FEATURE: Sonic Boon: Why BBC Sounds Is Long-Overdue and Could Provide Guidance for YouTube and Spotify

FEATURE:

 

 

Sonic Boon

IMAGE CREDIT: BBC/Getty Images 

Why BBC Sounds Is Long-Overdue and Could Provide Guidance for YouTube and Spotify

__________

IF you are a regular listener to BBC Radio…

you would have been aware of the idents/promotionals for their new BBC Sounds site/app. If you are not a listener of BBC Radio then you might have seen the advert playing on T.V. and YouTube. In it, we start out with Rita Ora and then are led through a ‘BBC universe’: scenes are cut close together in a device I am not fond of: someone starts a sentence and then someone else jumps in and there are those fast cuts (it is a bit overdone and can be a bit grating but, in the context of a radio app/site, it seems an appropriate device). I normally object to that overlap/cut style of filming but it perfect illustrates the radio dial and the variety one can get across the BBC. Although there are some objectionable parts of the clip (starting with Rita Ora and her music, even in a self-deprecating way is very commercial and not the artist I would promote in terms of recommendation; Idris Elba taking about The Dark Side of the Moon (not a man I would  imagine loving the record, genuinely; he also says ‘Dark Side of the Moon’ when there is a ‘The’ at the start; Louis Theroux is under-used massively) but it is a nice and sharp way of assessing the new initiative and getting people interested.

 IMAGE CREDIT: BBC/Getty Images 

I am pleased there is that awareness of gender and race – not just men and male figures; there could have been more minority faces – and we get a nice spread of all sides of the BBC dial. If you needed a hook and a bait to get into BBC Sounds then you have it all there – you can never create something punchy and wide-ranging that will appeal to everyone so we can forgive a few blips. I will talk about the sides of BBC Sounds but it is timely this endeavour – not sure what to call it?! – because, to be fair, the BBC Music site was dreadful. There is still the issue when it comes to BBC stations, especially BBC Radio 6 Music. It is quite a simple design but so hard to navigate and find information; not user-friendly in any way and need a complete overhaul and redesign. I am not sure whether that will happen but I have often found it frustrating finding music news, features and music-related information and it is a baffling experience. How long it will take for all the sites to be redesigned and made better for the public I am not sure but BBC Sounds is a way of organising all the different angles, shows and contours so one does not have to navigate all of the day!

 IN THIS PHOTO: IDLES (a more unifying face of the BBC Sounds project?!)/PHOTO CREDIT: Dan Kendall

Apart from a few overlooked elements to their T.V. spot – IDLES would have made a more popular, current and funny option than the musicians featured – the site/app is actually really good. As time progresses, it will go through phases and strengthen. Public suggestions will come in and, hopefully, more money will be set aside so BBC can bring more elements into play. Consider video and the type of features that can be built in. I know there is a lot of audio content in there but utilising video – visual podcasts and live performances for the BBC – gives BBC Sounds a more interactive and diverse outlook. In any case; it is a great new move that is overdue, I feel. Before, the website for Music was a bit disorganised and, even now, there are big flaws regarding their individual station pages – still too fiddly and not informative enough! Before I come to the nub of my argument; here is an article from The Guardian that spoke about the launch of BBC Sounds and what it would entail:

 “The BBC’s director of radio is worried. Younger audiences are listening to more audio then ever before. They understand the captive quality of spoken-word stories. They’re more likely to listen to challenging, interesting podcasts on their commute to work or while in the car. They want to hear new music, tailored to their interests. The problem is they don’t necessarily need to go to the BBC to get what they want…

PHOTO CREDIT: @thefakebhogra/Unsplash 

“If we don’t do anything over the next 10 years you’ll have a two-speed BBC radio audience,” says James Purnell, the man tasked with turning this around. “People who’d grown up with it and people who didn’t.”

On the face of it, BBC Radio is in rude health. It has half the national market, with dozens of stations reaching more than 34 million people a week. Radio 2 alone reaches 15 million listeners a week and for all the criticism of the Today programme (“editorially I think it’s in brilliant shape,” says Purnell), one in nine Britons still tune in to hear John Humphrys and his co-presenters harangue politicians every week.

“BBC Radio is still incredibly successful, but I don’t think it’s ever faced such competition,” says Bob Shennan, a lifelong BBC employee who oversees all its radio and music output, pointing towards the likes of Spotify and Apple’s podcast libraries. “People are listening to things the whole time but the competition for their ears is with a whole host of organisations beyond the commercial radio sector.”

Relying on pensioners to provide the audience is not sustainable for an organisation that relies on convincing the vast majority of the public to pay for its services. Although millions of young Britons continue to tune in to traditional BBC radio stations, Purnell says just 3% of under-35s use the iPlayer catch-up radio app, which will soon be axed.

IMAGE CREDIT: BBC/Getty Images  

The man tasked with making this work is Jason Phipps, a former Guardian employee who joined as the corporation’s first commissioning editor for podcasts earlier this year. He says there is a need to reconsider the entire tone of how the BBC tells stories, shifting away from rigid formality if it wants to attract the precious under-35 audience: “It has to be a warmer, more story-led journey. You need to report the very personal experience of it.

“The very best stories are fundamentally anchored around the personal experience. You’re trying to find the human in the machine. Journalists have a process but younger audiences can find that very cold and want to access the actual response of human beings. They really want to understand the heart of the story.”

One of the UK’s most popular podcasts, My Dad Wrote a Porno, “wouldn’t have been commissioned anywhere in the past” because it is “too outlandish”, Phipps argues.

“We need more brash, funny, intelligent podcasts,” he says, saying the format’s intimacy is the reason why podcasts about “sex, relationships and erotic imaginations” have done so well. “It’s a perfect place to have uncomfortable conversations”

There is a lot of positivity and ambition in the BBC camp and not only will it benefit BBC listeners/viewers but will bring more people in. One of the reasons why I am interested in BBC Sounds is the choice and organisation you get. I have an idea – that is outstanding (in the sense it has yet to be realised) – that would work like YouTube and Spotify but be a lot more compartmentalised and organised.

 PHOTO CREDIT: @maltewingen/Unsplash

The issue we have with sites as hefty and busy as YouTube is how hard it is to find order. Look on there now and you will have songs recommended for you and there will be videos trending – there are very few menus and other options. Before long, you have these videos recommend that you keep watching over and over, unable to break out of that cycle! You have a search option but, unless you know what you’re looking for, then it is limited. A lot of new songs pass you by and there are not menus/sub-menus so you can search songs by year, genre and other factors. There is so much material on the site and you need ways so you can discover more; a broader spectrum and something a lot slicker. The same problem comes with Spotify. Whilst there is more music on the site; there are playlists and mixes but it is still very hard when you want suggestions, rediscovering older sounds and finding the best and hottest new suggestions. I know there are a lot of great podcasts out there but it is so hard to find. The market is busy and competitive but I feel BBC have already taken a big step when it comes to organising material and making it easier to come across fresh discovery.

 PHOTO CREDIT: @brunocervera/Unsplash

I have not got to grips with the app yet – I am going off the BBC Sounds website – but the design is great and modern and everything is in one place. There are things that can be added and menus that can be incorporated but I think it is in the easy stages and all of that will come. Regular music news, podcasts and features (incorporate the existing Music website into BBC Sounds) would be a good idea and the lack of dropdown menus is limiting at the moment. At some stage, there will need to be categories and sub-menus so more can be accessed and there is an opportunity for a lot more historic archive and music. I know the site is BBC-specific so it could not well incorporate all music and videos but who is to say there is legislation that limits that sort of endeavour? Although BBC Sounds is about promoting their own shows and stations; I think there is a way of broadening music-wise and not compromising their ideals. I am glad there is a way for new and existing BBC fans to experience all the work being put out there right now. Radio and the BBC stations are at the top but you get great podcasts and mixes. This is an area we might not be aware of.

 IN THIS PHOTO: Rita Ora/PHOTO CREDIT: Rex Features

Most of the time, when we listen to BBC podcasts and documentaries; these are part of existing shows on radio and we often do not hear about them unless we go to that station’s website. Now, there is this central hub that makes it easier to see and hear what you want. In terms of the mixes; there are great female-led playlists and chats/documentaries with Rita Ora and Little Mix. One of my concerns is around the prominence of BBC Radio 1-themed mixes and the commercial nature of the artists. A lot of the cooler, less mainstream artists you might hear on BBC Radio 6 Music are not as high up the pecking order and there tends to be a distinct demographic/audience in that sense – for me, I want to discover something else and, when it comes to appealing to the BBC listener spectrum, more thought needs to be given to the range and diversity of the mixes. What is up there is good but, in time, more parity needs to come in that equally represents the stations across the BBC. In any case; I am pleased by what is there and I have discovered some great mixes. The podcasts are great and entertaining but, again, there seems to be a numerical bias regarding the ‘Hot Podcasts’.

 IMAGE CREDIT: BBC/Getty Images 

The ‘Categories’ is the biggest advantage and something I think YouTube and Spotify could learn from. You can subscribe to hear the latest shows but I wonder if there is an option to make your own BBC Sounds profile? By that, you can collect together all your favourite podcasts and videos together with mixes and news. The categorisation of sounds and genres is great and one can search more easily for the type of show/podcast that means the most to them. Maybe going further and expanding the search tool and menus could lend a bit more speed and efficiency. I feel the market is going through a lot of changes. YouTube is having to deal with Article 13 and its repercussions whilst Spotify is introducing new features and initiative – even though their share price has fallen and a slight dent has come in. BBC inhabits its own ground but is aware it needs to compete with the new and expanding market; able to provide something appealing and interesting to its audience and recruit new ears in. Make sure you investigate what is happening on BBC Sounds and make sure it is part of your travels; listen to it whilst at the laptop and dive in. Above all this great news and boon; I keep coming back to that promotional advert and wonder whether Idris Elba would ever stick Pink Floyd on…

 IN THIS IMAGE: The cover for Pink Floyd’s The Dark Side of the Moon/IMAGE CREDIT: Getty Images

AND chill to The Dark Side of the Moon!?

FEATURE: Following a Rebel Heart… Madonna: Where Next for the Iconic Reinventor?

FEATURE:

 

 

Following a Rebel Heart…

IN THIS IMAGE: The cover for Madonna’s 2015 album, Rebel Heart/ALL ALBUM COVERS: Getty Images 

Madonna: Where Next for the Iconic Reinventor?

__________

I was going to write a piece about plastic waste…

Sometimes I never leave my bathroom 🚽🚰🚿🛁 😂 #weekend 👑 pic.twitter.com/wROvEIoxOE

— Madonna (@Madonna) November 2, 2018

and how music can play a role (concerning reducing the cost) but I will have a more ‘serious’ day of writing tomorrow and bring that together with a few other pieces. Before looking ahead and seeing where Madonna might head next; I want to look back and talk about why I am returning to her feet. I do not need much of an excuse to talk about icons of music and explore them from different angles but this year has been a special one for Madonna. Back on 16th August, we all came together to celebrate her sixtieth birthday and look back at her incredible back catalogue. Madonna herself got into the spirit – so many artists why shy away from marking their sixtieth and feel reserved – and she posted images of herself on Twitter/Instagram embracing the passing of another year of life; being revered by fans and embracing her status as the Queen of Pop. You might think continuing that appreciation and fascination seems a bit pointless – will her next record match the heights of her best work and do we even know when it is coming out?! One of the reasons I put out a few Madonna-related articles around her birthday was because of her multiple sides; the fashion icon status and the evolutions; the varied albums and how she spoke (and continues to do) out against sexism and homophobia.

There was something bittersweet regarding a retrospective. On the one hand, we can marvel at her legacy and how she has changed music but one wonders whether we will ever see her like again – I do not think that is even possible. The sense of drama, theatre and the spectacular one gets with Madonna keeps her in the mind and will always tug at the heart. It was great to rank her albums and songs and chart her fashion changes and career shifts. Each album is worth marking when it has an anniversary and, just under two weeks ago, the twenty-fourth anniversary of Bedtime Stories. Look at the albums around that release. Erotica was released in 1992 and it was an album that garnered a lot of attention and controversy. Madonna’s Sex book was released around the time and the Pop queen was determined to push boundaries and express herself. Since Like a Prayer (1989); there was always suggestion she would evolve sexually and bring that into her work more. Erotica used an alter ego, Mistress Dita, and songs talked about sex, romance and something more intimate. An artist who was once being led by the record label and recording songs in a very commercial and safe way was striking out on her own and not answering to anyone. The result of that was a lot of press talk and many turned their noses up at the provocative and challenging album. If you listen closely then it is not all about sex: there is a range of emotions and stories playing out but there is that definite edge.

Bedtime Stories arrived in 1994 and, in one of music’s greatest years, stood out. It was a more refined, mature and emotional album that, in a way, was a sort-of-apology from Madonna. A tighter and much shorter album that Erotica; Bedtime Stories was a move to come away from the edges more and into the core of the mainstream. Without compromising and producing something formulaic; Madonna worked with the likes of Babyface and Dallas Austin to, again, produce another shift. It is remarkable to think Bedtime Stories is twenty-four as I remember it clearly and it is one of the first of hers that stuck in the mind. Ever since her eponymous debut; Madonna was eager to change and grow between albums and not repeat herself. Singles such as Secret and Take a Bow showed a more graceful, settled and less provocative Madonna who was able to talk about the complexities of relations and lust without being explicit. Following some backlash from Erotica; the saucy Mistress Dita was replaced with a more natural Madonna. Look at the costumes for videos like Take a Bow and Secret and there is a more classical, elegant and classy Madonna. Human Nature documented the reaction to Erotica – cheekily asking whether she can talk about sex and the fact it is natural – but the new producers/writers incorporated more R&B influences and, with it, a new Madonna. It would be another four years before Madonna produced another studio album and, on Ray of Light, another incredible transformation.

Consider the six years between Erotica and Ray of Light and what Madonna did. She started with this sexually-charged and controlling persona and then channelled into this more mature and less controversial artists in 1994 – although her grasp of the sexual and challenging never went away. By 1996; she starred in Evita and, again, a new side of her was brought through. You can see some of the influences from Bedtime Stories in terms of fashion and look but, two years after Evita, nobody expected Ray of Light. An album that brings in Electronic and Dance and, for the first time, brilliantly united Dance and Pop and puts it into the mainstream. It would have been easy to stall and settle after Ray of Light but, being Madonna, she was moving and thinking about a new look. Music (2000) kept the harder sound and electronics but swapped some of the more orchestral sways for something edgier. In fact, Music is a varied album that keeps the party girl of Ray of Light and brings in something maternal – Madonna had just had a baby and was in a very spiritual frame. There is Future-Folk and Dance that comes together in another triumphant album – Madonna co-wrote all of the ten tracks and critics were keen to lend their praise!

One can argue that, although there was reinvention and change by 2003’s American Life; the critics were not as hot and, maybe, the material not as sharp. Madonna has moved from a cowgirl to a more rebellious and politically-minded figure. Reviews at the time were mixed – some found the record confusing – but they have been kinder and fairer down the line; many noting the consistency of the material and the risks being taken. Songs like Hollywood and Love Profusion are among the best of her more-recent work and the tour that accompanied American Life upped the game, budget and set; amazing critics and thrilling fans. There was this big transformation that continued into Confessions on a Dance Floor. Again, after only a short period; 2005-Madonna had ditched the beret and mood of American Life and was embracing the disco and something a bit more specific. Maybe a New York club or 1970s Disco; it was a mix of Club music from the 1970s, 1980s and modern-day scene. The songs were structured like a D.J.’s set and blended so that they play continuously without any gaps. Samples and references to ABBA, Donna Summer and Bee Gees meant there was a distinct mood and flavour. The forty-seven-year-old was not beholden to what artists of her ‘age’ should be doing and what was seen as ‘appropriate’. Confessions on a Dance Floor turns thirteen on Friday and it is another chance to celebrate an album of Madonna’s – strange to think of the vast differences between Bedtime Stories and Confessions on a Dance Floor (in many ways, one would think Confessions on a Dance Floor’s tones and energies would come before Bedtime Stories’ more grown-up and sensual mood).

Whereas Confessions on a Dance Floor was another bold move and reinvention; it was a return to the critical good books and, in fact, gained the sort of acclaim Music did in 2000 – maybe even more praise and good reviews. One could argue the reinventions since 2005 have been bold and drastic but the quality has been a little lower than one would expect. Hard Candy, in a way, seemed to update the look and provocative edge of Erotica and Like a Prayer; albeit a more modern version. Madonna stated the songs on the album were autobiographical, in an unconscious way, and she was not in any mood to calm down and project a more wrapped up and safe artist. Age has never been an issue with Madonna and she writes and performs as she feels fit; she is not answering to anyone or doing what her peers do. 2012’s MDNA was a relatively smooth and productive recording that saw subjects live separation, revenge and heartbreak coming into the music. This album was the first she released under a three-year deal with Interscope (in 2012) and there was a new phase in her career. Again, the image and look changed and musical subjects changed. Some saw the music as a little regressive and unmemorable but, regardless of critical impression, it showed Madonna was always looking out for new inspiration and look. 2015’s Rebel Heart is the last album from her and one that, as you’d expect, adopts its own skin and landscape.

There was a sense, with Rebel Heart, Madonna was progressing and new genres like House, Trap and Reggae were making their way in. Many icons would struggle to succeed after so much time and be able to inhibit new genres naturally. Rather than try n updated Pop version of Madonna or Like a Virgin; Madonna was changing with the times and keen to work with the best upcoming and established talent. After working with Timbaland and Justin Timberlake on Hard Candy; she featured guests such as Nicki Minaj and Nas on Rebel Heart and worked with Kanye West. Critics felt Rebel Heart was one of her best effort in a decade and, unlike some of her fairly recent albums, there were a lot more writers and producers in the mix – far less singular and streamlined than we would have seen on albums like Ray of Light and Bedtime Stories. In any case; the 2015 release marked another step and evolution from the always-changing Madonna. The Queen of Pop was not going to surrender her crown to anyone and, even though Nicki Minaj featured on Rebel Heart; she is decades away from reaching the summit of Madonna’s powers. The last few years have seen her embrace her sixtieth birthday and moving away from London. I think she is based in Portugal now and seems to be happy in Lisbon.

I am not sure whether she will move back to New York or London in years to come but, as a single woman whose children are quite grown up; there are not the ties and need to be in a big and music-orientated city. I figure there is new material coming quite soon and you will know when it comes. Madonna is not someone who will drop an album without warning and it will be released into the world like an unshackled beast. There are teams of people planning every move and, before the first single comes, we will have teasers, videos and cryptic posts that get the appetite whetted. Madonna is on Twitter most days posting images and videos from home. She is proud to look back on her older albums but does not want to repeat them and bathe everyone in nostalgia! Rather than repeat herself and try and capture bygone standards; she is looking ahead and finding new ground to conquer. That is the mark of a truly brave, established and innovative artist! Sketches and suggestions have been made regarding Madonna’s new album and what it could be about. This article suggests there could be a move towards Rap:

“Perhaps the Queen of Pop has her sights set on another genre.

Madonna is currently hard at work on a new studio album. A previous report claimed she plans on combining Portuguese and African rhythms with pop, however if we take a look at Madonna’s comment replying to a fan on Instagram at face value, maybe she’s changed her mind and wants to drop a rap record instead. Kinda here for it.

“I want Madonna to release a full on rap album called Grillz and the lead single to be called Derma Roller featuring Quavo, Nicki Minaj and Cardi B just to annoy the demanding fans!!!!,” a fan wrote”.

You never know what you will get from Madonna but I would expect some sounds of Africa – where she has spent time recently and always had a connection to – and tones coming out of Portugal. She will not go fully into World music territory and abandon Pop but look at the sort of look/fashion she posts on her latest Twitter pieces and that could give you an indication into the album cover’s vibe and what she will explore. There was rumour the album would be released this year but it seems, as this article explores, we will need to wait until 2019:

“It was initially believed that the Queen of Pop would be unveiling her fourteenth studio album in 2018, but she’s now confirmed it will hit shelves at some stage in 2019.

