled in. Whether referring to a new love or the weary state of a current relationship – there is a note of caution and unhappiness in the hero’s vocal. Backed by that wooziness and original bent; he lets his voice flow and investigate. Honey is a song that differs from Blushes’ previous material but has that relatable and familiar core – a band that are always on the same page and throw their all into the music. “You’re that honey/on my lips” the frontman explains – an addict who seems happy with his drug of choice – and is a lounging lizard ready to snap up and seduced the girl. In the song’s video; the band are cast in their own spoof/show – each member gets their own identity (Tiffany Marie is ‘Stacey’) and a Blushes-themed show unfolds.

PHOTO CREDIT: Ellie Merridale

There are newscasts and bulletins; a range of scenes that give the song a more dramatic and visually-arresting angle. The chorus is an energised and breathy thing that melts male-female vocals into something soothing yet intense. One of the problems I have noticed with my recent reviews is a degree of indecipherability. The words come out but it is quite hard understanding them. They get buried a little by the composition and are a little too breathy – more about the sound rather than clarity. That is okay – the verses are really clear – but it is a struggle picking out all the words. What strikes me most is the sound: a melange of sweetness and low-down; a conspiracy of honey and silk. It is a pleasing coda that emanates various emotions and gets into the head. Comestibles and foodstuffs are used as metaphors and similes. The hero can make the relationship last so long as the milk does not sour; the honey-scented girl is his ideal but he knows there is a risk things can go bad – the need to please her and not rock the boat is evident. The composition never gets too hot and intrusive: the vocal is allowed to shine and, instead, the instruments push the song forward and add interesting little colours here and there. One gets impressions of 1960s Pop with the lyrical sentiment. There is an innocence and child-like nature that is reflected in the video. The huskier female vocals have croak and sensational passion; the male vocal is more relaxed and lighter – the combination gives the song huge vibrancy and allure. The hero does not know what to do or think anymore – the heroine expresses the same sentiments. Voices build and the entangled emotions give the song a sense of confusion and urgency. The chorus, as the song nears its end, becomes clearer and you piece more of the story together.

PHOTO CREDIT: Ellie Merridale

What one notices by the end of the song is how quickly they want to repeat things. You listen again and are hooked by all the vocal and instrumental elements. It is an addictive song that, given its themes and ideals, should not come as a surprise! The band has created a song that will prove very popular and do fantastic business in the live setting. It is an intoxicating and wonderful song that has an insane degree of catchiness and seductiveness. You keep coming back to and are keen to explore every nook and avenue. Few bands have crafted anything as sublime this year – even though we are only a few days in – but that benchmark will be hard to top. Rather than go for something easy and commercial; the guys have crafted a song that means a lot to them. There are elements of the 1990s’ best; the joys and Pop of the 1960s – modern Alternative tones that keep things current. Even though the song is around four-minutes-long; you wish it would last a bit longer – so one can experience that chorus one more time, perhaps! Let’s hope there is more material from Blushes and, on the evidence of Honey, they are on a hot streak right now. The Buckinghamshire band ensure this year has begun with a dollop of warm, sweet and nourishing goodness.

PHOTO CREDIT: Ellie Merridale

The Blushes guys will still be adjusting to the introduction of the New Year. Honey is a great way to kick off their 2018 and I am excited seeing where they go from here. Whether there is an E.P. or album arriving, I am not sure. They have momentum and fans behind them; radio stations are aware of them and it seems like more and more eyes are trained the way of Blushes. I am pumped and cannot wait to see them explore and conquer. They will get local gigs but, owing to their new stature; I wonder whether they will explore the spectrum and bounty of London? The city has so many great venues so, as spring emerges; they will take the time to get their music out to the capital-folk. I have mentioned bands like False Advertising: a Manchester act that is performing at some of their city’s biggest spots. I wonder whether Blushes will consider Manchester as it is a rich market ripe for tapping. These are all speculations and suggestions: how they progress and move in 2018 is up to them. It is the spirit and mutual respect that gets me; the way the band melts and fuse with one another – an intoxicating ballet that has led to some sensational music. I would like to see Blushes wipe the crimson from their cheeks and widen their scope. I know money is an issue and they will not want to race up and down the U.K. just yet. Their music is hitting the hearts of many so, in that spirit, there will be many people out there who have yet to see the band perform live. Let’s hope the band spend some time visiting other cities and counties through the year. It has been an exciting and successful past couple of years for the group – 2018 is the year, I feel, they will make the biggest strides. Honey is where they are now and, if it is an indication of where they are heading; I feel they will get some very good festival invites. That is another region they could explore: the fabulous festivals, small and large, that seems perfect for them. If you have not got involved with Buckinghamshire’s Blushes rectify this and discover a band who will soon become part of…

PHOTO CREDIT: Ellie Merridale

YOUR regular rotation.