The 60-year-old told WWD: “I’m finishing my record, which I’m going to release next year.

“Yep, in between rose mist spray and serums, I’m actually making music. Can’t quit my day job.”

She is also believed to be plotting a tour to accompany the record”.

Will, as this article from July suggested, there be more Fado and Portuguese influences on her fourteenth studio album?

“Portuguese music will be a huge source of inspiration for Madonna's new album, it has been revealed.

The legendary popstar is the cover star of Vogue Italia's August edition to celebrate her 60th birthday on August 16. Pictured in Lisbon, Portugal where Madonna is currently based, the icon of music and fashion is seen striking a pose (pun intended) across two collectable covers in all-black Saint Laurent.

Vogue Italia's creative director Giovanni Bianco - who is also a close friend of Madonna's - discussed the shoot for trade journal Women's Wear Daily, explaining the influences Madonna is soaking up during her tenure in Portugal…

“She is an incredibly hard worker, I have learned so much from her intensity and dedication,” said Giovanni, before the interview explains that Madonna often visits her favourite bar in the Tejo region "where she regularly goes to listen to Portuguese and African music."

Giovanni elaborates: "She knows the musicians there, it’s like a laboratory, there’s music from Cabo Verde and she loves fado [a Lisbon-based music genre],” a style that "will infuse her work".

Beautiful Game is expected to be the lead single from Madonna's upcoming fourteenth studio album. She performed the song at the 2018 Met Gala in new York, and then teased the song as "coming soon" on social media.

Madonna worked with the French producer Mirwais on the song, whom she previously worked with on her Music and American Life albums”.

In terms of sound and genres, we will have to wait to see if any absolute truths emerge. It is a shame we have to wait until 2019 but I feel the new record will arrive early in the year. I can sense something in shaping up and Madonna will be keen to make some sort of statement before this year is through. I think, sound-wise, it will be a combination of Hip-Hop and Fado. There might be some African inspirations and I feel it will break away from the Electronic and Dance sounds she owned and explored between 1998 and 2005.

Inspiration for my new Record all started here in Lisbon at Tejo bar! 🎼🎸💃🏾 with #dinodsantiago #vaniaduarte #fado #morna #funana #magic #music 🇵🇹 #mertalas pic.twitter.com/vfQfBFJPSG

— Madonna (@Madonna) October 25, 2018

I think many are pining for a new Madonna album as it has been a few years and a lot has happened since then. Rebel Heart saw a return of sorts of more critical praise than previous records; a fresh perspective and a persona/look/sound that seemed to be a very natural fit. I think, with Trump and his workings; the sexism and scandal we have seen and how American culture has changed, that is going to come into her mind but so too will her settling in Portugal and a new form of spirituality. Madonna has always been in-tune with religious and different cultures but I think she will l embrace this on her new album as she did through Ray of Light (Shanti/Ashtangi showcase this direction). There has to be some of the spit and observations we saw on American Life and earlier albums and it would be good to see a sort of return to Confessions on a Dance Floor – inject something vibrant and danceable; maybe a more African version of that?! I think there have been some good albums since 2015 and Pop has some artists who could turn into something special in time but nothing like Madonna. Even at sixty; she is reluctant to calm things and return and her voice is as important as they come. Maybe there will not be the same revelations and media-courting releases as Erotica but she has not lost the ability to shock and lead. There is a great opportunity to document the changes in the world and all the crap flying around but do so in her own way – whether there is anger and accusation or a more peace-and-love approach, I am not sure. It is exciting to see what she can come up with and what the next incarnation will be. Maybe we have to wait a bit longer to see what Madonna comes up with but you can bet your bottom dollar her next album will be…

 IN THIS IMAGE: The promotional image for the film, Madonna: Rebel Heart Tour

SOMETHING fresh and sensational.

INTERVIEW: Daniel & Mikael Tjernberg

INTERVIEW:

Daniel & Mikael Tjernberg

___________

I have been chatting with Daniel & Mikael Tjernberg…

about their new E.P., Flight of the Raven, and what themes/ideas inspired it. The brother discuss how they got started in music and which artists/genres inspire them; whether they have plans for the year ahead and which albums are important.

I ask if they will tour at all and come to the U.K. and what the music scene is like in Sweden; whether they unwind away from music and the advice they would give artists emerging – they each choose a song to end the interview with.

__________

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

Daniel Tjernberg: Hi! Very well, thank you. The week has flown by pretty quick.

For those new to your music; can you introduce yourselves, please?

Mikael Tjernberg: We're two brothers from Sweden creating eclectic music, moving between different genres and styles such as Classical, Jazz and Popular music. Our music is primarily instrumental.

Daniel: Yes. We like to blend the tone language and instruments of Classical-Romantic music with contemporary and modern ones of popular music genres.

Daniel and Mikael; you are brothers. When did you start making music together and decide to get into recording?

Daniel: Very early, I'd say; pretty much as early as memory goes. Music has always been a natural form of expression for us; a way to express things that we otherwise would struggle or be outright unable to communicate…

Mikael: …And to record what you create became a natural thing; soon, there were no thinking about it but it just happened as soon as new ideas came to life. There was no deciding process behind that whatsoever. At that time, we would use an old tape recorder for recording.

Give me an impression regarding the artists you grew up around. Was it quite a varied upbringing?

Mikael: We grew up in the 1980s and 1990s in a home full of all kinds of music. Classical and the orchestral masters, Jazz; Pop, Rock; Folk, Herbie Hancock; Joe Sample, Quincy Jones; Jan Johansson, Miles Davis; Grover Washington Jr., Pink Floyd; Dylan, Black Sabbath; Bee Gees, Genesis; Fleetwood Mac, Beatles; Ray Charles, James Brown; Aretha Franklin, Stevie Wonder; Michael Jackson, Motown…you name it.

Daniel: Yes. And our parents engaged and supported us a lot when we showed interest in music.

Mikael: Our late grandpa Sven meant a great deal to us. Not just as an inspiration, but it was also in his home we started up our first rehearsal room and recording studio.

Flight of the Raven is your new album. Are there particular themes that inspired the record?

Daniel: Yes, absolutely. Flight of the Raven is the first of two in a suite of Norse-inspired music where every track is drawn from Norse mythology. Making this E.P. has been an enjoyable journey, during which we've also had the pleasure to collaborate with some very gifted and talented musicians.

Mikael: And, as a matter of fact, the follow-up is already in production. It'll act as a natural continuation of the just-released E.P., building on the same themes. Expect some interesting tracks on that one, as well as a few yet to be revealed collaborations.

Do you each have a favourite cut from the collection?

Daniel: All songs made it to end up on the album – therefore, we like them all very much and it's very hard to choose a favorite. But, if I had to pick only one, I'm particularly attached to the title track.

Mikael: Agreed. That song’s dedicated to my late cat, Svarv. Written in honor of his spirit - and with the Norse myth inspiration where the bird of the Monocular God is sent out to surveil over the living and the dead.

What do you hope to achieve by the end of 2018?

Mikael: We hope that we have finished an album entitled Atlantis. That will come out via the Italian label Blue Spiral Records. We’ve worked on this one on and off for a couple of years now. It's inspired by Greek mythology; musically, it's Neo-Classical with a lot piano based material.

Daniel: For Atlantis, we've collaborated with Swedish string ensemble Malva Quartet as well as harpist Jonathan Grönlund.

You are based out of the centre of Sweden. Is there a good music scene there at the moment?

Daniel: Sweden is a huge exporter of music and the music scene is very much alive, I'd say.

Have you each got a favourite memory from your time in music so far – the one that sticks in the mind?

Mikael: Not a one and specific moment, but those sessions me and Daniel would have in our early teens where we would pop a cassette into the tape recorder, hit record and then just jam away for hours on end. We'd stay up 'til the witching hours just coming up with and refining musical ideas – a very special kind of magic!

Daniel: I have a lot of fun memories from when we played in the band (Metal Fusion). One that jumps out is that one time when we were playing in Enköping and the electricity went out and then at the same time the fire alarm went off. But, we just kept going unplugged, fumbling in the dark and synchronizing the finale with the fire alarm pulses. In the end, it turned out to be a rather theatrical and welcome touch to the show - albeit undoubtedly comically so!

Mikael: I also mustn't forget to mention the various concerts me and my brother have given at all of these beautiful churches in central Sweden. The atmosphere and acoustics in a medieval stone church are something to behold, I'm telling you.

Which one album means the most to each of you would you say (and why)?

Mikael: I have to confess, I'm not an 'album guy': I like to mix it up quite wildly. But…Pink Floyd’s The Dark Side of the Moon; Stevie Wonder’s Journey through “The Secret Life of Plants” but also his later works. Isaac Hayes has many great albums.

Daniel: Vangelis, Björn J:son Lindh and George Duke; not a specific album, rather...the sum of their production...

If you could support any musician alive today, and choose your own rider, what would that entail?

Mikael: George Benson with Stevie Wonder as rider.

Can we see you on the road this year at all?

Daniel: Probably not. We're a duo constellation and, as such, we do almost everything ourselves. To put together the manpower required to play most of our music wouldn't be financially viable, at least not for the time being. And then there's practical implications, given that our music varies quite wildly from one work to another. You'd have to assemble a likewise wildly varied circus of musicians to perform it.

Mikael: We've given concerts before, but those always were quite small in scale and centered around Chamber Music specifically composed for piano and recorder. I think, going forward, we have so many more avenues that we'd like to explore musically.

Daniel: Somewhere along the line, you might see us somehow somewhere; albeit in a different setting. Together with our baby brother Gabriel, we're bringing Jazz-Fusion band Tjernberg Brothers to life - and who knows where that'll end up.

Mikael: Also; we always keep the door open for orchestras and ensembles to perform our music, so there's that.

Might we see you in the U.K. very soon?

Mikael: Based on the reasons given: no. However, the United Kingdom holds a very special place in our hearts with its rich culture and heritage, so I'd say it would be one of the very first places we would go, should the opportunity arise.

 IN THIS PHOTO: Tjernberg Brothers; the upcoming project involving all three brothers

What advice would you give to new artists coming through?

Mikael: It truly is a jungle out there and it can be disheartening to face backlash after backlash. It's a tough industry, for sure. But, I believe that as long as you have stories longing to be told; feelings to communicate, then there is an audience for your art. Trying to appeal to each and everyone is a path that'll ultimately and inevitably fail.

Same goes for money: if you find yourself thinking about art in terms of if it will be financially beneficial and therefore worth it; then I'd say you should take a step back and reconsider whether art is the thing that you should be doing. Art is bigger than all of that. That's something I would say is a crucial understanding for making worthwhile art.

Daniel: And the music you're making should first and foremost be for you. It's therapy, man! If it's genuine and sincere, it's just a bonus if it can be appreciated by others.

Are there any new artists you recommend we check out?

Daniel: Not really. To be honest; we've been too busy with work to check out new stuff. But, we try to catch up by following interesting labels and zines.

Do you both get much time to chill away from music? How do you unwind?

Mikael: Well, naturally, music is unwinding. Being out on the countryside is a big one, though, for the both of us.

Daniel: Mikael is even is what you'd call a nerd; completely obsessed with beetles.

Mikael: Being out in nature, where you get to observe how everything interacts; see all these cogs in this massive cog wheel called life…that's the greatest kind of inspiration you could ask for.

Daniel: Being a creative kind of person; I've also always been into drawing and illustrating. And, when drawing, I often find myself exploring the same kind of themes and moods that I've recently used musically. I find it an interesting combination; using these forms of artistry to express the same kind of mood or to use them in conjunction with each other so that the sum of it tells a story that would be difficult to get across otherwise.

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

Daniel: Put on the title-track from Björn J:Son Lindh's Atlantis album. Björn was one of the most talented and interesting musicians that Sweden ever had, in my humble opinion, but his recognition – even is his home country! – is criminally low

Mikael: Another one deserving far more recognition is the late Swedish pianist Jan Johansson. The guy had an absolutely unprecedented emotion behind every stroke of the keyboard.
But, for today, I'm gonna go with George Duke's Anticipation as my contribution to the playlist. You're sorely missed, George

___________

Follow Daniel & Mikael Tjernberg

 IN THIS PHOTO: Daniel and little brother Gabriel 

Official:

http://www.tjernbergmusic.com/wordpress/

Twitter:

https://twitter.com/tjernbergmusic

Facebook:

https://www.facebook.com/danielandmikaeltjernberg/

Spotify:

https://open.spotify.com/artist/7n22jRjW3P056u24FFZq0v?si=ofjkwoFZRUmcJnCgahOtiQ

Instagram:

https://www.instagram.com/tjernbergmusic/

YouTube:

https://www.youtube.com/channel/UCP7ld-sWg6s0m30dqGwPyYA

INTERVIEW: Shields

INTERVIEW:

PHOTO CREDIT: Rhiannon Banks Photography  

Shields

___________

THANKS to Shields…

for chatting with me about their new E.P., Etemenanki, and what inspired it; if they have a favourite cut from the collection and what their plans are regarding next year – I ask if there are tour dates and we can see them on the road anytime soon.

The guys talk about their musical influences and albums that are important; which rising acts we need to get behind and whether they have special memories from their careers so far – they end the interview by each selecting a track.

__________

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

Really, really good, thanks! We had our E.P. launch and it was absolutely class! Amazing crowd, sell-out gig. So, yeah, pretty good!

For those new to your music; can you introduce yourselves, please?

We are Shields. There are five us in the band (Luke, Rich; Dave, Tom and John).

How did Shields form? When did the magic start?

Shields came together in 2012. The band really started as a three-piece. We went to Blank Studios in Newcastle to record some demos which is where we met John - he was the engineer. John’s creative input as producer became so integral that we asked him to join the band. It then got to the point that the music we were recording required an extra member in order to perform it live. I (Luke) was in another band at the time with Dave so asked him if he’d like to join Shields. We quickly found we could all write and produce together and it went from there.

Etemenanki is your new E.P. What sort of ideas and stories inspired the music? Do you each have a favourite song?

I (Rich) usually write musical ideas before coming up with an idea or story to accompany it. That allows me to draw inspiration from the feeling I get when listening to the idea. Babel, for example, sounded exotic and had a carnival feel to it. The story of the Tower of Babel seemed to fit really well with that feeling but it also provided a lot of inspiration, lyrically. That’s one of my favourite songs on the E.P.

What sort of music/styles is the band inspired by? Are you all bonded by similar tastes?

We really are inspired by all kinds of music, which I think shows in our set. It’s a bit all over the place but, hopefully, in a good way. There are certain bands which we all love such as Radiohead.

What do you hope to achieve by the end of 2018?

Having just released our first music in a couple of years, we are super-keen not to leave it so long this time. We are heading into the studio in November and plan to get another batch of music recorded before the end of the year. We also have a few gigs lined up. Check the website for details. 

Do you already have plans for 2019?

Assuming the rest of this year goes to plan then we’ll be releasing new music in early-2019. We’d love to get out to play some festivals throughout the year and maybe head over to Europe again if the opportunity presents itself.

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

For me (Luke), it has to be Glastonbury. I’d never been before and I always said to myself that I’d wait until I could go as an artist. It was totally worth the wait! A close second is Melt Festival in Germany, but there are so many brilliant memories.

PHOTO CREDIT: Rhiannon Banks Photography  

Which one album means the most to each of you would you say (and why)?

Luke: Sound of Silver By LCD Soundsystem is one that I will always come back to. I remember hearing in a record shop in Newcastle and I fell in love with it straight away. It was massively refreshing to me. It became the sound track of my uni days

Tom: De-Loused in The Comatorium by The Mars Volta. John Theodore shows that it is possible to have energy, virtuosity and musicality in equal measure in the drums and inspired me to approach my performances and creative processes in the same way. The songwriting and arrangements are incredible and left me listening on repeat for over six months. Even now, when I need a reminder of how exciting an album can be, I go back to it.

Rich: That’s a really hard question! I can’t pick one album that means the most to me but I’ll never forget the profound effect Bitte Orca by Dirty Projectors had on me. I remember Luke gave me a C.D. of it and I was just blown away with how inventive the composition and instrumentation was. Everything from the drums to the guitar work…but especially the vocals.

Dave: Radiohead - Kid A: I first heard snippets of Kid A while being an insomniac listener to a late-night MTV2 programme called 120 Minutes while at college. The album was a perfect soundtrack to that state of mind and it felt time to progress from the boring sounds and albums Oasis were releasing. I'd never heard songs or an album approached like this before; that have purposefully inaudible lyrics, guitars that sounded nothing like guitars and had no singles from it...yet, it was their number-one in America. The opening lyric of the album also gave the band Everything Everything their name and have obviously been a huge influence on those guys as well.

If you could support any musician alive today, and choose your own rider, what would that entail?

That’s too hard to choose! Either Radiohead, LCD Soundsystem or Arcade Fire. I know you said choose one but I can’t. If you’d asked me a few years ago it would have been Bowie, without a doubt.

We’re pretty easy to please when it comes to riders. We are happy with some nice booze, humus and carrot sticks.

Given the band’s name; if you could design your own shield, what would it be made of?

Are we allowed fictional materials? If so, then that stuff that Captain America’s shield is made of. It would be one of those tall ones that covers you head to foot and it could double up as a sledge.

What advice would you give to new artists coming through?

To stick to your guns, creatively. Don’t try to second-guess what you think other people are looking for in your music. As cliché as it is; be yourself.

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

The next gig is at The Finsbury in London on 17th November.

 IN THIS PHOTO: Callum Pitt/PHOTO CREDIT: Daniel Stark

Are there any new artists you recommend we check out?

Defiantly check out Callum Pitt, Grace Gillespie; Fever Days, The Pale White; Martha Hill, The Old Pink House and Penguin.

 PHOTO CREDIT: Grace Gillespie/PHOTO CREDIT: Poppy Marriott

Do you get much time to chill away from music? How do you unwind?

We don’t really stop. We’re doing something music-related most days, whether it’s recording, mixing; writing or working with other artists. It’s pretty addictive. I have made time for Daredevil on Netflix over the past few days though.

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

What’s Your Problem? – FEVER DAYS

Away From the Rousing Parades - Callum Pitt

Wisdom Tooth - The Pale White

Martha Hill - Wallflower

Restoration - Grace Gillespie

___________

Follow Shields

Official:

https://www.behindshields.com/

Twitter:

https://twitter.com/behindshields

Facebook:

https://www.facebook.com/behindshields/

Spotify:

https://open.spotify.com/artist/2ehIq6O7lHbD0aQOe0w83R?si=BZWQCpadRtGNchblTOUgdg

Instagram:

https://www.instagram.com/behindshields/

YouTube:

https://www.youtube.com/playlist?list=PLRUGkHETosZwvT-Ignv98tUPA7sikJD0u

TRACK REVIEW: Mark Harrison - House Full of Children

TRACK REVIEW:

 

Mark Harrison

House Full of Children

9.4/10

The track, House Full of Children, is available via:

https://open.spotify.com/track/5wZGhzk6PjTEi0FdQufg15?si=1OswB_2xQ1OI5B1jAONBXw

GENRES:

Folk; Blues; Roots

ORIGIN:

London, U.K.

The album, The Panoramic View, is available via:

https://open.spotify.com/album/7rByyiwKQNsWdP3WTzuNTQ?si=RdUPBF2rSa6zdmYkoLs0jQ

RELEASE DATE:

7th September, 2018

_________

THIS time around…

I get to step away from Pop and Electronic music and investigate an artist who has been gathering a lot of acclaim. Mark Harrison is gaining huge applause - and has been for a long time - and makes me consider whether more songwriters need to take from his lead. I want to discuss Blues and Folk combinations and why more people need to give it focus; storytelling and those who can take the ordinary and transform it into something amazing; albums that are packed with great tales and huge adventure; festival appearances and getting a lot of respect from big stations; how older, more experienced artists need more respect and investigation – I will end by speaking about Mark Harrison and where he might head. I spend a lot of time looking at Pop and Electronic artists and you get into a sort of rut. I have been listening to very familiar music for a long time now and it can be a bit samey. It has been great studying them and seeing what is on offer but it is nice to step away from that and look at an artist whose sound is completely different. Harrison is one of the most-respected artists in the U.K. and his music has drawn huge plaudits. Whether he is with a band or playing solo; he is seen as one of the best songwriters around.  I want to talk about his music and why it shines but I am drawn to the genres of Folk and Blues. I guess Harrison is a Blues artist strictly but there is that Folk element. There are great Blues artists who are electric and can summon some passion but Mark Harrison is mostly acoustic-based. His sounds have a gentleness to them but there is plenty of passion and intrigue. I feel most of us assume Blues and Folk will be quite calm and not really register in the mind. We all get into that mindset and do not really venture too far.

I feel Blues gets that tag more than Folk. Listen back to the classic Blues artists of the 1930s and 1940s and we sort of feel that is what is around today. That is not the case. From Cedric Burnside, who I recently interviewed, who is on the more electric side of the spectrum to artists like Mark Harrison; the genre is flourishing and bright. You have that variation and, at its heart, are fascinating stories and stunning rhythms. I love Blues but feel it does not get the exposure it warrants. There is that dominance of Pop and I wonder whether Blues will ever get the focus it warrants. What is amazing about Harrison is the way he can unite the history and roots of Blues and provide an updated Folk/Blues blend. He reminds one of the classics from decades past but there is a modernity and freshness that brings things right up to date. Maybe it will take a while before Blues music gets into the mainstream but I think we all need to be a bit more open and expressive. If we are too reliant on certain genres and do not expand our horizons then we will miss out on so much. One of the reasons why I think Blues should be given more love is because of the variety available in the genre and the way artists tell stories. I feel Pop is too inward-looking and personal and with Folk/Blues artists like Harrison; you get something amazing and candid. He is a songwriter who can paint pictures and combine vivid imaginations with some incredible sounds. I guess, in a way, we assume Blues might be quite downbeat and too narrow and go elsewhere. Maybe that was the case at one point but the modern breed is unifying all types of emotions and ideas into their music. I shall move on to another theme but would recommend people get involved with the Blues and artists like Mark Harrison.

Harrison is a fresh and respected songwriter who can tell great tales and amazing stories. One of the reasons his music has managed to spread and gather critical lust is the way he can open up the mind and take us somewhere special. I feel one reason why I am becoming a little cold regarding Pop and Indie artists is because of their subject matter. So many are not getting past their own lives and walls and expanding their songwriting. You want the personal touch and something meaningful but that is not all one looks for. The lyrics have to be broader and, if you stick too closely with your own life; that is going to exclude quite a few. I wonder whether a lot of music has become too depressive and anxious. Rather than present something inward and depressed; Mark Harrison is a bright and resolute talent who can give immense detail and tell tales like nobody else. Even if he is addressing something relatively mundane and domestic; he can add a new spin and do something amazing. I feel one of the reasons why music endures and is passed through time is the words and how they impact us. I worry most of what is being put out now will make a connection in years down the line – so much of it is disposable and can be readily forgotten. Blues artists like Harrison need more of a platform because the music being put out is so much more vivid, inspiring and deep. You can listen to one of his songs and all these visions come to life. That is testament to him as a writer but the vocals are incredible too. One gets the complete package and can hear a songwriter at the top of his game. One can class his music as Blues or Folk but you can call it Roots as well.

However you see it and whichever genre it fits in; nobody can deny its power and appeal. I have this concern there are genres that will always struggle because of the stubbornness and unyielding rigidity of the mainstream. Consider what is riding high in the charts and on the biggest radio stations and you can see a pattern emerge. The sounds might be quite big and easy to digest but the whole experience can be a little cold and hollow. Are we manufacturing music to appeal to those who want something quick and uncomplicated?! I am seeing artists like Harrison covering genres and making amazing music and they are restricted to relatively narrow artists. He has a big fanbase, for sure, but it one feels that could be even larger were there more tolerance and knowledge of genres like Blues and Roots. It is quite maddening when you contemplate the realities and how the industry is structured. In any instance; listening to a Mark Harrison song is an experience one will not forget. I love how he can weave lines together and the vocabulary employed. There are annunciations and slight accents; words combined one would not think of and a real grasp for story and characterisation. The Panoramic View, his new album, is stuffed full of brilliant tales and seems like a collection of short stories more than anything. The fifteen songs on the record make you smile, think and wonder. There are some great musicians who appear on the album – including Charles Benfield on double bass and Paddy Milner on piano – and one gets this engrossing and arresting creation. The title, I guess, suggests something filmic and story-like but there is that aspect of a wider view – someone not confined and only considering what pains emanate from the heart. One does get some more emotional moments (on the album) but there is a real air of positivity and hopefulness. These commodities are becoming rarer in music and it is nice they are being preserved through the lens of Mark Harrison.

It would be unfair to say Harrison is a master of transforming the ordinary into the spectacular. The stories he tells are, in fact, quite interesting and there are some wonderful characters to be found. I guess there is a sense of the rooted and traditional in the music. You get these studies and people who one might find in their local village, for instance. He is someone who can tackle the smaller world and expand it into the horizons. Rather than plainly and flatly talk about domestic strife and routine interactions with little thought; like songwriters such as Paul Heaton (The Housemartins, The Beautiful South); he adds wit, heart and intelligence into everything. I look around for those songwriters who can inject humour and fascination into music and, by and large, they are of a certain age. This might sound like I am describing a beloved family dog that is getting a bit odorous and needs a final trip to the vets – I do not mean to sound disrespectful or blunt. What I mean is that the established and mature songwriters are the ones who have grown up around more music, different music, and are at that stage in life where they are not talking about cheap love and the anxieties of youth. Okay; maybe that does sound a bit cavalier and cheap but I have the utmost respect for songwriters who wander off the safe and structured grid of convention and treat their songwriting to something a lot more vivacious and fulsome. One gets history, grandeur; intimacy, charm and routine with Harrison. There are myriad emotions, scenes and voices that play out over the course of fifteen tracks. Having that amount of tracks might be a gamble for an artist but, as he proves, Harrison can keep you invested from the first notes of One Small Suitcase (the opening track) until the close of Hooker’s Song (the closing song – I will let you listen so you can hear whether it is a rugby player, ‘lady of the night’ or something else!).

Songs like What Son House Said and Don’t Die Till You’re Dead beckon you in because of the intrigue behind the title. Join the Chinaman is interesting and what, exactly, is that about? It is not a surprise Harrison is respected and has gained respected reviews and play from the likes of BBC Radio 2. He is someone who knows how to get into the heart and make his music strike. I will talk about age, respectfully, in a bit but listen to an album like The Panoramic View and you have these diverse tales that all hang together. The broadness of the scope and geography – he is taking us all around the world and to different lands – is amazing but there is something safe and comforting in every movement. You never feel exposed to the elements of left to face the harsh winds – Harrison takes you everywhere and keeps you warm; he makes sure you are directed but are allowed time to play and explore. That is the mark of a songwriter who prides emotion and resonance over catchiness and commercialism. These qualities should be promoted and augmented so that other songwriters can learn. I am not saying the mainstream needs a complete overhaul but it can benefit from a little refreshment and renovation. Right now, I am seeing too many of the same themes and artists gain gaudy popularity; people flocking to them for no real reason or nothing that suggest real originality and durability. I said how I have struggled to categorise the music of Mark Harrison. Some commentators have called it Folk and others Blues; some say it is Roots music. I feel it is a blend of the three and it would be remiss of me to label it so easily. If you have not investigated all the great songs that are on The Panoramic View than get involved and see what Mark Harrison is all about!

Things are definitely getting better and bigger and, with every release, Harrison is gaining more ground. I said how I’d allude to the subject of age and why that is important. It seems, when you get to a certain age, only particular radio stations will play your stuff. I have raised this a few times before but you can definitely sense a certain cut-off-point where musicians are only destined for BBC Radio 1 if they are in their teens or twenties; BBC Radio 2 if they are over forty, let’s say, and maybe there will be some leeway here and there. Because of that, there is this division and compartmentalisation that is threatening music. I feel Harrison should be played on as many stations as possible and his music heard by younger audiences. I know he has younger fans but there is nothing in his music that is age-specific and restrictive. Legendary artists such as Kylie Minogue and Madonna have come out and attacked those who are ageist and feel like they should not be played if they are getting older. The sheer experience, wisdom and intelligence one gets from an artist like Mark Harrison means people NEED to hear what he is saying. He has that life experience and, with the touring he has done, the skills and chops to be able to make his music as sharp and tight as possible. Image and ‘coolness’ seem to be more important yardsticks than quality and songwriting ability and nuance. Look at Harrison and you know the man has travelled a lot and gone through some fascinating times. He has met countless people and can translate all of this into music that is startling and bold. Maybe we judge before listening or assume artists are only relevant if they are under-forty (or younger). I gravitate towards those with a few more years on the clock because they have been in the industry a long time and know what people want.

They can write in a more interesting way and their motives are different. New artists coming through are looking at streaming figures and reaching certain targets. They might be pitching to radio stations and they have numbers/markets on their mind. Harrison, one feels, is a traditional songwriter who want has a solid fanbase and knows he has a great body of work. He still has to think about streaming sites but wants people to take away his album and listen to it in full. Rather than look at the Spotify figures and worry about that; he is concerned with the quality of his material and how it makes people feel. Because of this, the reviews that have come his way – not just for The Panoramic View but his previous work – are amazing. He is seen as one of the biggest and best songwriters in the country and has a great reputation. The festivals he has appeared at – including Bearded Theory and Lakefest – means he has had the opportunity to hone his material and get that direct feedback. Harrison is all about people and tales and is not someone you will hear writing in a formulaic or commercial way. This means his audience will be narrower and less than a big Popstar but the respect he warrants means more. It is all well looking to these big artists who court millions of views on YouTube but how much of the popularity and appeal is down to the quality of the music?! That, when all is said and done, is the thing that matters and is the foundation of the artist. Celebrity, cool and image are nothing to do with that is being put out there and what music is about. I mentioned Madonna earlier and could dismiss her legacy if all people cared about was what she looked like. She courted scandal and tabloids all her career (and still does) but she could back up this obsession with her wardrobe and sex life with fantastic and legendary tracks. Now, you feel there is that compensation. Maybe we all see a genre and assume it will not be for us but we never really go further than that. Listen to these esteemed and established artists like Mark Harrison and you will be surprised and convinced without much cajoling.

When the opening notes come springing from the speakers like a gleeful train departing the station; you are instantly involved and hooked in the song. That rush and sense of curiosity matches the song’s title and you can physically detect and imagine the children running around. Maybe one should not take it literally but there is that sense something energetic and chaotic is about to come in. Brassy, swaggering and elephantic horns mix with riparian, delicate strings to create this sense of rambunctiousness and rush. The hero comes to the microphone and, unexplained at this point, has a house full of children. They are running around everywhere and, whilst the music seems to score the sounds and visions around him; the central performance is fairly ordered and he is making sense of it all. There are, as it is said, some grown-up children who think the hero is a fool; smaller ones who do not share that opinion – it seems like there are all ages in this house, mingling and conspiring. Great songs should bring you in and involve you with the story but not necessarily dictate what you imagine. The Blues man cannot sing the Blues because of this house full of children (if we are going with genre-based puns then his ‘Roots’ have been laid because of these sweet ‘Folk’ – or I’ll stop there…) and the joy being provided. That sense of pride and content might seem corny to some but it is a brash antidote to the miasma and unhappiness one can hear in many songs. The composition blends those spirited and rushing acoustic strings with punctuation marks of horns. His second wife is better than his first one – the first one has a long face and is out of the way – and you get that smile as the songwriter brushes aside a rather moody and dour former wife. Things might have been a bit tense and unhappy once before but now they are more settled and positive.

The simplicity of the song hides the nuances of the composition and the visions one detects. You hear about a man in a house surrounded by children, of various ages, and how his life has taken a turn. I wonder whether there is that desire to go somewhere a little quieter. He is happy the children are around but it seems like the hero wants to get away with his wife and go somewhere a little more reflective. He is telling us about his life at the moment and what he has achieved. It has been an eventful and contrasting life but one he would not trade for anything. The players back Harrison with this composition that seems to summon all the emotions and sounds one would associate with the house. The passion and sway of the guitars mix with the energy and vibrations of the horns; there are little notes and details that summon pattering feet, moody sulks and gleeful abandon. This sort of rich cuisine could only come from a songwriter who has that experience, intuitive ear and confidence. As the song winds down, you can still feel that brightness and contemplation. The songwriter would not change a anything but one feels, as time goes on, he would like to have a bit of a quieter house! I love the little dashes of humour – bigger kids not giving him respect and the miserable ex-wife – and how that balances against pure content and thanks. It is hard to compare Mark Harrison to any other songwriter. There are few who have the same skillset and can write a song that makes the same impression. Whilst it seems rather simple a song; House Full of Children has so much energy, (many) layers and a playfulness that some might overlook. The lyrics are hugely effecting and tell the story brilliantly; the composition adds new layers and visions whilst the vocal takes you in all sort of direction. By the end, I was keen to have another spin and see what new ideas came to mind. The Panoramic View is a busy and eclectic album and you need to listen to all of the songs. I chose House Full of Children because it is a perfect taste and introduction of a songwriter who is able to involve the listener in a song and make them feel better about themselves. That is not a quality to be balked at and, as such, we should all spend some time around Mark Harrison and the fantastic music he is putting out. I hope many will reassess their views regarding genres like Blues, Folk and Roots and become broader consumers.

I have talked about Mark Harrison and his various aspects and I haven’t had time to review the whole album. There is a general theme to The Panoramic View – in so much as it is a view of the world as a whole – but there are so many different stories and figures that are represented through fifteen tracks! Songs like High John and Mess Everywhere make you smile and think but, to be fair, all of the songs make an impact and do something! I chose House Full of Children because it got into my head quickest and is one of those songs where you keep playing out visions and notes long after it has finished. Keep abreast of Harrison’s social media channels for tour dates and news and do not miss out. He is a musician who keeps his fans informed and is always keen to bring his music to new faces. I hope, in time, we start to break walls down in music and give overlooked genres like Blues, Folk and Roots a proper airing. Same goes for Jazz, too, and I worry we exclude certain styles of music because we have these wrong and ignorant impressions. It is fair enough if you do not like a genre after giving it a good going-over but how many of us do that?! I can write off Thrash-Metal because I have heard a lot of it and have done so for years. I do not listen to one song from one band and turn my nose up like a posh dowager who has been offered a biscuit from Tesco – insolently throwing it across the room with an imperious scowl because it is cheap and nasty! If you appreciate true songwriting, deep thoughts and fun then you need to get behind Mark Harrison. There is that wit and humour that reminds me of songwriters like Paul Heaton and Paddy McAloon (Prefab Sprout). Ensure you listen to the whole of The Panoramic View and go through it song-by-song. It is an album that rewards patience and that complete experience. You will find yourself closing your eyes and drifting into the world Harrison has crafted and painted. The warmth and gravitas of his voice couples with lyrics that are as evocative as they are charming; music that is rich and sumptuous and songs that, once you hear them, will stay in the head for ages. The author has taken a wide and open-minded view of the world. If only the music world in which he reliant on…

CAN take the same approach!  

___________

Follow Mark Harrison

Official:

http://www.markharrisonrootsmusic.com/

Twitter:

https://twitter.com/mharrisonmusic

Facebook:

https://www.facebook.com/markharrisonmusic

Spotify:

https://open.spotify.com/artist/14CtALWVNL2IsuvjO27qBd?si=bgkgoveNTPSMXSGtsNC4vQ

Instagram:

https://www.instagram.com/markharrisonrootsmusic/

YouTube:

https://www.youtube.com/user/MarkAHarrison1

FEATURE: Ending the Decade in Style! Part I/V: The Finest Albums of 1989

FEATURE:

 

 

Ending the Decade in Style!

PHOTO CREDIT: @divandor/Unsplash 

Part I/V: The Finest Albums of 1989

__________

THE reason I want to put together a new feature…

 PHOTO CREDIT: @akshayspaceship/Unsplash

is to shine a light on the albums that end a decade with a huge bang. I feel it is hard to define what a decade is about and how it evolves but the first and last years are crucial. Entering a decade with a big album is a great way to stand out and, similarly, ending it with something stunning is vital. It can be hard leaving a brilliant and bountiful decade of music but I wanted to shine a light on the artists who brought out albums that did justice; gave hope the next decade would be full, exciting and brilliant. I will do a five-part series about albums that opened a decade with panache but, right now, the first in a five-part feature that collates the best decade-enders from the 1960s, 1970s; 1980s, 1990s and the 2000s. I am starting with 1989 and the best ten records from the year. The 1980s get a reputation as being a bit naff and dodgy but I would contest this. The 1990s is a wondrous and fabulous time and bridging that gap was a hard task. The 1980s had some iffy years – 1986 and 1983 produced few genuine standouts – but it was an incredible decade that provided some world-class records. A lot of them came in 1989 and, as I show, prove the decade had its share of innovation, brilliance and promise. Have a look at the essential ten 1989-released records and recall – if you were alive then… – a year that bade farewell to a brilliant decade…

 PHOTO CREDIT: @mero_dnt/Unsplash

IN style!

ALL ALBUM COVERS: Getty Images

______________

The Cure – Disintegration

Release Date: 2nd May, 1989

Label: Fiction

Review:

“Expanding the latent arena rock sensibilities that peppered Kiss Me, Kiss Me, Kiss Me by slowing them down and stretching them to the breaking point, the Cure reached the peak of their popularity with the crawling, darkly seductive Disintegration. It's a hypnotic, mesmerizing record, comprised almost entirely of epics like the soaring, icy "Pictures of You." The handful of pop songs, like the concise and utterly charming "Love Song," don't alleviate the doom-laden atmosphere. The Cure's gloomy soundscapes have rarely sounded so alluring, however, and the songs -- from the pulsating, ominous "Fascination Street" to the eerie, string-laced "Lullaby" -- have rarely been so well-constructed and memorable. It's fitting that Disintegration was their commercial breakthrough, since, in many ways, the album is the culmination of all the musical directions the Cure were pursuing over the course of the '80s” – AllMusic

Standout Track: Pictures of You

Beastie Boys – Paul’s Boutique

Release Date: 25th July, 1989

Label: Capitol

Review:

“While each member has their spotlight moments—MCA’s pedal-down tour de force fast-rap exhibition in “Year and a Day,” Mike D having too much to drink at the Red Lobster on “Mike on the Mic,” and Ad-Rock’s charmingly venomous tirade against coke-snorting Hollywood faux-ingénues in “3-Minute Rule”—Paul's Boutique is where their back-and-forth patter really reached its peak. At the start of their career, they built off the tag-team style popularized by Run-DMC, but by ’89 they'd developed it to such an extent and to such manic, screwball ends that they might as well have been drawing off the Marx Brothers as well. It’s impossible to hear the vast majority of this album as anything other than a locked-tight group effort, with its overlapping lyrics and shouted three-man one-liners, and it’s maybe best displayed in the classic single “Shadrach.” After years of post-Def Jam limbo and attempts to escape out from under the weight of a fratboy parody that got out of hand, they put together a defiant, iconographic statement of purpose that combined giddy braggadocio with weeded-out soul-searching. It’s the tightest highlight on an album full of them, a quick-volleying, line-swapping 100-yard dash capped off with the most confident possible delivery of the line “They tell us what to do? Hell no!” – Pitchfork

Standout Track: Shake Your Rump

Pixies – Doolittle

Release Date: 17th April, 1989 (U.K.)/18th April, 1989 (U.S.)

Labels: AD; Elektra (initial U.S. distribution)

Review:

“Wouldn't it be wild if quirky alternative rockers like Pere Ubu and the Swans (each now on major labels) turned out to be in 1989 what sensitive folkie types were in 1988? If that happens, the Pixies' second album should reach the top of the charts.