_______

Follow Blushes

PHOTO CREDIT: Ellie Merridale

Official:

https://www.blushesbanduk.com/

Facebook:

https://www.facebook.com/blushesband/

Instagram:

https://www.instagram.com/dontmakemeblushes/

Twitter:

https://twitter.com/blushesband

SoundCloud:

https://soundcloud.com/dontmakemeblushes

YouTube:

https://www.youtube.com/channel/UC03rJ06VmYTkf1jtr8LVnpw

Spotify:

https://open.spotify.com/artist/2AqDF6Q74Ri1WBf7t5ZPXt

FEATURE: The ’94 Vintage: How a Single Year of Music Helped Change the World

FEATURE:

 

The ’94 Vintage

ALL PHOTOS/IMAGES (unless credited otherwise): Getty Images

How a Single Year of Music Helped Change the World

__________

IN a piece tomorrow...

I will look at the time when MTV ruled the box - and music-television was hugely popular. I do not want to revisit the past too fondly but, instead, ask why we do not have anything as iconic as that in the modern time. You can argue the 1970s was a finer decade than the 1990s (you’d be wrong!); you can debate 1967 produced more iconic songs/albums (see the previous parenthesis...); you can say 1994 was an overrated year (seriously?!) – I admire anyone who is willing to launch into a purely hypothetical argument. I say that because, without bias, 1994 has provided the world of music some of the greatest, most influential records ever. I looked at 1994 last year but, the more music cries for something unifying and legendary – the more my mind goes back to the year. It is not only the music that inspires me: the year saw popular culture boom and enter the stratosphere. Although John Major was in government; there was hope the nation would regain credibility and enter a new phase – Labour came in by 1997 and there was optimism things would improve! Around the Tory wallow was an entertainment industry whose best T.V. shows and films are still being talked about today...

You can make links between album themes and film styles – how diverse the year 1994 was – but the neo-noir captivation of Pulp Fiction was the Grunge-cum-Rock film (with Psychedelia, Disco and Rock ‘n’ Roll tossed in!); The Lion King and Forrest Gump charming Indie/Pop; The Shawshank Redemption a more complex work; Clerks, Four Weddings and a Funeral the comedic, lighter offerings – Heavenly Creatures the immersive and dramatic L.P. Maybe these links are spurious and unconnected - but the vibrancy and diversity of the films (the best of) are obvious. So much quality and originality: a mixture of intense screenplays and humorous concepts. Mix in U.S. comedies hitting their peak – The Simpsons, Seinfeld and Friends among them – and you can practically smell the brilliance of 1994. We have not seen a year like it in terms of entertainment and innovation – shows and films that continue to compel nearly twenty-four years after their release. ER, The X-Files and Beverley Hills, 90210 were filling the screens and, looking back, it seemed like a less troublesome and fraught world. Maybe I am misremembering but the joy projected from the T.V. screens – and film screens – was only surpassed by the music that year.

I mention these T.V. shows and films first to give an idea of what was happening in popular culture. The best music from 1994 took from what was happening in other areas of the entertainment but, if you think about it; maybe the two are unconnected. There was inspiration in the air, for sure, but such is the magnitude of 1994’s music – I am still baffled how it managed to create such an impact. 1993 and 1995 were strong: 1994 was a biblical year that seemed to drop out of nowhere. Maybe the hangover of the late-1980s was over and, inspired by the drive and quality coming from other parts of the world – musicians were on a high and willing to change the world. There is a split between the songs and albums from that year. I will collate it all in a playlist (at the end) but, if you look at the finest songs from 1994 – you get some genius from so many different genres. Chart-riding hits like !I Swear (All-4-One) and The Sign (Ace of Base) might seem cheesy today but, back then, they were massive songs that got into the collective soul Warren G’s Regulate and Black Hole Sun (Soundgarden) showed the contrasts offered up that year: Beck’s Loser and Green Day’s Basket Case provided the best Punk/slacker polemics in American music. Kylie Minogue’s Confide in Me and Boyz II Men’s I’ll Make Love to You, sultry and alluring hits that stole focus.

IN THIS PHOTO: Kylie Minogue 

I will mention standout tracks from the best albums (of 1994) but I loved those phenomenal songs that sound fresh and desirable today. Who can resist the singalong, beguiling qualities of 7 Seconds (by Youssou N’Dour and Neneh Cherry) and the good-at-the-time-but-a-little-dodgy-now charms of The Cranberries’ Zombie?! Away from the Pop mainstream and radio-friendly hits was the incredible Dance/Club sounds that have not been bettered since then. We had the barbed wire of The Prodigy (who I shall talk about soon...) and the more accessible sounds of Reel 2 Reel and Ultra Nate. Although years earlier in the decade produced the biggest anthems from the scene; inclusions from Björk (Big Time Sensuality) and Real McCoy (Another Night) added a certain spice and colour – Livin Joy’s Dreamer a huge song that made November a pretty warm and memorable month! Toni Braxton, Corona and Baby D produced some standout singles; Aswad, Dawn Penn and Sheryl Crow lit up the radio; Salt-N-Peppa (with En Vogue), Take That and Madonna laid down their mark. The best one-hundred songs from 1994 – album inclusions and singles – can rival any year you throw at me! Whilst there was a split between the cool, edgier songs and the user-friendly cuts: look at the arsenal of genius albums and there is even more depth, diversity and wonder.