Unlikely. But, if it did, it would probably start with the Boston quartet's song "Here Comes Your Man," a sweet 'n' summery cross of the Tremeloes' '67 pop hit "Here Comes My Baby," Them's "Here Comes the Night" and the Velvet Underground's "Waiting for the Man." Way cool, indeed, but no less so than the flip of the coin that follows immediately, the fractured horror-flick tune "Dead," a yowling hunka anti-pop. The neat thing is that this major bit of, um, Pixilation doesn't come off as coy or arch, but dovetails to form a serious/curious dichotomy not unlike that of the Sugarcubes.

The hands-down highlight, however, is the cello-mellowed "Monkey Gone to Heaven." Here, singer-guitarist Black Francis (ne Charles Thompson) suspends himself halfway between his winking and wicked extremes for a majestic yet dry elegy to humanity's follies, with bassist Kim Deal's indifferent reading of the title phrase bold-facing Francis' understated confusion and anger. The prototype for thoughtful, creative and bracing pop in the '90s? We can only hope” – Los Angeles Times

Standout Track: Debaser

New Order – Technique

Release Date: 30th January, 1989

Label: Factory

Review:

“Technique was the group's most striking production job, with the single "Fine Time" proving a close runner-up to "Blue Monday" as the most extroverted dance track in the band's catalog. Opening the record, it was a portrait of a group unrecognizable from its origins, delivering lascivious and extroverted come-ons amid pounding beats. It appeared that dance had fully taken over from rock, with the guitars and bass only brought in for a quick solo or bridge. But while pure dance was the case for the singles "Fine Time" and "Round & Round," elsewhere New Order were still delivering some of the best alternative pop around, plaintive and affecting songs like "Run" (the third single), "Love Less," and "Dream Attack." Placed in the perfect position to deliver the definitive alternative take on house music, the band produced another classic record” – AllMusic    

Standout Track: Run

Kate Bush – The Sensual World

Release Date: 16th October, 1989

Labels: EMI; Columbia (U.S.)

Review:

“Goddess or gooney bird? Even some of this English progressive popstress' loyalists sometimes have to wonder. Though on 1985's "Hounds of Love" Bush stripped away many of the quirks of youthful exuberance that had marred her unique approach, some will always find her attention-getting vocals precious and her quasi-cosmic outlook and naked emotionalism off-putting. But this, her first album since "Hounds," is even more mature and accomplished. As Bush herself sings in "The Fog," "You see, I'm all grown up now."

The glorious Trio Bulgarka sings on three songs, further expanding Bush's already thoroughly developed world vision--perhaps only Peter Gabriel melds so many cultural elements with such seamless flair. But it's the how , not the what , that distinguishes her accomplishments.

Listen to the mournful Balkan wail that punctuates "Deeper Understanding's" look at loneliness in the computer age. No Post-Modern irony or juxtaposition here; rather, the combination transforms the song into a wide-eyed-wonderful essay on the human condition, with all the sensuality promised in the album title. It's enough to make you go, well, gooney” – Los Angeles Times

Standout Track: This Woman’s Work

The Stone Roses – The Stone Roses

Release Date: 2nd May, 1989

Label: Silvertone

Review:

“Compared to the dark, macho Mancunians who came swaggering in their wake, the beauty of this mythological debut twenty years later is its light, almost feminine beauty.

The album’s second reissue – coming in enough formats to appeal to everyone from casual converts to old fanatics – polishes up the gang’s ultraconfident blend of sun-drenched, jangly psychedelia and whip-smart, dance floor rhythms, while still conjuring the giddy excitement of acid-house: “Kiss me where the sun don’t shine/ The past was yours but the future’s mine” – The Daily Telegraph

Standout Track: I Am the Resurrection

Janet Jackson – Janet Jackson’s Rhythm Nation 1814

Release Date: 19th September, 1989

Label: A&M

Review:

“In 1989, protest songs were common in rap but rare in R&B -- Janet Jackson, following rap's lead, dares to address social and political topics on "The Knowledge," the disturbing "State of the World," and the poignant ballad "Living in a World" (which decries the reality of children being exposed to violence). Jackson's voice is wafer-thin, and she doesn't have much of a range -- but she definitely has lots of soul and spirit and uses it to maximum advantage on those gems as well as nonpolitical pieces ranging from the Prince-influenced funk/pop of "Miss You Much" and "Alright" to the caressing, silky ballads "Someday Is Tonight," "Alone," and "Come Back to Me" to the pop/rock smoker "Black Cat." For those purchasing their first Janet Jackson release, Rhythm Nation would be an even wiser investment than Control -- and that's saying a lot” – AllMusic  

Standout Track: Rhythm Nation

Neneh Cherry – Raw Like Sushi

Release Date: 5th June, 1989

Label: Virgin

Review:

“Produced by a shifting team of young musicians, the most established of whom is Tim Simenon of Bomb the Bass, Raw Like Sushi never runs out of tricky beats. Whether incorporating Latin freestyle ("Kisses on the Wind") or go-go percussion ("Inna City Mamma"), the production ensemble eschews the easier option of sampling for its own catchy thump and consistently matches Cherry's bravado with episodic surprises. During the last several years, many musicians have built retirement funds by imitating the musical and sexual paths of Prince and Madonna. Neneh Cherry may be the first newcomer inspired by them who also poses a threat to their preeminence” – Rolling Stone  

Standout Track: Buffalo Stance

Soul II Soul – Club Classics Vol. One

Release Date: 10th April, 1989

Label: Virgin

Review:

“Twisting voluptuous female soul vocals (Caron Wheeler, Rose Windross, the late Do'Reen Waddell) with rare groove-styled dance beats gave Soul II Soul a niche that would see them win a broad array of fans worldwide. Back To Life (However Do You Want Me), their best-recognised hit, is a classic example of this musical melting pot.

Keep On Movin' –another key anthem- was the group’s first real mainstream success (Fairplay only made it to 63 in the UK charts) and came at a time when American artists saturated the R&B scene. Founder Jazzie B made his record label more than happy as the track hit number five in the UK and number one on the US R&B chart.

Much like Bristol's trip-hop supergroup, Massive Attack, Soul II Soul have had a huge and important effect on black British music. Like Massive Attack's Blue Lines, Club Classics Vol. 1 is one of those rare albums that make you want to listen to every single track, over and over, again and again. Something most musicians can but dream of” – BBC 

Standout Track: Keep on Movin’

Madonna – Like a Prayer

Release Date: 21st March, 1989

Label: Sire

Review:

“So maybe Madonna’s protests that Like a Prayer wasn’t autobiographical were a bit of a ruse—or just another way to keep the minds of America’s pop-watchers thinking about her music as she gave them an album where she was less afraid to show her flaws, more willing to try on new personas that had bits of her selves attached. After all, as she told The New York Times in 1989, “What I do is total commercialism, but it’s also art.” Like a Prayer straddles those two ideals with gusto, with even its less satisfying moments adding to the heat given off by the MTV era’s brightest star” – Pitchfork   

Standout Track: Like a Prayer

FEATURE: Killing in the Name: Rage Against the Machine’s Masterful Debut at Twenty-Six

FEATURE:

 

 

Killing in the Name

IMAGE CREDIT: Getty Images 

Rage Against the Machine’s Masterful Debut at Twenty-Six

__________

THERE are a lot of albums that warrant attention…

 IN THIS PHOTO: Rage Against the Machine in 1992/PHOTO CREDIT: Getty Images

and are those that we all keep coming back to. They are those we shine a light on should be dissected and respected. One such album is the incendiary and splenetic Rage Against the Machine. The eponymous debut album from the American band launched into the world when George H. W. Bush was defeated by Bill Clinton in the presidential elections. In fact; the same day Rage Against the Machine - with that debut album on 3rd November, 1992 - announced their presence in the world was when Clinton came to power (he would not be inaugurated until January 1993). It was a narrow margin but it was a popular one. Consider what was happening in the world – from racial discrimination and violence to corruption and social inequality – and you can understand why this cocktail of an album came along. Although it would take a while for the new President to take his place in the White House and regain control of the ship; it is iconic to think this masterful album arrived the same day the United States welcomed a new leader. Every year seems to bring corruption and anger to the fore and there is always some form of unrest brewing. Stories of police brutality and despicable injustice was angering and igniting the American people but there were no bands around articulating that fury through music. Change was needed and many (in the U.S.) felt displaced and scared.

The reason why the anniversary of Rage Against the Machine should be talked about is because it is more relevant now than ever! It is somewhat sad and upsetting a record that rallies and rebels against evil should be more needed and reveals more light the further time goes on. One would think the messages from Rage Against the Machine would resonate and warn those to come. Presidents have varied in their competency and humanity and, although a Democrat in power was a good thing; there has been that building rage and sense of despondency. Now, twenty-six years from the release of that incredible debut and it seems like lessons have not been learned. There were plenty of hard-hitting and anthemic albums that arrived in the U.S. leading up to the introduction of Rage Against the Machine. In 1991, we saw Nirvana’s Nevermind come and Metallica’s eponymous release; there was Use Your Illusion I from Guns N’ Roses and Public Enemy’s Apocolypse 91… The Enemy Strikes Back. 1992 gave us Pavement’s Slanted and Enchanted and Dr. Dre’s The Chronic; Manic Street Preachers’ Generation Terrorists and Alice in Chains’ Dirt. There were some great Rock and Rap efforts but none that managed to fuse the genres in the same way; few that had that political edge and anger. Maybe Public Enemy brought some of that sense of injustice and fire but Rage Against the Machine came out of nowhere, it seemed.

In a scene where Grunge and Rock bands were talking about their own pains, depressions and angers; here were a tight and focused group of renegades who were armed and very dangerous indeed! There was no posturing from Zack de la Rocha (vocals), Tom Morello (guitars); Brad Wilk (drum and percussion) and Tim Commerford (bass) and their debut album smacked of complete conviction and reality! Unlike some of their preening and commercial peers; this was a band that meant business and were laying down an album that contained none of the clichés and tropes that were coming out at the time. Against the rather introverted and gloomy nature of Grunge; Rage Against the Machine possessed the same anger and attack but it was directed and projected at those corrupting the country and getting away, in many cases, with murder. Rage Against the Machine would produce three more albums before they split – although, technically, they are together there has not been any new material since 2000 – but none burned as bright as their debut. 1992 was a year with a lot of music gold emerging but, in political terms, political corruption and injustices were not being ably met by artists. Even though Rage Against the Machine has ten tracks; most of them are over five minutes long and a lot of ground is covered.

In spite of the longer running times; every song is tight and focused but there is a sense we are hearing mandates being laid. The band were not sloganeering or spouting worn buzzwords: every song on Rage Against the Machine was led by Zack de la Rocha’s poetic and fierce lyrics and the world’s best musical support. Take the opener Bombtrack and you get a sense of what is to come. The introduction trips and teases like Earth, Wind & Fire’s Fantasy before bursting into life. The lead summons the band into action and they galvanise in a storm of killer riffs and potent beats. Tim Commerford (bass) composed the riffs and the rest of the band impressed. The title unites the Hip-Hop term for greatest ‘bomb’ so, in essence, they felt Bombtrack was the greatest track. The potent and intense opener talks about “landlords and power whores” as Take the Power Back and Settle for Nothing showcase what an exciting and unique band Rage Against the Machine are. A lot of bands put too much emphasis on the front or push the bass to the background: tracks on Rage Against the Machine unite all the members and there is no one lead. The bass is consistently inventive and leading whilst the percussion provides the fist of power and protest. Morello’s spectacular guitar fireworks add so much to the music and heighten everything around it.

Even when de la Rocha’s lyrics occasionally slip into the ordinary; Morello and co. are there to bring the magic and support. Bullet in Your Head and Know Your Enemy are in the middle of the pack and are among the most explosive and enthralling songs on the album. Never has a band sounded as primed and angered as they do when talking about those who deceive and screw you over. Whilst not perfect and on the same level as the world’s best lyricists; Zack de la Rocha was able to write in an intelligent and inspiring way that was a lot more accomplished and inspiring than a lot of his peers. Wake Up talks about racism in the American Government and the counter-intelligence programs of the FBI. Part of the song incorporate an FBI memo in which its director J. Edgar Hoover suggested suppressing the black nationalist movement. Rage Against the Machine, on the song, suggest black leaders like Dr. Martin Luther King Jr. were assassinated because of the Government – they arranged the killings and needed them silenced. Know Your Enemy rallies against the supposed American Dream and its irony in the modern time. The song’s composition is dizzying and busy and makes use of Tom Morello’s toggle switch; the track switches between a pickup that is turned off and one that is on – which creates a tremolo effect. Commerford, again, was responsible for the riffs and he wrote the primary and secondary ones on acoustic bass.

Freedom, the longest track on the album, ends things with a real bang and one of the most fired vocals from de la Rocha. Songs like Fistful of Steel show how the band could layer the sound and take the song from a whisper to a scream. Listen to the slightly muted and far-off riff that starts; backed by bass and then, when Wilk’s drum tees up de la Rocha and heralds the song in; the lead gives out a pointed “Hup!” and the song swaggers forward. Maybe the riffs and composition should have been a little faster but, in any case, you get this head-nodding, resilient diatribe that gets into the head and makes you think. Most of the attention, quite rightly, goes to the lead-off single from Rage Against the Machine, Killing in the Name. The song is a tirade against American ills and makes reference to racist police brutality; the irony of those charged with protecting citizens yet embroiled in hatred and racial violence. The song’s chorus has the famous line “Fuck you, I won’t do what you tell me” and that word, ‘fuck’, is used seventeen times. The track nods to occasions when U.S. police officers have colluded with white supremacist groups and implicitly supported violence against the black population.

The song arrived only six months after the Los Angeles Riots – it saw four white officers acquitted of the beating of black motorist Rodney King. No surprise the song resonated with people and remains Rage Against the Machine’s most-popular song. Killing in the Name is a live favourite – or ‘was’ – and was a huge radio hit when it was released in 1992. Aside from a slip when BBC Radio 1 D.J. Bruno Brookes accidentally played the uncensored version and provoked a wave of complaints; people have always been drawn to it. A famous campaign in 2009 aimed to get Killing in the Name to number-one and defeat the inevitable campaign from the latest X Factor warbler. Although Killing in the Name only survived at the top spot for a week – it slumped out of the top-40 pretty quick – it did hold off the challenge of Joe McElderry and show that, even at Christmas, a song rallying against police racism and brutality was a more popular choice than something more traditional. Although the song has taken on a life of its own and exploded; it does not eclipse the other nine tracks on Rage Against the Machine. With no filler and a phenomenal amount of confidence; the 1992 debut from Rage Against the Machine scored huge critical acclaim – it got a lot of retrospective love as well.

 PHOTO CREDIT: Getty Images

This review/retrospective, written by Pitchfork last year, paid passion tribute to the album and looked at the beginnings of the band and how Rage Against the Machine added their stamp to music:

“It was 1990, and Tom Morello was a struggling rock guitarist in Los Angeles, with a Harvard degree in social studies. He had a vision to funnel the unrest of the day—the Gulf War, the prospective end of apartheid, the collapse of the Soviet Union—and his galvanizing experiences as a Kenyan-American kid in suburban Illinois into a group that synthesized rock and rap into something inherently rebellious. Or, as he put it in a want ad, he required “a socialist frontman who likes Black Sabbath and Public Enemy.”

Within weeks of forming, Rage Against the Machine—a name lifted from an abandoned tune in de la Rocha’s last band—had recorded a 12-song demo of originals, pieced together largely from fragments in de la Rocha’s journals and song structures Morello had contemplated for years. By the end of 1991, they were navigating major-label offers. By the middle of 1992, they were recording their self-titled debut in a string of fancy Los Angeles studios. Seven of those first demos reappear on Rage Against the Machine in almost identical form, de la Rocha’s vocals simply sharpened by veteran engineer Garth Richardson…

IMAGE CREDIT: Getty Images

Rage Against the Machine became a better band on each subsequent album. Their landmark follow-up, 1996’s Evil Empire, is much more coiled and concise. Wilk and Commerford were perfectly heavy. Morello had found the fertile nexus between gargantuan riffs and idiosyncratic techniques that intrigued adolescent fans and Guitar Player obsessives alike. And on 1999’s The Battle of Los Angeles, their hard-nosed finale, de la Rocha is at the height of his polemical powers, rhyming in great hypertextual arcs of political pleas. Morello’s singular guitar style had developed to the point that Rolling Stone famously mistook his screeching “Guerrilla Radio” solo for a harmonica break.

Never again, though, would the quartet sound so casually confident, as if they actually had the gusto and naiveté to take on the world”.

You can claim Rage Against the Machine made a better album – although I would argue against it – but they never created anything as instant, unexpected and timely. The band have not ruled out a reunion but with three-quarters of the band (everyone except Zack de la Rocha) involved with the band Prophets of Rage – alongside members of Public Enemy and Cypress Hill – the band have gone their separate ways but there is no bad blood. It would be exciting to think that, in a time when Donald Trump scares the world and there is police brutality and racism; the band who brought this remarkable debut album could dust it off and take to the stage. You can apply inspirations from the 1990s and events happening then to 2018.

If anything; there is more fear and division in the world and America has a President who seems to causally overlook problems like racism and brutality. He stands for everything Rage Against the Machine oppose and, as such, we need to study Rage Against the Machine and learn from it. Whilst its creators might be reproduce it and follow it; I wonder whether any bands of the moment will take heed and create their own version. In many ways, Rage Against the Machine could only come from this one band who seemed to bright incredibly bright from the off. Although they did release Evil Empire (1996), The Battle of Los Angeles (1999) and Renegades (2000) – the latter was a covers album – I feel none touched the sheer brutality and brilliance of Rage Against the Machine. Few bands since have managed to create anything as jaw-dropping and potent. We need more political bands who can provide big statements and fire against the corrupt but it seems like other genres are taking care of that – solo artists from Grime and Hip-Hop are doing it instead. In this feature from last year; the band recall their beginnings and how the magic started:

“Twenty five years on from its original release, Rage Against the Machine remains chillingly relevant – current turbulent, geo-political times have ensured to that. The band’s firebrand rhetoric has also been given extra muscle by the arrival of Prophets of Rage, a rock-rap supergroup comprising the original band’s engine room of Wilk, Commerford and Morello….

IN THIS PHOTO: (L-R): Zack de la Rocha, Tim Commerford; Brad Wilk and Tom Morello/PHOTO CREDIT: Press Association

The seeds of Rage Against the Machine’s emergence can be traced to Libertyville, Illinois when Morello, a Joe Strummer-obsessed singer-songwriter and the “only black kid” in the all-white town, moved to LA in 1988 to join Hollywood rock band and Geffen Records incumbents, Lock Up. Having worked somewhat incongruously as both political secretary for Democrat politician Alan Cranston and an “exotic dancer” to pay the bills, Morello had his ambitions of fame dented when the band split up in 1990 after releasing just one album, 1989’s Something Bitchin’ This Way Comes.

When the band divided their final pay cheque of $1,000, Morello was only 26 years old, but the sudden career lane change proved inspiring. He was now free to make the heavier, angrier music he had held back from Lock Up’s recording sessions. Morello called in Wilk, who had previously auditioned for the band and, later, de la Rocha and Commerford.

“I was relieved that my music career was done," says Morello. "I thought, ‘Well, if I’ve missed my grab at the brass ring, then at least I’m going to play music that I believe in and love.’ Rage Against the Machine was formed with zero ambitions.” The band’s early writing sessions – a basic, punk rock set-up comprising guitars, drums and de la Rocha’s righteous rage – were soon imbued with a headier vibe.

Rage Against the Machine’s rock-rap musical gumbo soon delivered an album of demos that would make up their debut album. Early cassettes were delivered to record label influencers with a match taped to the box. Chuck D, impressed by the band’s lyrical MO would later take them on a powderkeg US tour where shows were patrolled with police helicopters and metal detectors were commonplace, the authorities fearing an outbreak of gang violence…

“Tom’s (guitar) was what-the-f---, out of this world,” says Chuck. “The bass was like [Motown bassist] James Jamerson. [Rage Against the Machine] had power.” On its release, Rage Against the Machine went triple-platinum in America and made the UK top 20, though its breakthrough moment undoubtedly arrived when firebrand single Killing In the Name was aired on Radio 1 in February 1993. In a headline-making blunder, DJ Bruno Brookes accidentally played the track’s uncensored mix, peppering the airwaves with the anthemic, but expletive-heavy chorus, “F--- you, I won’t do what you tell me.” Brookes was suspended and the LA four-piece’s notoriety was immediately assured’.

Last year saw Rage Against the Machine turn twenty-five and it seemed very apt that many would reconnect with it. A year on and we have seen even more outrage and corruption from Donald Trump; shootings happen and racism come back into the news; division in the U.K. and atrocities that gives Rage Against the Machine even more relevance and meaning. It is almost disturbing listening to a record that seems to predict what would happen in the future whilst brilliantly assessing the mess it was in (in) 1992. Few debuts have burned as hard and made such an impact and it is testament to a band that was tight, brotherly and, in their own way, uniquely talented. There was no minor member: each performer added incredible angles and D.N.A. to the album and ensured it was hugely well-received. Whilst the people of America pray for a new President and want to forget the disturbing reign of Donald Trump; it seems the chorus of Killing in the Name seems…

  PHOTO CREDIT: Getty Images

MORE relevant than ever.

INTERVIEW: CAEZAR

INTERVIEW:

 PHOTO CREDIT: Daniel Alexander Harris

CAEZAR

___________

THE guys of CAEZAR…

have been telling me about their new track, Somewhere New, and what we can expect from their E.P., HAIL! I ask how the band met and what sort of music inspires them; if there is an approaching artist we need to get behind and whether they are heading on the road at all.

I discover which albums are important to them and what they have planned for next year; if there are any favourite musical memories and which artist they’d support given the chance – the band members each choose a song to end the interview with.

__________

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

Hey! It’s been another busy week. It always surprises us just how busy it is when you’re deep in the middle of a campaign. With all the P.R. work, the travelling and the interviews – it’s relentless! We love it though.

For those new to your music; can you introduce yourselves, please?

Of course. We’re an Electro-Pop three-piece, originally from Cheltenham in the South West but now we spend most of our time in London. We’ve been a band for about four years, but previously performed under a different name (‘Quigley’). We then had a line-up change with two members leaving the band; this left just Chris, Zoe and Rich (C,Z,R) in the band. It seemed like the right time to close the chapter on Quigley and start something new. We’d started working with a new producer at the same time and the chemistry of it all just seemed to click. Eighteen months later and CAEZAR was born.

Somewhere New is your single. Can you explain the story behind the song?

This is actually one of the oldest tracks in our repertoire – although it’s changed a lot since when we first started performing it. We wanted to capture that feeling of restless excitement that you get when you discover a new place or a new adventure – and we think this song epitomises that. It’s a real anthemic track with a strong hook at its heart. It always gets a great reception when we perform it live.

The E.P., HAIL!, has been announced. What sort of themes motivated and inspired the songs?

It was really important for us to try and capture the many shades and sides to ourselves in this E.P. It would have been easy to have put four lighthearted, easy-listening tracks together. However, we wanted to showcase that – yes, we’re an Electro-Pop band – but there are so many emotions that inspire us and we love to explore in our music – whether it’s bittersweet, lighthearted; frisky… that’s what keeps us interested. We’re really proud of each single on the E.P. and feel that the tracks work either independently on their own but also as a collection.

 PHOTO CREDIT: Daniel Alexander Harris

In terms of sounds/artists; who are CAEZAR inspired by?

We have quite a diverse range of influences – Chris loves OneRepublic, Maroon 5 and Muse while Rich is more introverted and will spend hours digesting acts like Pink Floyd and Ben Howard. Zoe has Indie tastes, so loves acts like Nothing But Thieves and Amber Run.

How did you get together? Did you all meet in Cheltenham?

Chris and Rich first met on the rugby pitch. They played for the same rugby team and both got injured at the same time. As they couldn’t play rugby, they had to find another way to spend our time so they started the band! One thing led to another and now the music has completely taken over from the rugby (although they will try to get a game in when we can). Zoe came into the mix in 2015; first as a backing singer for the band but her voice and character were so strong she quickly established herself as a key member of the band.

 PHOTO CREDIT: Daniel Alexander Harris

What do you hope to achieve by the end of 2018?

The goals for this year is to complete the release of the E.P. (due 30th Nov) and to continue to nurture the CAEZAR following. We’ve been very fortunate to have an amazing reaction to the tracks so far with BBC Introducing featuring the E.P. as a main event; CLASH magazine premiering our singles and even getting some U.K. National T.V. broadcasting with Philip Schofield on ITV’s This Morning!

Do you already have plans for 2019?

We want to build on what we’ve started this year. It’s been amazing to release the songs to such a positive response; now we want to take the tracks on the road and showcase them to audiences across the U.K. – and beyond. We’re talking to festivals currently and hope to make some big announcements soon. After that, we will be looking to get back into the studio to start on our next project.

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

Our favourite memory so far has to be when we performed at Alt Fest in Belgium. It was our first international show and really opened our eyes to how far music could take us. We were treated like royalty; we got to meet loads of amazing acts, and also were able to hang out for a night in Bruges – which we’d highly recommend. It was an incredible adventure.

Which one album means the most to each of you would you say (and why)?

Chris: Muse - Origin of Symmetry

The first album I began to understand the power of melody regardless of genre.

Rich: Pink Floyd – The Wall

I grew up hating this album. My parents would play it on-repeat and it confused the hell out of me. Then, as I grew up, I reengaged with the narrative, the journey; the multifaceted moods and tones – and, of course, the guitar solos. I love it. Dave Gilmour is the man. Fact.

Zoe: Amber Run - 5am

I'd been in a dark place where I didn't even want to listen to music. This was the album that changed that. It marks a very poignant turning point in my life

 PHOTO CREDIT: Daniel Alexander Harris

If you could support any musician alive today, and choose your own rider, what would that entail?

If we could support anyone performing right now, then I think someone like Raleigh Ritchie would be amazing. In terms of riders; we’re happy with a few beers! As long as it’s not fruit – we were once given a bowl of oranges as a rider and Chris is still angry about it today.

What advice would you give to new artists coming through?

Creating and growing music that you love is not easy. It takes a lot of dedication and persistence to get your head above the water and even then expect a lot of rejection and disappointment. It’s the bands that believe in themselves and who can ride the waves of ups and downs that will make it. So many amazing acts never make it because they give up too early.

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

We will be announcing 2019 tour dates very soon. Head over to our Facebook page to ensure you get the updates when they are published.

 IN THIS PHOTO: Rex Orange County

Are there any new artists you recommend we check out?

Not really an ‘unknown’ but Rex Orange County is tearing it up right now – we love him!

Do you get much time to chill away from music? How do you unwind?

Probably unsurprisingly we turn to rugby when we’re not in CAEZAR-land. We’re big supporters of Gloucester rugby, so will go to watch the Cherry and Whites when we can and, if not, we will strap on our boots for a game with our home club, Old Cryptians. Except for Zoe – she’s mega-creative so she will be painting or designing something stunning (like the band’s artwork).

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

Rich: Rex Orange County – Loving Is Easy

Chris: Navajo – Masego

Zoe: Theophillus London – Bebey

___________

Follow CAEZAR

Official:

https://www.hailcaezar.com/

Twitter:

https://twitter.com/HAILCAEZAR1

Facebook:

https://www.facebook.com/hailcaezar/

Spotify:

https://open.spotify.com/artist/6f2j70gzysK5Z83ZhbpaFo?si=Y6Nkx0WfTjWmKvfvKOSEhg

Instagram:

https://www.instagram.com/hailcaezar/

SoundCloud:

https://soundcloud.com/hailcaezar

YouTube:

https://www.youtube.com/channel/UCDTTt6IlbDEOFtbbkiiWhTQ?view_as=subscriber 

INTERVIEW: Alichè

INTERVIEW:

Alichè

___________

THANKS to Alichè…

 PHOTO CREDIT: @bychrisreid

for talking with me about her latest song, B.B.I, and what it is all about. She reveals how her music has developed and which artists influenced her; a few albums that are very important and some rising names that we need to be aware of.

I ask whether there are gigs approaching and how important London is to her; which musical memory stands in the mind and how she unwinds away from music – Alichè chooses a great song to end the interview with.

__________

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

Hey, hey! So good. It’s release week, so I've literally been counting down to the day!

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

I’m Alichè - pronounced ‘Ali-Chay’. I was born into music, literally born under a piano at home. Haha! I’d say I sit somewhere in a contemporary style of R&B/Hip Hop. I like to take influences from all different genres of music to form my own style and take. I embrace being from London and proudly sing with my accent. To be honest, couldn't drop it if I tried. 

B.B.I is your latest single. What is the story behind it?

B.B.I = Bad Boy Issues. It’s not about any specific being, but more a reflection of frustration. Anyone that knows me knows I have a big, big heart but I'm not a lovey-dovey relationship person. I do my own thing, work hard and put myself first a lot. But ‘bad boys’ are my kryptonite: I get pulled in by a certain type of presence and swagger; they always seem to end up being an issue.

How do you think it moves on from No Luv? Do you feel yourself bringing out more material next year?

They are both tracks that represent me and I'm proud of. There’s a lot more to B.B.I; there’s a certain vibe to it that I was, like, ‘Cool; this has to be my first official release’. I’ve got a couple things lined up for next releases but, for now, I’m just eager to test the waters in the reception of B.B.I.

In terms of music; who do you count as idols? What sort of stuff did you grow up listening to?

My family play a big part in my musical influences. I grew up with a lot of Jazz, Funk and Soul music around me. There’s always good tunes playing in our house. We spent some time in Cuba when I was little - and my family did before I was born too -, so a lot of Cuban and Spanish music and culture was always about - whilst I also had an older brother drilling Hip-Hop and Grime into me from an early age. 

Erykah Badu, to me, is one the greatest human of all time. Q-Tip is also possibly one of my favourite Hip-Hop artists alongside the more modern-day sounds of King Kendrick. And, finally, I would not be the woman I am today without the existence of Amy Winehouse. 

Being based in London; how important is the area and the people regarding your music and creative mind?

So important. I bounce off London. It’s an exciting time for U.K. music as a whole. Defining sounds and pushing new limits. There’s a lot of love in this city but a lot of pain too. It inspires me every day. Even just watching the people I see on the Tube every day; they give me ideas or inspiration. 

What do you hope to achieve by the end of 2018?

The most important thing for me right now is developing my presence and sound as an individual, so I’m keeping my head down and trying to stay consistent. 

Do you already have plans for 2019?

Of course. I’ve got so much I would like to do but, my team and I, we plan loosely. Things and plans can change so quickly. In 2019; I would love to support a British female artist on their tour or their home show.

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

It would have to be the headline show I did in September at The Spice of Life. I’ve been going to that Jazz club for London Jazz festival for years. It was also my first headline with a live band who, shout out to them, are the best musicians. Excited to see where we’ll be playing in the future.

Which three albums mean the most to you would you say (and why)? 

The Miseducation of Lauryn Hill by Lauryn Hill and Baduizm by Erykah Badu shaped me as a human; they both got me through some tough times and boosted the good days. Then, Songs in A Minor by Alicia Keys is a timeless album to me; reminds me of just being young, blasting it out singing at the top of my lungs. My biggest worry was the flat upstairs banging to tell me to pack it in. 

If you could support any musician alive today, and choose your own rider, what would that entail?

If we’re talking worldwide, then Anderson .Paak. I think he is incredible. Ah…a rider. Well. If I was on tour I’d probably set up and run a fitness boot camp every day for the whole team and band. Blast some tunes and whip everyone into shape….

What advice would you give to new artists coming through?

I’m still very new myself so I’m still learning but I think just trust your own process. You live and learn. Don't be afraid to try new things but also don't be afraid to stay true to what feels right to you.

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

I’ve got my biggest headline show yet lined up on Sunday, 11th November at the Camden Assembly. I live to be on stage so I literally cannot wait.

Are there any new artists you recommend we check out?

I’m going to give you three AMAZING U.K./London-based artists…

Fred Fredas - who features on B.B.I. I was on one of his songs last year under a different name and fell in love with the richness of his voice. He's a QUALITY rapper and also a really good guy. Dotty. He is one of my favourite U.K. artists. His album, London X Living, is one of the most underrated projects. CHECK HIM OUT FOR SURE. Cleo Sol! Her song, Why Don’t You; it’s one of my most played songs. She has so much to her voice and lyrics; literally makes me melt.

 IN THIS PHOTO: Cleo Sol

Do you get much time to chill away from music? How do you unwind?

To be honest; I’m one of those people that hardly sits still. Haha! Not a lot of ‘chill’ time on a regular day/week. I do weightlifting/powerlifting, which I find is my time to myself. But, putting on my favourite album or project and just zoning out when on public transport or travelling is probably the time I take to chill.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

Kaiit - OG Luv Kush pt.2. Another perfect example of pure U.K. talent. Someone introduced me to her earlier in the year and I have been rinsing this track since

___________

Follow Alichè

Twitter:

https://twitter.com/itsaliche

Facebook:

https://www.facebook.com/itsaliche

Spotify:

https://open.spotify.com/artist/3GelDNbgiUcLa8au6ii9d6?si=S694Kac1TDa5E40dzfzb5Q

Instagram:

https://www.instagram.com/itsaliche/

FEATURE: The November Playlist: Vol. 1: What Lies Beneath the Masks

FEATURE:

 

The November Playlist

Vol. 1: What Lies Beneath the Masks

 __________

THIS has got to be one of the…

 IN THIS PHOTO: Keith Flint of The Prodigy/PHOTO CREDIT: @Bart_heemskerk

most eclectic and eccentric Playlist collections for quite a while! Not only are there barking and intense offerings from Slipknot and The Prodigy but there are softer and more soulful tracks from Sheridan Smith and Marianne Faithful! It is a rather broad collection of new tracks that sprinkles in some Bill Ryder-Jones and Halsey; a bit of Chromatics and Sharon Van Etten. There should be more than enough to get your weekend kicking and every part of the brain moved! Once you have calmed from the violence and pummel; have a listen to the more accessible and chilled tracks that should bring you back down and provide some caress. It is a wild, weird and wonderful week of music that is as varied and wide-ranging as I have seen in quite a while!

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

___________

Slipknot – All Out Life

The Prodigy – Champions of London

Halsey – Without Me

Bill Ryder-Jones – Don’t Be Scared, I Love You

Carly Rae Jepsen – Party for One

Saint Raymond – Echo

Beirut – Corfu

PHOTO CREDIT: Ryan Pfluger

Sharon Van Etten – Comeback Kid

BODEGA – Name Escape

RAT BOY – CHIP ON MY SHOULDER

Chromatics – House of Dolls

Morrissey – Back on the Chain Gang

PHOTO CREDIT: Stella Asia Consonni

Anna of the North – Nothing Compares 2 U 

Anne-Marie – Perfect to Me

Carly Pearce – Closer to You

King Princess – Pussy Is God

Little Mix – Joan of Arc 

Skepta (ft. LD) – Neighbourhood Watch

Troye Sivan – Someone to Love

Zuzu – Dark Blue

Barbra Streisand – Lady Liberty

Jacob Banks – Slow Up

Liv Austen – A Moment of Your Time

PHOTO CREDIT: Yann Orhan

Marianne Faithfull – Don’t Go

Sheridan Smith – The One

Lil Peep - Runaway

Pistol Annies – Got My Name Changed Back

Mariah Carey – A No No

PHOTO CREDIT: Shervin Lainez

Jade Bird – Love Has All Been Done Before

 

Charlotte Cardin – Double Shifts

PHOTO CREDIT: Scotify Studios

Slow Pulp – Steel Birds

PHOTO CREDIT: Ed Fielding and Sloane Morrison

Rival Sons – Back in the Woods

TRACK REVIEW: Louis Centioni - Here I Go Again

TRACK REVIEW:

 

Louis Centioni

Here I Go Again

9.3/10

The track, Here I Go Again, is available via:

https://soundcloud.com/louiscentioni/here-i-go-again

GENRE:

Electronic

ORIGIN:

London, U.K.

RELEASE DATE:

18th October, 2018

_________

MANY might say that there is…

a lot of variety and choice in modern music but, to me, I do not feel there is as much as there should be. I can accept there are a lot of genres and different artists working away but if you take a genre like Pop and Rock and, really, how much spread and difference does one encounter? Music is less about personalities and people than it is sound; because of that; it is about what is being put out. I feel like there are some standout artists but so much of what is coming out today is playing along the same lines. I think about Louis Centioni and there is something there to recommend. I will talk about variation and personality in musical terms and then move on to songs that have common themes but a distinct mind; Jazz and a genre that is being reinvented and inspiring new artists; nostalgia in terms of sounds and people and, to end, I will look at Centioni and where he might head. Maybe I am being hard on the new crop but I miss the days when you could encounter someone like the Beastie Boys or Nirvana and you’d have a completely different and fascinating proposition. In terms of what is about now; there are some mainstream artists that provoke that sort of intensity and intrigue as them but it is harder for the unsigned and underground. What with the sheer volume of artists and how difficult it is to stand out; I tend to find, on paper, many come across as very familiar and limited – you have heard it all before and it can be quite deflating. This will happen a lot and it is one of the worst things about what I do. I often wonder whether it is worth carry along this road and what fascination will come. Luckily, with Centioni; there is something in the locker that stands out in the mind.

Whilst I have not found a Beastie Boys or Nirvana in new music – and need to broaden my scope so I take in the likes of Rap, Hip-Hop; Jazz and other genres – I think the songwriter has a lot of potential and seems to embody promise. What appeals to me, in his case, is the blend of components and lines that go onto the page and how they translate into the music. I will talk about his latest track in a because, when it opens up; you really get a sense of an artist who wants to stand out and who does not follow the pack. I think South London and T.V., strangely, seem to come together in Here I Go Again. Maybe different inspirations infuse his other songs but, on his new cut, you can get a sense of what is happening in the capital and splice that with something dramatic. Again, like new artists; I am always wondering whether there is something samey about London and its sound. I live here but I feel the media pays far too much attention on it and one gets the sense that nobody can look past it – as though the centre of the universe is in the capital. Whilst, historically, London has pulled its weight; I think we all need to look to the North and realise the U.K. as a whole is as important as London. That being said; I think there are some artists that make me look at London from a different angle and dig deeper. The Mercury Prize, for two years, has been given to London artists and it seems, to me, South London is the most promising and appealing area. From Florence + the Machine and Loyle Carner through to Kate Tempest (although she was born in Westminster); there is that intensity, innovation and curious mindset emerging from artists here. Another thing that strikes me about South London and its artists is that curiosity regarding sound; some nostalgia but a lot of what comes from the streets.

Louis Centioni seems to be in the same sort of headspace as the likes of Loyle Carner – even if his own music has a different taste. I am interested, in the very least, at the different sides to London and how you get different music from each part. I have discussed artists who seem very samey and how the modern seen can be rather bland but, with Centioni, you have this songwriter who has half a mind in the present but is always looking back. You know he lives a very honest life and integrates sounds and memories from the streets on which he lives and walks into his blend. You get a real sense of authenticity and purity in the music and the story of his latest song, whilst common and not completely out of left-field seems to stem from something relatively unexplored and under-exposed. If you want to break away from the rather predictable and common sludge of underground music – how you can get the same thing from the same artists – then you need to investigate artists like Louis Centioni. I can get a real sense of where he walks and his daily life but you also get that combination of his favourite childhood music and sounds emerging from the modern-day scene. This is an interesting splicing and combination that makes the music weighty, impassioned and colourful. There is a lot to unpick and get involved with and you do not feel like Centioni is making music to fit into holes and follow anyone else. I mentioned how I would mention songs and there themes. I love what Centioni is putting out and would be quite hard on him if his music sounded like anyone else. One of the reason I have mentioned bands like Beastie Boys – and older artists – is because you got original stories, wit and a sense of fun in their music. Modern music has lost that adventure, smile and sense of diversity and it is one of the most depressing things.