The albums that arrived in 1994, I feel, are stronger than those of 1967 and 1991. It is a close call but, look at the 1994 inclusions, and you can hardly argue. Sheryl Crow’s Tuesday Night Music Club and Hole’s Live Through This showed how two very different American female (stunning) songwriters (Courtney Love of Hole) could impress and stun in unique ways. The Americans, perhaps, had us pipped when it came to the number of ground-breaking albums that year. Nirvana’s MTV Unplugged in New York was one of their last recordings – Kurt Cobain’s suicide (in the same year) not only affected the Grunge community but inspired a wave of new, compelled bands/artists. Beastie Boys showed they had plenty of magic left in the tank – after the sublime Paul’s Boutique ended the 1980s – with Ill Communication; Weezer’s eponymous album (the first one, at least!) dazzled critics; Green Day’s Dookie remains the Punk band’s finest album to date. We have not really seen an inventive Hip-Hop album like Beastie Boys' Ill Communication in a long while – with samples and so much invention – or something as catchy, intense and hard-biting as Dookie. It is all very well listing albums aimlessly but, look at why they were so popular makes me wonder why we have not tried to replicate them. Pavement’s Crooked Rain, Crooked Rain showed how prolific the band were but, a few years later, it would inspire a flagging British band and provide a new lease of life – I will mention them when I look at the Britpop best.

IN THIS PHOTO: Tori Amos

There was no shortage of quality Rock and anthemic pummel in 1994. Pearl Jam’s Vitalogy did not have the same level of quality as Ten (1991) but, no less, was a wondrous album that got into the public's hearts. Soundgarden’s Superunknown was a biblical statement from a band that was among the forerunners of the Grunge movement. Now, with Chris Cornell (their lead) gone; I hope new bands listen to that album and realise why we sorely need a new version of Superunknown. Alice in Chains brought us Jar of Flies whilst, at the other end of the spectrum, there was something more emotive and tangible from Madonna (Bedtime Stories) and Tori Amos (Under the Pink). R.E.M.’s Monster was an album befitting of its title whilst Beck’s Mellow Gold proved the Odelay creator was starting to hit his stride (Odelay would arrive in 1996). Perhaps the greatest, and most overlooked, American album of 1994 was Jeff Buckley’s Grace. Its year of arrival was slightly unfortunate: mingling with muscular, cool-kids-records that were inspiring Alternative, Grunge and Rock fans. There was some muscle on Grace but, for the most part, it was a romantic and tender thing that appealed more to the lovers and thinkers – at a time when nothing like it really existed. Buckley’s sole studio album would gain the respect it deserved years down the line - but it was implanted into music at a time when the market was looking for something else. Regardless; it showed the diversity of 1994 and how insanely-good music was!

I have mentioned the brilliance of American music that year but, perhaps, I was too rash with my conclusions. 1994 was a year that saw the best of the U.K. align and rouse the people. The acerbic and cerebral Pulp gave the musical world His ‘N’ Hers. The Sheffield band would create finer records – 1995’s Different Class is considered their masterpiece – but any album that contains Babies and Do You Remember the First Time? cannot be ignored! It was a hot time for British bands who dug deeper than the commercial chart acts. We do not really have the same working-class warriors assessing real-life and what is happening in this country. Look back at the glory of 1994 (and how the likes of Pulp and Oasis ruled 1995) and we have a case study of how music should be. Supergrass – who would come into their own on their 1995 debut, I Should Coco – provided a tantalising insight into their world with the classic, Caught by the Fuzz. I will end the piece by looking at why the British Electronica/Dance/Techno is another reason why we need to look at the past – and why the best from the genres surpassed anything the rest of the world was pumping out...