Artists have become more insular and personal and, for the most part, songs seem to be about heartbreak and break-up. Not all artists focus on this but it seems the majority do – and we have very few innovators and acts that remind one of the classics and have any sort of fun. For a lot of artists, this is a bad thing and they can be rather lumpen and clichéd. I mention this topic because I understand why Centioni writes like this. I know his talent and innate drive can lead him to areas that project fun, incredible stories and something off the grid but he is reflecting what he is about and what he is experiencing. You can understand the need to write about what is meaningful and happening in life but I sense a mind that wants to break free and wander into other lyrical areas. In any case; you might look at Here I Go Again and what it is about – the break-up of a solid relationship and that sense that there is a pattern forming – and feel like nothing new or special will emerge. I would say the vast majority of modern artists are talking about love for the majority of the time and many of them repeat what is already out there. It sounds like I am preparing to boot Centioni’s bottom but, in fact, I am impressed he has written something accessible and relatable but brought it to life in a new and challenging way. Not only is the music a lot bolder and more eclectic than the modern palette – artists tending to match a rather dour mood with a similar compositional state – but the lyrics have a sense of personality and identity that does not make one feel like we have heard it all before! I feel other artists can learn from this and should take guidance as to how to break from routine. There are two distinct musical styles clashing in Louis Centioni’s current track.

Here I Go Again has a distinct Electronic vibe that seems to borrow from the London streets and has a distinct ambition. The sounds are intense and they shift course; there is a flavour of modern Electronica but you can hear Jazz elements coming through. Whilst many artists with a fondness for Jazz are a little hesitant about penning a classic Jazz standard – think of Miles Davis and John Coltrane – they are bringing the colours and ethics of the genre into their sounds. The backbone and blood of Louis Centioni’s current jam is Electronic and is primed for the mainstream but there is experimentation and shifts that can only come from a love of Jazz. The reason I want to mention the genre is because, through time, it has been maligned and overlooked. We always get this view Jazz is rather stuffy and serious and can be quite boring – endless trumpet solos or pondering songs that really do not say much. I think it is the lack of vocals that scare people and means you have to use a different part of your brain; you need to focus more and it can be hard transitioning. Modern Jazz-inspired artists like Thundercat and Kamasi Washington are hugely important and, in fact, there is a band of British Jazz artists who are taking the foundation of the genre and adding fire, intensity and something exciting to the party. Centioni took to the piano young but it was his grandfather’s collection if Jazz and Italian records, that he was exposed to at the age of four, that made the difference. That innate and tender connection with a passionate and strange world filtered into his blood and directed where his music would head. The songwriter has taken singing lessons and is inspired by Classical music. It is the Jazz love that gets to me. Listen to his latest track and you can tell there are different Jazz artists working away. You get the accomplishment and stature of early icons like Miles Davis but, with the electronic notes and intensity, there is an experimental aspect that reminds me of the modern-day Jazz players.

One gets world colliding and colours uniting through music that has a common and accessible heartbeat. Centioni attending the BRIT School and that created a sense of discipline and gravity. This combination of the Jazz romance and special world, blending with London and a musical school has led to this wonderful concoction. I feel a lot of modern artists look too closely to what is around them and you feel they are aiming to replicate and simulate a familiar sound. Rather than take from their personal lives and take risks; so much of what is out there today is dictated by commercial needs. Maybe that is a bit all-sweeping but I am discovering few songwriters who take gambles. Louis Centioni has an eye on the mainstream and knows what is needed to gain an ear but he is much more indebted to his grandfather and the music he grew up around. Mixing more modern influences together with that early exposure to Jazz; one gets a real hit and sensation. I am often wary of people who go to music schools and institutions that stamp out a particular artists. Whilst the likes of Amy Winehouse managed to stand alone and not do what is ‘expected’ – being overly commercial and following what is in the charts –; alumni like Adele – whilst her voice is powerful – lack any sort of flair, intrigue and real promise. So much of what is coming from these schools is dictated to by commercial gain and fitting into the charts; being too accessible and, let’s face it, a bit boring. Those who can take the good aspects from their teaching and not abandon their roots are to be commended. Centioni is someone who has learned a lot but does not want to compromise his passion and tastes in order to follow blindly. Away from the rather predictable storylines of heartbreak and disappointment; it is the ethics and background from Centioni that appeals the most. There is one danger that could have been exploited but, luckily, has been avoided.

I am one of those people who looks back on music and recalls the stuff I grew up around. The dreaded curse of nostalgia can make us all a bit restrictive and means we do not wholly accept modern music. Maybe we romanticise the past and feel like there is much quality now. Whilst I will always contest decades like the 1990s will destroy anything that is around now and ever will be; there are so many artists coming along that have the promise to remain and create for years to come. Louis Centioni could easily have replicated what he grew up around and not added anything new to the pot. I know he buzzes from the records he discovered at a young age and some influences are on his sleeves. One gets a distinct whiff or the classic and past in his music but, at all times, the man is looking forward and inspired by what is at his feet. Rather than dip back and try to repeat what has come before; he is looking forward and not falling into that trap. This is impressive to see and I know we will get a lot more from Centioni. It sounds like I have been a bit strict with my investigation and assessment but there are so many artists around that seem cloned, common and faceless. Maybe it is unavoidable but I do get weary and wonder, cruelly, whether limitations and standards should be set – only those most promising and profitable can cross borders and reside in modern music. In order for future generations to follow the music of now; there needs to be that sense of promise and longevity. As it is now; there is a lot out there and I wonder how much of it we can retain. I forget so much of what I listen to because there is something missing and it is not as sharp and dynamic as the music I was raised on. Artists like Centioni understand this and, as such, have taken care to make their music as bold and busy as possible.

Listen to a song like Here I Go Again and you have so much working away in there! I think, oddly, T.V. and drama has made that happen. It seems like a strange point to raise but many artists are not recognising the potential when it comes to film and T.V. By that; I mean bringing dramatic and comedic elements into the music. There has always been that bond between T.V. and music – songs being played as soundtrack – but few modern artists take a more dramatic and T.V.-minded approach to their songwriting. They might pen songs that can end up on dramas but do not take guidance from those shows and incorporate that into the fold. I know Louis Centioni is a fan of the Netflix series Stranger Things and you can hear that extraterrestrial theme coming through in his music. I have talked about his grandfather’s influence and one would think that rather charming and romantic vision would not fit alongside a darker and different world like that of Stranger Things. Rather than wrote a song that could appear on the show and be discovered by chance; the songwriter has been directly inspired by the strangeness, spacey elements and drama that the show puts out. As such; you get this song that starts from different foundations and takes a different course. Consider how most songs are written. Artists might get a melody or lyric in their mind but this is often compelled by music itself or what is happening around them. Few will sit down and think about a T.V. drama and write from that perspective. Maybe that is way of adding interest, fun and something much more memorable into music? As Centioni shows with his current single; there is a world of inspiration out there that is not being mined! I hope he continues to write like this and add something cinematic and dramatic into his music. I have talked long enough about the man behind the music so it is best I reverse that and discuss the music inside the man.

The hero begins Here I Go Again by talking about something he cannot reclaim and gather. Maybe he has been through the motions too often and knows full well this current situation is inhospitable. The words are not delivered in a rather average and straight way. Soulful and deep; there is a brief flow and then a pause; the true emotion is brought through and Centioni approaches delivery much like an actor would – speaking like a human going through pain as opposed a songwriter presenting their emotions. Because of this, the song makes an instant impact and you wonder whether the composition will rise and explode. The start is fairly calm and there is little intrusion from the background. You listen to the delivery of the words and it is the way they come through that get to you. Centioni stop-starts and you get this very physical and evocative sensation. I jumped into the song and followed the hero as he walked us along. Centioni has this way of singing almost like a Jazz musician would play. The background has this Electronic and modern force but the man at the centre is interpreting and telling his story like an icon. That might seem a strange conclusion but this is a resonance and element that comes from the voice that gets under the skin and hits you. It seems like the hero has been told of the dangers of giving his heart and it seems like those words have fallen on deaf ears. I guess everyone experiences bad love and heartache but they assume the same will not happen again. I suppose a new person promises different fortune but maybe people like Louis Centioni are attracted to a certain type and enter a bond with faith and promise. The chorus layers Centioni’s voice and there are percussive clicks; the composition broods and injects whilst there is a warmth that floods through the speakers.

You support the hero because he has given so much and, again, seems to have come out as the loser. Maybe there is a sense of mistrust or his sweetheart has let him down – that is not revealed at this point. I have mentioned Jazz and the influence on Centioni for a number of reasons. Not only does one sense a certain discipline and sound that reminds me of Jazz greats but the composition seems to have a certain vibe. It is hard to put into words but Centioni has managed to bring a lot of Jazz’s colours and elements into a largely Electronic background. When the chorus hits and you hear the vocals layer; there is that freedom, lust and atmosphere that you get from great Jazz songs. Our man has been bruised and seems accepting of his fate but keen to cure this miasma. Centioni drops his words in and allows them to hit like rain before moving on. You get, because of this, a more emphatic and impactful hit because you are allowed time to absorb the words and let them hit. Maybe there is blame on both sides and that mystique regarding the reason behind the breakdown makes me wonder. How have things gone wrong and why have the lovers been split?! The hero is not blaming anyone but it seems like people have predicted the end and given these warning messages. Rather than blame and create a depressive mood; Centioni is picking up from the rubble and looking inwards as to why this keeps happening time and again.

One gets rushes of legendary R&B and 1990s songs but there is that modern production and Jazz undertones that makes Here I Go Again spike and sparkle. Centioni is in this mire and seems to be unable to release himself. The sweetheart does not care about him and, backed by bold and exciting electronics, he is having his say. Maybe there is that emotional detachment but both have climbed high and there have been some good times. Above all of this; the heroine has only looked out for herself and seemed cruel to the touch of the hero. Centioni does not incorporate too many of the worst traits of modern Electronic music – processed and high-pitched vocals; although there is a bit of it – and allows his own voice to have the biggest say. His previous track, Unsure, is a very different beast to Here I Go Again and you can hear the changes and new confidence come out. I wonder whether more material is coming next year and whether Centioni will put together an E.P. that tells a story – it seems like his latest track, in a way, is a continuation of his previous offering. I love Here I Go Again and it could easily have fallen victim to the traits of some artists: being too depressive and introspective and not adding anything exciting or physical to the music. Instead; you get this rousing and passionate song that manages to talk about a breakup and let-down but does not let the angriness and sadness dictate – a rarity that should be followed by more artists!

Louis Centioni is an impressive performer that has honed his craft through the years. He has played at venues like Ronnie Scott’s and the 100 Club. Some of his current favourite artists include Billie Eilish and Alicia Keys; Khalid and Jon Hopkins but you sense a passion for artists like Nina Simone and Jazz icons. Working with accomplished producers such as O Mer (on his latest track) and playing at some stunning locations; he has learned a lot and brought that all into the music. He is currently playing as part of the Coffee House Sessions and will be doing that until 9th November. Centioni has a headline show at Ronnie Scott’s on 4th December and it seems like things are heading in the right direction! If you have not encountered the spirited and intrepid Centioni then I suggest you correct that and get behind it. I started the review by being slightly critical and giving a smackdown to the current scene. Whilst some of my words might have been hasty; I stand by the assertion that there is not enough wit, fun and surprise in music. You lose that smile, originality and durability in favour of something much more inward, common and personal – I wonder whether that reflects modern society and if artists feel they cannot break from that. Maybe this will have problems in years to come – people skipping a generation and still playing music from past years – but I feel there are artists trying to redress this curse and do something special. Centioni writes about breakup and heartache – I can forgive him that because it is truthful and means a lot to him – but here is someone you can imagine shifting from that common mountain and traversing somewhere much more colourful and bright. I envisage songs that tell stories and have an element of fantasy; those that take risks and remind one of the best music from the past. Given his love of dramas like Stranger Things; maybe a fantastical or darker edge might creep into his future material? Whatever he has planned; ensure you follow his social media and keep updated because here is someone who inhabits his own space and seems primed for big things. I love the tones and layers of Here I Go Again and it is a song that stands out in a climate that needs that kick and vibrancy. Maybe there are artists like Centioni who can provide something engaging and thrilling but, more and more, these kind of musicians…

ARE getting harder to find.  

___________

Follow Louis Centioni

Official:

http://www.louiscentioni.com/

Twitter:

https://twitter.com/louiscentioni

Facebook:

https://www.facebook.com/louiscentioni

Spotify:

https://open.spotify.com/track/3IywoiISenAWCbL1OTRUSE?si=Ond1JUNWS9qE8OxcUKzXMQ

SoundCloud:

https://soundcloud.com/louiscentioni

Instagram:

https://www.instagram.com/louiscentioni/

YouTube:

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

FEATURE: Sisters in Arms: An All-Female, Autumn-Ready Playlist (Vol. XVI)

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Jae Stephens 

An All-Female, Autumn-Ready Playlist (Vol. XVI)

__________

BEFORE the weekend comes…

IN THIS PHOTO: Charlotte Cardin 

I have collated another female-led assortment of songs that are culled from different periods. A lot are fresh off the blocks but some are from earlier in the year (one or two from 2017). In any case; I feel these tracks will provide all the colours and contrasts of autumn and will definitely put you in a better mood. There is so much great music coming through from female artists – as there have always been – but I wonder how much of it radio stations and label heads are aware of. In any vase; this is another rundown of songs that I am keen for people to dig into and investigate. Have a look through this assortment and I am sure there’s enough in there to keep you occupied. It is another interesting and varied group of songs that shows what talent we have in music. Get your ears around this female-led collection and start the weekend off…

IN THIS PHOTO: Sarah Close 

ON the right note.  

ALL PHOTOS (unless stated otherwise): Getty Images/Artists

____________

Lainey Wilson - Microphone

Hannah Wants – You Keep Comin’

Charlotte Cardin – Double Shifts

PHOTO CREDIT: Timothy Saccenti

Kelly Moran – Halogen

Willa – Cause You Did

PHOTO CREDIT: VIBE

Kodie Shane – High Speeds

Ella Frank – Blue Jay

Y.A.S – 100 YEARS

Morgan Saint – Falling

Georgia – Started Out

Lilianna Wilde – Love Me Right

Bryony Williams – Narrative Form

Jade Bird – Love Has All Been Done Before

Thyla - Candy

Sarah Close – Crazy Kind

Greta Jaime – Temporary Panic 

REYNA – Heartbeat

Déyyess – Escher Heart

Lana Lubany – Come Midnight

Elle Hollis - Luxury

Anna of the North – Nothing Compare 2 U

Jae Stephens – Long Way to Go

Orla Gartland – Between My Teeth

Chromatics – Camera

ROYAL – Black Beauty

boygenius – Me & My Dog

Faye Webster – Alone Again

FEATURE: Sisters in Arms: An All-Female, Autumn-Ready Playlist (Vol. XV)

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Kayla Painter 

An All-Female, Autumn-Ready Playlist (Vol. XV)

__________

THE cold is properly kicking in…

IN THIS PHOTO: Rachel K Collier 

so it is just as well there is some warming and wonderful music out there that can soothe the bones and bring some sort of heat back! Autumn is that time when the weather is a bit unpredictable and we can have extremes. Whilst I have been enjoying the sun; I know things will turn darker and colder - so I have been looking around music and picking some great tracks. Here is another assortment of female-led songs that showcase some tremendous talent and prove what incredible music is being put out into the world. Have a listen to the busy and diverse playlist and I am sure you will find some tracks that get into the heart and stay in the head. With the cold truly here and things turning a bit naff; console yourself and warm the body with these…

IN THIS PHOTO: Robinson 

BRILLIANT tracks.  

ALL PHOTOS (unless stated otherwise): Getty Images/Artists

____________

Maggie Lindemann – Human

Grace Savage – The Hunger

Bianca Bazin – Poor Thing

Sheridan Smith – Listen to the Rain

Robinson – Medicine (Acoustic)

Sky Keller – Bad

PHOTO CREDIT: @julia_brokaw

Cornelia Murr - Cicada

Nao – Orbit

Rachel K Collier – Poison

Kayla Painter – Sacrificial Magic

Ani Glass – Peirianwaith Perffaith

Cecil – Toybox

Sophie and the Giants – Space Girl

KP Wolfe – Exodus

Cassadee Pope – One More Red Light

Wild Moccasins – Desired Effect

Tessa Dixson – Beautiful Pain

Chloe Lilac – Summer

Jessica Pratt – This Time Around

Kero Kero Bonito – If I’d Known

Ivy Mae – Snakes and Ladders

CHAI – Fried

Amber-Simone – Strawberry Kisses

Sara Diamond – Fool

The Wild Things – Better Off Alone

Kiki Rowe – Use You

JFDR – White Sun (String Version/Live) 

Yes You Are – Blacklight

 

INTERVIEW: Soul Island

INTERVIEW:

Soul Island

___________

I have been speaking with Soul Island…

about his new single, Ocean, and how it came together. He talks about the upcoming album, Shards, and what sort of themes inspired it; when he got into music and what sort of sounds inspired him – he reveals a few albums that mean a lot to him.

Soul Island discusses his future plans and spending time in London; being raised in South Italy and whether there are any ambitions to fulfil before the end of the year – the songwriter ends the interview by selecting a cool track.

__________

Hi, Soul Island. How are you? How has your week been?

Hey! Quite deep…prepping the live set, some flying London to Lecce; with in between working on visuals for the upcoming record and singles.

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

I’m Daniele and Soul Island is my first solo project. It’s an exciting phase as the first record is coming out, with experimentations on songwriting mixed to analog, Electronic soundscapes. In the past, I was part of quite a few other projects, from Power-Pop to Folk. However; this new work I always had in mind and turned out to be the most personal music I ever released.

Ocean is your new single. Can you explain the story and background of the song?

I was fascinated by the idea of composing a track with a lead synth arpeggio from start to finish. I worked a lot on the narrative in the chords sequence and then fed it through a Juno-106 with continuous live tweaking of all envelopes and filters. Lyrics are about the environment and my – everybody’s – sense of responsibility for it; the hopes we hold on to as events bigger than us unfold.

I was also definitely externalising the impact of London’s weather(!). After some time working on the track, I realised that water movement is effectively what I had in mind musically and that this was a recurring topic appearing (also) in the lyrics…so I picked ‘Ocean’ as the title.

It is from the upcoming album, Shards. What sort of stories and experiences compelled the music on there?

As I said; Shards is all very personal. Lyrics and soundscapes expose intimate imagery and feelings as fragments of my story and my inner-speech. However, I am always very empathic and context-aware so much of this focuses on friends, other people; or else subcultures, global issues. The songs in Shards are a selection over a long period; effectively a chunk of me and my ideas over time, most of which I was living in London, having moved there from Italy and travelled a lot to the rest of Europe and New York. There’s also a good amount of focus on change in independent music and the arts, fast content versus depth; substance vs. networking - the way with which I deal with these thoughts emotionally.

In terms of influences; which musicians did you grow up around?

Lecce in Puglia, South of Italy, is where I’ve grown up. There was a small local street and skate scene of which I was part. Music started playing a huge part into this scene and eventually quite a few bands were born and places for gigs, small D.I.Y. distros and labels. This was the environment; bands I would listen to were mostly Hardcore, Punk and Indie from the States…Hüsker Dü, Minor Threat; Fugazi, Sensefiled; Promise Ring, Texas Is the Reason…I could mention dozens.

Then, some Italian, Kina; Negazione, Nuvolablu; Shock Treatment, Eversor - we had brilliant Punk/Emo bands down in Lecce as well like Suburban Noise. And, of course, U.K. like The Clash, Exploited…eventually attention slowly shifted on the sound more than the politics and I became genre agnostic; I get passionate so long as the writing is good.

How did you get into music? Was there a particular moment when you knew it was what you needed to do?!

It came as a natural consequence of being in the skate culture in the '90s which eventually led to Punk/Hardcore. My parents’ home was also a place imbued with art ranging from paintings to good records played loud on Sundays. Making loud music felt as a protest against the culturally dry and small-minded region I lived in. Started on the guitar and immediately began writing songs, fronting a few bands with guitar and vocals (Room 104 among all). Since then; making music just felt a basic need.

You were raised in South Italy but are now in London. Was it a hard decision leaving Italy or has it opened up your musical world would you say?

Leaving Italy took some planning. Once in London and past the first few tough adaptation months, I started loving the city incredibly; it’s a constant adventure and discovery and, yes, it’s been a dive into countless shows in the many venues and pubs, both on stage and as public. I started buying vinyl again. I’ve also seen another completely different side of the city working as a software designer.

For me; the most challenging job to date. Full disclosure: I am now back in Italy, mostly, although I frequently fly back to U.K. having lived what has been a very intense life there - sorry London; the weather is so much better!

What do you hope to achieve by the end of 2018?

Record out, live set ready to go!

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

I have a terrible memory for events. However, recently, as the first single came out - announcing the record - and I was so touched by many (among friends, music people and totally unknown others) getting very emotional, almost as in-sync with the tracks’ footing. That’s been quite a thing to experience: a sense of intimate warmth and protection from the exposure of putting the track out in the first place.

Given your name; if you had to populate your own ‘Soul Island’; which singers would you have on there?!

Jon Bunch - always pictured as my older brother, fatherly figure. Bent Sæther, Jello Biafra. I love Thomas Mars’ attitude and writing. Elliott Smith, Nick Drake. Many more; depends if it’s a shipwreck or we’re at a holiday resort (smiles).

Which three albums mean the most to you would you say (and why)?

So difficult - there’s way more than three…

I’ll give you Blissard – Motorpsycho

It’s still there on any device I carry around. I have slept countless times with it in my headphones.

Then, more recently, Our Love - Caribou

It matches my sensibility; 100% would love to meet Dan Snaith and have a chat.

Finally…James Blake’s first (James Blake)

It’s a blue I always end up needing at some point or another.

What advice would you give to new artists coming through?

Ultimately, you want to hope making music is urgent to you or it will likely hurt you.

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

There are a few things lined up - but will put out details in due time!

Do you get much time to chill away from music? How do you unwind?

I do probably too many things. Besides music and designing software interfaces, I do often end up exploring computational art in many ways. I have an Instagram account where I post things at @morekid.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

I have this I just recently discovered; I’m loving it; amazing ambience

___________

Follow Soul Island

Official:

http://www.seesoulisland.com/ 

Twitter:

https://twitter.com/seesoulisland

Facebook:

https://www.facebook.com/soulislandmusic/

Spotify:

https://open.spotify.com/artist/4PrcXP9tMwATIq6BukRP3p?si=IKwmFrVWQKygR7BdpDQ4yA

Instagram:

https://www.instagram.com/morekid/

SoundCloud:

https://soundcloud.com/soulisland

INTERVIEW: ROYAL

INTERVIEW:

PHOTO CREDIT: Liz Rosa Photography  

ROYAL

___________

THE fantastic ROYAL…

has been talking with me about her new album/E.P., Heart of Shadows, and what inspired it; whether she has a favourite cut from the collection and what she has coming up next – she reveals a new artist we need to get behind.

I ask whether there are plans for next year and when music came into ROYAL’s life; if there is a favourite musical memory that stands out; which artist she’d support given the chance – ROYAL ends the interview by selecting a great recent track.

__________

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

Hey. I’m great! Thanks for asking! My week has been a lot of fun - it’s a very exciting time with the album release of my newest project, Heart of Shadows. 

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

My name is ROYAL. I am an independent, Dream-Pop artist with a flare for cinematic, romantic and dark tones. I write my music based off emotion and my own personal life experiences. I draw inspiration from artists including Lana Del Rey, Amy Winehouse and Billie Holiday, to name a few.

I have had some success with film, television and commercial placement over the years as well as a collaboration with Electronica artist Conro on a track titled City Lights, which has gained over five million streams on Spotify. You can check out my latest single, Vessel, on the Spotify-curated playlist Indie Pop Chillout! 

 

Heart of Shadows is your new E.P./album. What sort of themes did you tackle when writing and putting the songs together?

Heart of Shadows is a musical odyssey of the trials and tribulations of love and loss of identity. Thematically; it follows my story and experiences with the beautiful and darker sides of love - and the lessons we learn - and the power we gain from those experiences.  

Do you have a standout track from the record that sticks in your mind?

Reminisce is one of my favourite tracks on the album. It begins with a hauntingly beautiful string orchestration and leads you down the path of reminiscent swells of emotion. The mood and style of this song best represents me as an artist as a whole. It’s one of the more sweet songs – rather than bitter – on the album and carries me back to some very precious moments of my life. 

Was your early life filled with music? Which artists did you follow when growing up?

I am so fortunate to have been raised in a home filled with music. I swear if I were to press my ear against the walls I would still feel the vibrations, built in to the framework of the house. Not only was there always music playing but music from every genre under the sun. My dad followed the Rock classics including Bob Dylan, Neil Young; The Beatles and Tom Petty, while my mom blasted anything from Queen to Billie Holiday, Janis Joplin to The Zombies and Blue Rodeo.

It was a very well-rounded, constant thrill of inspiration. As I got older, I fell into the Pop scene; then Country then Punk; then to Rock - which finally led me to a musical world without borders.  

 PHOTO CREDIT: Liz Rosa Photography  

What do you hope to achieve by the end of 2018?

The end of 2018 is quickly approaching! I am working hard to reach my goals of successfully promoting my single, Vessel, and album, Heart of Shadows. With these releases, I hope to expand my following and create more music placement opportunities through film, television and beyond.

Do you already have plans for 2019?

I have many plans for 2019. This includes a music video release, tour and continued promotion for the current album. As well, I plan to step into the studio with more music. There are a few songs that I wrote within the last year that I would love to see come to life. The recording experience I had working with my producer Luca Fogale on Heart of Shadows really inspired this and I look forward to stepping in to that creative hub again. 

PHOTO CREDIT: Liz Rosa Photography  

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

The one memory that comes to mind is the moment I was notified I was a successful FACTOR Juried Sound Recording grant recipient. FACTOR is a major source of funding for Canadian artists.

I was sitting in the hospital chair waiting for my boyfriend - who had injured his arm from a concert the night before (don’t worry; it wasn’t anything serious) - and the email popped up on my phone screen. It was as if the world stopped turning; I think I forgot to breathe. I opened the email and there it was. Someone believed in the music I was creating so much that they wanted to make sure it had the means to be developed. At a time in my life where I was feeling quite down about my career, there it came and it couldn’t have been a better time. I immediately burst into tears, unable to move. It was one of the most precious moments I’ve ever had. 

Which three albums mean the most to you would you say (and why)?

This is one of the most difficult questions to answer - because how could I pick just three? My life has been monumentally inspired and carried by music for as long as I can remember. And, so, I’ll give you three from different periods of my life. 

Bob Dylan - The Essential Bob Dylan

This album is an automatic number-one for me. I can remember my dad playing it whenever he cooked dinner. We would sing along as we chopped vegetables and it put a bit more pep in his step. I’ve always felt a strong connection to Bob Dylan’s music. To me, he is one of the most incredible songwriters of all time. His storytelling abilities have the power to draw you in and connect on a deeper level. 

Billie Holiday - Billie Holiday’s Greatest Hits

Okay; so it’s a greatest hits compilation but, before anyone jumps to judgement, know that I also love Deep Cuts. This album makes me want to dance and cry all at the same time. Long before the time of The Notebook’s presentation of I’ll be Seeing You, I have loved Billie Holiday. This album reminds me of my mom. This was one she often played while I was growing up. Billie Holiday’s music embodies all of the timeless qualities that I so admire. There is a deep and genuine sadness to it that I find intoxicating. It’s as if her voice casts a romantic, yet tragic spell that I am helpless against and can’t help but surrender to. So much more than just music. It moves you. 

Lana Del Rey – Honeymoon

Can you imagine a more enchanting album introduction than that of Honeymoon? To me, this album is absolute perfection. I love turning off the lights, lighting a few candles and laying on the floor to listen to this album. It’s such a trip. I can feel reality melt away when I put this album on. It captivates and rejuvenates me, while filling my soul with inspiration. 

If you could support any musician alive today, and choose your own rider, what would that entail?

Hands-down, Adele. I attended her last show in Vancouver and was blown away. As soon as she began singing, I lost it. I didn’t just cry, I sobbed. It was as if all of my life’s emotions began uncontrollably pouring out of me, triggered by her voice. It’s quite funny to think about it now, but wow, what an experience. 

Like myself; Adele isn’t too concerned with dancers and moving stages etc. She provides visual stimuli that compliments her music and doesn’t take away from her voice - which is why we’re all there in the first place. I prefer my music to do the theatrics. Beyond that, I find it too distracting. Wonderful and relevant for some artists; I mean, can you imagine a world in which Michael Jackson had performed with only a live band? No. That was part of his creative vision. 

If I were to tour with Adele, I would have to get over being so star struck by her. For the rider, my dream is to be accompanied by a band comprised of the usual piano, drummer; bass player etc., but I would also love to bring in a small string ensemble and backing vocalists to create a beautiful and full sound. There would be some stage props to emphasize the cinematic tone and I would want to do something to make the audience feel a part of the show. Something along the lines of when Coldplay handed wristbands to everyone in the audience before the show and left the purpose of them a mystery until all of a sudden they all began lighting up in a choreographed light show. That was a brilliant idea. 

PHOTO CREDIT: Liz Rosa Photography  

Given your name…have you got a favourite member of Britain’s Royal Family?

I love learning about the history of the Royal Family, although I can't say who I would pick as my favourite. They are all very interesting. My stage name came to me while riding a bus one day in the city. There was a large sign with ‘Royal’ in the title and as it blurred past me, I was really taken with it. I decided to choose the name based on its timeless essence and powerful mark. Thematically; I feel it is very fitting with my sound and artist brand. 

What advice would you give to new artists coming through?

To the young and dear souls entering the all-consuming and beautifully chaotic world of music: stay true to yourselves and your art. Art is meant to be a reflection of the soul and creative divine, not a trend. Work hard and surround yourself with people who love and support you, and who will be honest with you. Go to the workshops and the lectures, collaborate with other artists and do not let your fears hold you back. Just take a deep breath and go for it. 

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

Yes! I have special album release show coming up in Vancouver as well I am planning a cross-Canada tour for the spring. More details will be announced shortly, so stay tuned!

 IN THIS PHOTO: Chersea/PHOTO CREDIT: Tor Hammar Erickson and Dayna Weststeyn

Are there any new artists you recommend we check out?

My talented friend Chersea has been releasing some incredible music in the past few months. Not only is her music beautiful but she is also one of the most hard-working, talented and big-hearted people I know. Definitely check her out! And, if you’re looking for an opportunity to check her out live, she and I are teaming up as co-headliners for the upcoming album release show in Vancouver. 

Do you get much time to chill away from music? How do you unwind?

Music is pretty much an all-consuming thing for me these days. As an independent artist, I wear many, many hats and am constantly learning how to execute new titles and projects. However, when I need to take a break from it all, I love going for nature walks and spending time with the people I love. I really enjoy playing with my nephews. Kids have a way of making the world feel a little lighter - they aren’t concerned with the world and responsibilities of life. They just want to play and have fun and they provide the ultimate escape.  

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that)?

Thank you for all of the great questions! I will leave you with this musical gem by Chersea: I Can’t Be You

___________

Follow ROYAL

Official:

https://www.royalofficial.com/

Twitter:

https://twitter.com/iamroyalmusic

Facebook:

https://www.facebook.com/IamRoyalMusic/

Spotify:

https://open.spotify.com/artist/1vmznUPb08GfN4EdnVCs3c?si=EE-hpeaYT9Ww5bli6wMXKQ

Instagram:

https://www.instagram.com/iamroyalmusic/

SoundCloud:

https://soundcloud.com/royalofficialmusic

INTERVIEW: HANNIE

INTERVIEW:

PHOTO CREDIT: Arielle Shear

HANNIE

___________

TODAY’S first interview is with HANNIE…

as they talk to me about their new single, Stay Another Night, and what inspired it. I ask what comes next for them and how they came to work with Hight on Stay Another Night; which rising artists we need to watch and the albums that mean the most to them.

HANNIE reveal what sort of music they grew up around and whether there are plans for next year; the advice they would offer artists coming through; if they get time to chill away from their busy careers – Hannah and Annie each select a song to end the interview with.

__________

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

Hey! We’re really good thanks! We’ve been in the studio writing some songs and rehearsing for live. 

For those new to your music; can you introduce yourselves, please?

We are HANNIE, an artist duo. We make upbeat, fun music that (we hope) makes you want to dance. We write, produce and play and have different feature singers on each track. 

Stay Another Night is your latest single. How did the song come about? What inspired it?

We were just jamming with Tim (Hight) one day (who is the guys who is singing on it). Annie started playing the riff that you hear in the post chorus and Tim started singing the line “Don’t let me stay another night”. From there it just flowed; we wrote the song in about three hours and then produced it up afterwards. It was such a relatable topic to all of us and there was such a good vibe in the room at the time that the songs felt so natural as if it needed to be written. 

How did you come to work with Hight? Do you think you’ll work together again?

We were working with a friend and she mentioned Hight to us. She said we’d really get along and we should work together so we hit him up - and he came around our place to do some writing.  

Yes, 100%. We’ve actually already written another song with him that we love; we’re going to release it for sure!

 PHOTO CREDIT: Arielle Shear

Might we see more material from HANNIE next year?

Definitely! We have way more coming for you next year. This year was a warm up; get ready (smiles).

Did you grow up around a lot of music as children? Which artists struck your ears?

Annie: I didn’t grow up in a very musical family: I was the only one who played; it wasn’t like I was engrossed by music but I was encouraged to practice and play and I loved it so much so I just surrounded myself with it. I listened to a lot of Earth, Wind & Fire and CHIC. 

Hannah: For me, it was the same. Me and my sister both had piano lessons but I stuck with it and, when I was thirteen, I started up my own band with a couple of friends. From then, I just knew this is what I wanted to do. I listened to a lot of Coldplay and Train at the time! 

What do you hope to achieve by the end of 2018?

We want to get a couple more songs out there for you by the end of this year. We’re also hoping to have full live shows to top it off. 

In that same vein; do you have plans for 2019 in terms of what you want to accomplish?

We plan to be touring! We are going to be focusing a lot more on the live aspect; playing as many shows as possible, hopefully doing some festivals. And, of course, we plan to have a lot more music out there for you!

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

There have been a lot of awesome moments. I think the ones that stick in mind most are those moments in the studio when you’re writing a song and you just know it is gonna be great; when everyone is just totally vibing and on the same wavelength. 

Which one album means the most to each of you would you say (and why)?

Hannah: No Mythologies to Follow by MØ

I think I’ve listened to this about a million times. Every song is different and I could stick it on whenever and straight away love it again! 

Annie: Songs About Jane - Maroon 5

I listened to this so much as a kid and learnt literally every guitar part and all the drums. It’s ingrained in me.  

If you could support any musician alive today, and choose your own rider, what would that entail?

Maroon 5. That would be ridiculously amazing!  Salmon…loads of smoked salmon! Thai sweet chilli crisps and a couple of perfectly ripened mangos. We’re not too hard to please.

Can we see you on the road this year at all?

Yeah! We’ve got a few gigs coming up really soon. We’re playing at BBC Introducing on 9th November and we have a couple of Sofar Sounds coming up too.

What advice would you give to new artists coming through?

Do your own thing. Do as much as you can by yourself: there are so many opportunities now that you don’t need a massive team around you all giving you their opinions and making things more complicated than they need to be. 

 IN THIS PHOTO: Amanda Delara

Are there any new artists you recommend we check out?

Amanda Delara; she’s dope! FARR. Check their song called Blades. 

 IN THIS PHOTO: FARR

Do you both get much time to chill away from music? How do you unwind?

Not really at all; we live and breathe music. When we aren’t in the studio or making videos we are practicing. A lot of our friends are also in music so when we hang out we’re normally jamming or writing together. We do love going out for some good food though!

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

Annie: SWEET!  I choose Masterpiece - Tori Kelly. It has SUCH VIBES. If you can listen to this and not dance you’re not human! (Smiles).

Hannah: Medicine by Robinson. The chorus is such a jam! 

___________

Follow HANNIE

Official:

https://hannieofficial.com/news/

Twitter:

https://twitter.com/hanniemusic

Facebook:

https://www.facebook.com/hannieplays/

Spotify:

https://open.spotify.com/artist/7vp58vF08Hg9TbDrYH2nAh

Instagram:

https://www.instagram.com/hannieplays/

YouTube:

https://www.youtube.com/c/hannieplays

FEATURE: Colour, Light and Darkness: The Wonder and Contradictions of K-Pop

FEATURE:

 

 

 Colour, Light and Darkness

IN THIS PHOTO: K-Pop stars Black Pink (often stylised as ‘BLACKPINK’)/PHOTO CREDIT: Getty Images

The Wonder and Contradictions of K-Pop

__________

I am always conflicted as to whether…

 IN THIS PHOTO: K-Pop group BTS/PHOTO CREDIT: Getty Images

mainstream Pop in the U.K. and the U.S. is as strong as it could be. I am not down on the mainstream and the artists coming but find myself, naturally, looking back at the 1980s and 1990s with regards those instant tunes and sounds that can stick in the mind. There are some great gems to be found but I tend to find a lot of Western Pop is led by something introspective or deeply personal – this can be quite hard on the senses and few songs stay in the brain. We have plenty of more giddy and exciting artists that can provide a much-needed thrill and sunshine burst but is this practice becoming rare? Maybe I am misremembering the 1990s and 1980s but there were artists who could produce inspiring and optimistic songs that made you think and, as such, have endured. Maybe politics and the culture is forcing artists into a more negative headspace. Whatever the reason behind a slightly less joyous and rigid Pop form – fewer bands and a little less scope than decades past – there is this new wave of Pop coming from overseas. We think of Asian music and, when thinking of nations like Japan, maybe something eccentric, odd and very cheery. That is a bit stereotypical and does an injustice to the accessibility and variation you can find in the country. When it comes to Korea; there is a definite split. We know about the rivalry and tension between North and South Korea and one would not instantly look to Korea in general for Pop magic and progression.

I am going to bring in some articles that explain the rise of K-Pop and why, in some ways, English is not necessarily the primary language of modern Pop – especially in countries like America. There are some who contend the popularity of K-Pop is overblown and limited to only a few different artists. A reason why I am drawn to the ‘genre’ is because of what is bring to Pop. Not only are a lot of the artists singing in Korean – making its success and translation even more impression – but it is filling a gap in the market. There are K-Pop solo artists but there are a lot of groups and, at a time when Pop is becoming quite singular and solo-based; I wonder whether artists here and in the U.S. could learn from the Korean market. You may have heard only a few whispers regarding K-Pop or completely foreign to it. How, then, did this phenomenon start and get to where it is now? This illuminating article charts the history of K-Pop; how it has risen to where it is and, despite the success and popularity; there is a darker side and one that might not seem that surprising when you think of ‘democracy’ in Korea:

“There are three things that make K-pop such a visible and unique contributor to the realm of pop music: exceptionally high-quality performance (especially dancing), an extremely polished aesthetic, and an “in-house” method of studio production that churns out musical hits the way assembly lines churn out cars…

 

Because of the control they exert over their artists, South Korean music studios are directly responsible for shaping the global image of K-pop as a genre. But the industry is notoriously exploitative, and studio life is grueling to the point that it can easily cross over to abusive; performers are regularly signed to long-term contracts, known as “slave contracts,” when they are still children, which closely dictate their private behavior, dating life, and public conduct”.