The Britpop movement was in full-swing by 1994 and, although it would peak in 1995; there were outsiders like Suede, Pulp and Radiohead – with core/leaders Blur and Oasis fronting the movement. British music was changing and, whilst there were big hopes regarding The Stone Roses’ sophomore album (Second Coming did not match their debut, ironically); it was all about the new breed and what they were offering. Suede and Pulp produced the more refined, intellectual and dramatic music – flourishes and mini-dramas of modern life and romance. They had their core but were not commercial enough to truly break into the spotlight. Pulp would gain more ground in 1995 – as would Radiohead – but 1994 was all about the battle between Oasis and Blur. For the latter band; Parklife was their third, and finest, album. They got a smattering of applause with Leisure (the 1991 debut); Modern Life Is Rubbish was one of 1993’s best releases: Parklife was them at full-chat; an album that boasted songs like Girls & Boys, Parklife and This Is a Low. Manchester’s Oasis were the working-class alternative to the more middle-class and academic Blur. Unlike the Essex band; Oasis produced their first album in 1994. They did not need a warm-up and gradual ascent to glory: Definitely Maybe was a spectacular debut that many argue is the best record of 1994. It was unexpected and just what the music world needed!

Many felt disenfranchised and dislocated; politicians were not speaking for them and the country they lived in was changing – Oasis came along and provided guidance, anthems and plenty of great times! They were not your average pub-bound band talking about booze and girls with no intelligence and wit. Sure, they covered excess and the Rock lifestyle on a few numbers (Cigarettes & Alcohol and Rock ‘n’ Roll Star among them) but those chunky-riffed songs paled compared to the standout track: the country-uniting Live Forever. If that were waged into the 1995 chart battle between Oasis and Blur then the final result would have been different – both bands put up songs that were not up to their usual high. The cobwebs had been forming since The Stones Roses’ late-1980s debut and nothing had come along to suggest rebellion and revolt. The insouciance and clutter-freeing charge of Definitely Maybe was a swagger and scattershot – mixing Punk, Rock and Glam seamlessly – record that quenched the thirst and created a massive hunger in its wake. Oasis would start a creative decline by 1997 - but Definitely Maybe was the start of a two-year reign that meant they were the most important and celebrated band on the planet. 1995 would see Blur and Oasis compare new tattoos (Blur’s The Great Escape found them blocked in a tunnel and unable to reach the surface; Oasis’ (What’s the Story) Morning Glory? elevated their profile and meant they were untouchable).

IN THIS PHOTO: Oasis/PHOTO CREDIT: Kevin Cummings

By 1997, fortunes shifted. Blur looked to U.S. bands like Pavement and rejuvenated their ranks with their eponymous L.P.; Oasis, instead, looked more into themselves and swapped influential substances: cocaine replaced alcohol. The overblown Be Here Now gave power back to Blur: 1994 was a year when the scrappy and unfiltered northerners owned music and provided us all hope! Whilst Rock and Pop was doing sterling business in the U.K.; the fantastic movement of Dance and Electronic was gaining credibility and crowds in the underground; Bristol innovators Portishead produced Dummy: songs such as Glory Box, Sour Times and Numb became staples and club gems. Away from great British icons like Morrissey (Vauxhall & I was his best solo work to that point) and Manic Street Preachers (The Holy Bible, a remarkable work); we had the daring and high-fuelled pioneers doing something truly fantastic! British Dance and Club music would stagnate later in the decade – Basement Jaxx’s debut provided the colour and cross-pollination it was crying out for… - but, in 1994, we saw another band begin a remarkable one-two. The Prodigy's debut, Experience, was a brilliant record with stone-cold classics like Jericho and Out of Space featured. If Liam and Noel Gallagher drove Oasis’ music to the forefront; Damon Albarn the catalyst for Blur’s glory; Jarvis Cocker the wit and lead that helped mould Pulp into icons – the production and songwriting skills of Liam Howlett brought The Prodigy to the masses...

Music for the Jilted Generation took the brilliance of the debut and notched it up to another level. There were few samples but, rather than rely on other people’s work; Howlett created a dizzying cocktail of sounds that meant cheap music did not need to be poor – it was invaluable, dark and shape-shifting. Voodoo People and No Good (Start the Dance) became two of the biggest bangers of 1994 – both very different songs but each irresistible and defiant. Break & Enter and One Love are instantly recognisable, whilst some of the more minor tracks – Full Throttle and the three-song suite that ends the record among them – still had their place. It is a kaleidoscopic cocktail of ecstasy, marijuana and cocaine; beer, wine and tranquillisers – all mixed in the musical stomach and, somehow, coherent. There is no loss of stomach lining, memory of blood when those contrasting substances unite: it is an effusive and rainbow-bright epiphany that showcased a band like no other! 1997’s The Fat of the Land did not quite match the peaks of Music for the Jilted Generation – even if Breathe and Firestarter become two of the best-known songs from The Prodigy. The fact the band needed three years between releases proved how much work went into the seamlessly 'easy' and ramshackle recordings! 1994 was a phenomenal year - and one that has yet to be surpassed. I am hopeful modern music will make strides to match the brilliance (of 1994) but, twenty-four years down the tracks…

PHOTO CREDIT: Unsplash

MUSIC has not managed to reach such mesmeric heights!