There are a lot of positives and brilliant aspects to K-Pop but there is a rigidity and strictness when it comes to the sort of themes being expressed. Maybe reflective of a wider culture in Korea; there seems to be a distinct split between men and women. Although there is a massive boom and spread of K-Pop; are the themes being performed encouraging and suggestable?! I love the sound of K-Pop and how it makes you feel but, if you dig down to the lyrics, there are some rather worrying limitations and facts:

“If songs for women in K-pop break down along the “virgin/mature woman” divide, songs for men tend to break down along a “bad boy/sophisticated man” line. Occasionally they even break down in the same song — like Block B’s “Jackpot,” the video for which sees the band posing as wildly varied members of a renegade circus, uniting to kidnap actress Kim Sae-ron into a life of cheerful hedonism.

Male performance groups are generally permitted a broader range of topics than K-pop’s women: BTS notably sings about serious issues like teen social pressures, while many other boy bands feature a wide range of narrative concepts. But male entertainers get held toarguably even more exacting physical and technical standards than their female counterparts”.

There are, as I will examine, many positives and reasons why K-Pop should be embraced but are many of the performers dictated to by the Government and censorship? One wonders how expressive and free artists would be were they allowed the same sort of openness as artists in the U.S. and U.K. It seems, whilst the K-Pop phenomenon is global and taking over some parts of the world; there is that problem with limitations and strict censorship:

“Though government censorship of South Korean music has relaxed over time, it still exists, as does industry self-censorship in response to a range of controversial topics. South Korean social mores stigmatize everything from sexual references and innuendo to references to drugs and alcohol — as well as actual illicit behavior by idols — and addressing any of these subjects can cause a song to be arbitrarily banned from radio play and broadcast. Songs dealing with serious themes or thorny issues are largely off limits, queer identity is generally only addressed as subtext, and lyrics are usually scrubbed down to fluffy platitudes. Thematically, it’s often charming and innocent, bordering on adolescent.

Despite these limitations, K-pop has grown over time in its nuance and sophistication thanks to artists and studios who have often either risked censorship or relied on visual cues and subtext to fill in the gaps”.

It is amazing there has been this explosion of Korean Pop and there is this sensation that seems to be coming to the fore. Consider where Korean music would have been in the 1990s and how far it has come in the last few years; the rate of progression and exposure is impressive indeed. Where, then, did it sort of begin and when was that pivotal creation moment?

“But TV was still the country’s dominant, centralized form of media: As of 1992, national TV networks had penetrated above 99 percent of South Korean homes, and viewership was highest on the weekends, when the talent shows took place. These televised talent shows were crucial in introducing music groups to South Korean audiences; they still have an enormous cultural impact and remain the single biggest factor in a South Korean band’s success.

As Moonrok editor Hannah Waitt points out in her excellent series on the history of K-pop, K-pop is unusual as a genre because it has a definitive start date, thanks to a band called Seo Taiji and Boys. Seo Taiji had previously been a member of the South Korean heavy metal band Sinawe, which was itself a brief but hugely influential part of the development of Korean rock music in the late ‘80s. After the band broke up, he turned to hip-hop and recruited two stellar South Korean dancers, Yang Hyun-suk and Lee Juno, to join him as backups in a group dubbed Seo Taiji and Boys”.

I will move on to a new side of K-Pop but, so far, I have uncovered some of the dark elements of the industry and how, even in an industry where most artists are free to express themselves how they feel; Korean Pop performers seem to be restricted in terms of gender roles and themes – never allowed to break too far from what is expected. The Winter Olympics earlier in this year provided a platform for K-Pop – it was held in South Korea – and showcased the diversity of the sound:

“K-pop has become a truly global phenomenon thanks to its distinctive blend of addictive melodies, slick choreography and production values, and an endless parade of attractive South Korean performers who spend years in grueling studio systems learning to sing and dance in synchronized perfection…

IN THIS PHOTO: A shot of South Korea/PHOTO CREDIT: @shawnanggg/Unsplash  

Now, with South Korea hosting the 2018 Winter Olympics in Pyeongchang at a moment of extremely heightened geopolitical tensions, K-pop has taken on a whole new kind of sociopolitical significance, as South Korea proudly displays its best-known export before the world.

During the Olympic opening ceremonies on February 9, 2018, athletes marched in the Parade of Nations to the accompaniment of a select group of K-pop hits, each playing into the image South Korea wants to present right now: one of a country that’s a fully integrated part of the global culture”.

For those uninitiated and unsure of the K-Pop market; you might think it is commercial sounds that talk about fun and love; a rather cheesy and uncomplicated type of music that appeals to a certain audience – usually teen or pre-teens that fall for the bright colours, strangeness of some of the music and the general mood. In my view, there is more diversity and variation in K-Pop than the Pop music we get over this way. Whether it is rapping or something humorous; a serious ballad or something spirited and fun, it seems K-Pop has it all sewn up:

“As a whole, these songs and performers show us that K-pop stars can excel at everything from singing to comedy to rap to dance to social commentary. And their fun, singable melodies make it clear that the South Korean music industry has perfected the pop production machine into an effervescent assembly line of ridiculously catchy tunes sung by ridiculously talented people in ridiculously splashy videos. When Red Velvet sing, “Bet you wanna (bet you wanna) dance like this” in their single “Red Flavor,” they’re sending a message to the world that South Korea is modern but wholesome, colorful, inviting, and fun”.

Some argue K-Pop is made popular by the Internet and it exaggerates its appeal and true popularity. One needs to shift fewer units to ride high in the charts and a lot of the chart positions obtained by K-Pop artists are fairly low. Maybe we cannot call this a full-on explosion and revolution but it is clear Korean-made Pop is taking its place and is a lot more than the music. This article shows that, unlike a lot of Pop music; K-Pop is about culture and, in fact, has led to a rise in those learning Korean:

“At first listen, it may all sound like a bunch of up-tempo pop numbers, but for those in tune with the nuances of modern pop culture, it is clear that K-pop, which is wildly popular in the UAE, is about more than just the music.

Korean pop, to give it its full name, is known for its blend of well-groomed performers, carefree lyrics and militaresque training. For the past two decades, it has grown from a regional curiosity into a global cultural phenomenon in line with India’s Bollywood and Japan’s Manga.

To demonstrate its growing reach, Dubai’s Autism Rocks Arena will host the festival SM Town Live on Friday. More than 20,000 fans are excepted to attend the showcase featuring nearly a dozen K-pop bands, including one of the scene’s leaders, Exo”.

IN THIS PHOTO: K-Pop band Exo-K/PHOTO CREDIT: Getty Images 

Given the popularity and new prominence of K-Pop; this is leading to more and more people learning Korean. This BBC article brings in some facts and good news and shows that one of the great effects of the K-Pop rise:

“Korean is rapidly growing in popularity, in a language-learning boom driven by the popularity of the country's pop stars.

A desire to learn the lyrics of K-Pop hits like Gangnam Style has boosted the Korean language's popularity explode in countries like the US, Canada, Thailand and Malaysia.

A report by the Modern Language Association shows that Korean uptake in US universities rose by almost 14% between 2013 and 2016, while overall language enrolment was in decline.

The latest statistics show 14,000 students are learning Korean in the US, compared to only 163 two decades earlier.

The language learning website Duolingo launched a Korean course last year because of rising demand. It quickly attracted more than 200,000 pupils”.

This is backed up by this article that expands on how Korean is being taken up by more and more people:

“Priscilla Kim is the director of the Korean Cultural Center in New York, which offers language courses. She says that, among younger students, K-pop has become a driving factor to learn the language. “Over the years we have definitely witnessed growing popularity of K-pop among younger students. As a Korean language and cultural institution located in the heart of K-town, we have courses in the summer that are tailored toward K-pop fans who are interested in learning Korean through K-pop lyrics.”

The language app Duolingo launched a Korean course in September 2017 and it currently has 2.78 million total learners. On message boards on the site, users have talked about being inspired by K-pop acts as well as Korean TV to learn Korean, and the app has included some lessons that are based around K-pop”.

Whereas K-Pop is gaining some fans and following here – some of the biggest acts have performed huge concerts here – there are reasons why K-Pop is trending in America. This piece explains why so many American listeners are falling for and sharing K-Pop:

“The sizable Korean-American population in cities such as Los Angeles is certainly helping to fuel the popularity of K-pop in the United States, but the stateside K-pop audience stretches beyond Asian-American demographics.

"When we performed in Los Angeles, New York and Paris, we were shocked and surprised to see that the majority of our fans were non-Asian," says Sunny of Girls' Generation. "That is when we realized how big and influential K-pop was [becoming] around the world."

Joon Ahn, executive vice president for the music business division at Korea's CJ Entertainment & Media, says K-pop first emerged in the '90s with ballad crooners such as Kim Gun Mo and Shin Seung Hun. The first decade of the new millennium has seen the emergence of new stars such as Girls' Generation, Big Bang, Super Junior, and Wonder Girls, with the latter opening for the Jonas Brothers in 2009…

 

“As the international audience for K-pop has broadened, so has its stylistic boundaries, says Ahn. Hip-hop, rock and techno are now freely embraced by some artists in the movement. Snoop Dogg performed on the title track of Girls' Generation's 2011 album, The Boys; Kanye West appeared on JYJ's "Ayyy Girl" in 2010; and the Black Eyed Peas' will.i.am will reportedly produce the U.S. debut album by K-pop group 2NE1, an all-female hip-hop group.

"The channel for movement of music is now very simple with digital," Ahn observes. "Even the file size is convenient for it. Compared to movies, musical theater, or TV series that have a bigger language barrier, music's appeal is communicated through rhythm and visual impact. YouTube and other social networks have contributed the most to spreading music of all kinds and allowing them to be heard [by] a greater audience."

With commercial success comes increased competition. It's been said that even a few months out of the spotlight can spell trouble for a successful K-pop group because there are many artists clamoring for attention”.

Whilst there are limitations regarding what male and female acts in K-Pop can express and how they can perform; you cannot deny how important the music is and the effects that are taking place. A couple of the biggest K-Pop acts, Black Pink and BTS, are seen as the future of K-Pop and representative of where it will head.

IN THIS PHOTO: A shot of Seoul, South Korea/PHOTO CREDIT: @yokeboy/Unsplash

This piece in Vulture explores those groups and why they have managed to resonate and, in many ways, break away from convention. Although a lot of K-Pop groups are being shackled by label and Government restrictions; there are those who are bucking the trends and shaking things up:

“A K-pop idol group, for example, might strategically include one or more members from abroad. Tiffany, who is in Girls’ Generation, is a Korean-American; Victoria from f(x) is Chinese; Tzuyu from Twice is Taiwanese. The non-Korean members served as ambassadors for the international market, in which the K-pop group would put out different albums and concerts in the language of that market. They may even change their aesthetics to be more aligned with the needs of any given local market. During their U.S. tour, Wonder Girls adopted Korean-American-style makeup — which made them appear darker and their eyes narrower — to the consternation of their fans in Korea. This method did find some success in the U.S.: the English version of Wonder Girls’ “Nobody” was the first K-pop single ever to chart on the Billboard Hot 100, clocking in at No. 76.

Yet BTS employed none of these localization tactics. The group has no non-Korean member, nor does it have any song sung entirely in English. It’s not likely that BTS could have successfully emulated the conventional localization strategy (they tried once, earlier in their careers, without much luck. Their Japanese-language album, Wake Up, faced anemic sales when it was released in 2014): Their production company, Big Hit Entertainment, is more like an ambitious start-up in the K-pop world compared to the Amazons and Googles that are SM Entertainment and JYP Entertainment, whose market capitalization approaches a billion dollar…

 

“But BTS had something else going for them: authenticity and a narrative arc. Although BTS’s members did undergo the training typical for a K-pop idol group, they participated in the music-making process from the beginning, creating music that they could call a product of their own minds, rather than something concocted by their label.

It is not yet clear whether BTS’s “narrative authenticity” strategy truly presents a meaningful alternative path for other K-pop groups — but other groups are certainly trying to walk that path. More K-pop groups, such as Seventeen and Monsta X, are producing their own music. Monsta X and Got7 have even put out conceptual trilogies of their own. JYP Entertainment’s new group, Stray Kids, is the “narrative” strategy on steroids: Rather than a series of albums, the group stars in a season-long reality television show in which they work together to make a debut album.

Black Pink is the evolutionary next step of 2NE1, YG Entertainment’s last great female K-pop group, which peaked around 2013–14 and disbanded in 2016. As with 2NE1, Black Pink’s music is centered around producer Teddy’s Korean-ized take on hip-hop, and Black Pink’s visual presentation uses a similar strategy. The end result is something that is familiar to K-pop fans: attractive artists performing precise and disciplined choreography accompanying the latest offering from YG’s in-house production team”.

 

I look around at the Pop acts we have now and, as I said, there are many more solo artists than groups. Once was the time when there were a lot of male and female Pop groups but, more and more, that is dwindling and, with it, a sense of community, unity and togetherness. The role of Pop in the U.S. and U.K., largely, is for a lone artist to have their say. I admit there are Pop groups around but none that have the same mix, components and strengths as the likes of BTS and Black Pink:

“There are also some parallels between BTS and Black Pink. Using hip-hop as their musical calling card is an important commonality. But unlike BTS, Black Pink continues the localization strategy with its members. Lisa is Thai, and Rose is a Korean–New Zealander. The group collectively speaks Korean, English, Japanese, and Thai. The addition of a Thai member is a nod to Southeast Asia, a relatively new but booming market for K-pop. This strategy appears to be working across the board. In the U.S. market, Black Pink’s album, Square Up, debuted at No. 40 on the Billboard 200, the highest ranked album from a female Korean act ever.

With its group NCT, SM Entertainment arguably is a step farther than JYP in terms of localization. In 2016, SM’s founder Lee Soo-man outlined his vision of “Neo Culture Technology,” which forms the basis of the plan behind the group (as well as its name). It is not clear if NCT are a “group” or a “band” in the traditional sense; a term like a “format” or “brand” might be more appropriate. Under the banner of NCT, SM Entertainment formed a number of subunits made up of members recruited locally, using the K-pop trainee system that SM pioneered. NCT currently has three subunits based in different cities around the world (NCT U, NCT 127, and NCT Dream), with an additional subunit based in China to debut soon. The subunits sing different songs and offer different visual aesthetics, tailor-made for their markets.

 

“Despite years of trying, K-pop’s appeal in the U.S. market initially appeared to have a ceiling. But with BTS, K-pop broke through once again. Crucially, the narrative strategy of BTS and the localization strategy of Black Pink and NCT are not in direct competition with each other: Plenty of K-pop fans like all three groups. The point is not to see which strategy wins the race; rather, it is to anticipate the path of global K-pop in the coming years by observing the two models’ call-and-response”.

There are some weirder and darker sides to K-Pop and, being from Korea, there is always going to be governmental rules and something a little strict. You never know what goes on behind closed doors and it is that contrast and sense of mystery that lends K-Pop a lot more intrigue than the more conventional Pop in the West. Despite its flaws – there is plenty of room for evolution and improvement – I can see things getting better and the positive effects – more learning Korean and positive role models coming through – are clear. Whether the K-Pop act sings in English or Korean; there is something interesting about the music that may speak to where they hail or a direct opposition to westernised Pop. Maybe it is not as fascinating and enduring as the Pop of the 1980s and 1990s but, at a time when the Pop group is disappearing the Pop industry, in general, is becoming less interesting, electric and outward-looking; K-Pop is a much-needed medicine and weapon that I hope others take up. Maybe we will not see an instant transformation of Pop but I feel we might see more Pop bands come through and the landscape open up. If you are new to the contrasts and complexities of the K-Pop market; spare some time and listen to music that is, bit by bit, starting to…

 IN THIS PHOTO: Black Pink/PHOTO CREDIT: Getty Images

TAKE over the world.

FEATURE: The Icon Is Born: Why Aladdin Sane Is David Bowie’s Most Important Album

FEATURE:

 

 

The Icon Is Born

IN THIS PHOTO: David Bowie as Aladdin Sane (eyes open, 1973)/PHOTO CREDIT: Brian Duffy/the Duffy Archive  

Why Aladdin Sane Is David Bowie’s Most Important Album

__________

THIS is one of those pieces that is not provoked by…

IN THIS PHOTO: David Bowie/Aladdin Sane (Contact Sheet, 1973)/PHOTO CREDIT: Brian Duffy/the Duffy Archive  

an anniversary or something timely - but I have been thinking a lot about David Bowie and his extraordinary impact on music. I often muse about modern music and wonder if, at any time, we will witness a rare creature such as Bowie. He seemed to arrive from another planet; one where there were no rules and boundaries; a fearless and always-surprising entity who, over the course of his career, changed music and inspired scores. He remains that rarest of musicians: a unique and untouchable figure. When he died (in 2016); I was sad but thought to myself: there will never be anyone like him in anyone’s lifetime. Maybe that is a rash and all-sweeping statement but think about music now and the ‘characters’ we have now. Who is there that shifts music on and evolves so much? Who do we have that can beguile with their image, music and personality? I think we will have stars and icons but nothing on the same plain as David Bowie. I often, too, wonder how many artists you can look at any break their career into stages. There was that incredible ‘Berlin period’ where we saw Low (1977), “Heroes” (1977) and Lodger (1979). There was the wonderful one-two of Diamond Dogs (1974) and Young Americans (1975) where Bowie shifted his sonic and visual focus: going from post-apocalyptic and Glam-inspired (Diamond Dogs) to an American-influenced, Soul-tinged album in Young Americans.

 IMAGE CREDIT: Getty Images

Maybe the late-1980s/early-1990s was not the most successful and consistent period for Bowie but his ‘recent’ works – 2002-2016 – showed the master had not lost any of his magic and brilliance. I am not sure whether you can call that period ‘A Rose Revival’ or something else but, look at certain bits of his career and there are definite phases and themes. Many quibble as to which David Bowie album is the greatest. Maybe Low, Hunky Dory; Station to Station and “Heroes” will be wrestling for that top spot but I’d like to introduce a fifth guest to the table: Aladdin Sane. Talk about David Bowie ‘The Icon’ and the image that stares at one from Aladdin Sane’s cover is a spacey, mysterious and beautiful figure. In many ways it is the reincarnation and evolution of Ziggy Stardust. I pose the question at the top of this article – as to whether Aladdin Sane is Bowie’s most important work – as it seemed to be that zenith of that early phase. Bowie would go onto record wonderful albums and enjoy a consistent run of hits – 1974-1977 saw five albums released and there was barely a missed step in the pack – and there was a time when nobody could compete with him. It wasn’t until 1970 that David Bowie started to get into the public consciousness.

  IMAGE CREDIT: Getty Images

The Man Who Sold the World (1970) is regarded as the start of Bowie’s ‘classic period’ and when he started to hit his stride. That album contains incredible material and some debate when Glam/Glam-Rock was truly born. Many say it was when Marc Bolan/T. Rex appeared on Top of the Pops performing Ride a White Swan in December of 1970 whilst wearing glitter. There is a school of thought that suggests David Bowie heralded the birth of Glam. Certainty, he was a pivotal force and The Man Who Sold the World helped popularise and expose this new and wonderful style of music. The 1960s brought fashion changes and style changes but nothing quite like Glam. With Marc Bolan daubed in glitter and projecting this almost mystical figure on the stage; David Bowie was growing into this true and original beast who, like Bolan, walked on the more imaginative and sexual side of the road. The Man Who Sold the World hinted at what Bowie would become and truly caught the critical imagination – his first couple of efforts were quite well received but few raved about him. The wheels were truly turning and 1971’s Hunky Dory sort of came out of nowhere! It is a vast array of themes and styles fused together. There are the contrasts of sexuality and class; Bowie sweeping between kitsch and refined and this amazing confidence running throughout.

  IMAGE CREDIT: Getty Images

Many consider Hunky Dory David Bowie’s most important work because it helped open his music to the world at large. Bowie, on the album’s cover, saw Marlene Dietrich’s influence come through – it was captured by Terry Pastor and designed by George Underwood. It is not his most challenging musical palette but, in lyric terms, it confirmed what would come and who Bowie would be. Changes investigated artistic transformation and evolution – something personal and important to Bowie – and musical heroes (The Velvet Underground and Bob Dylan were given tribute on the record) to legendary Life on Mars. His most solid and eclectic collection (up until that point); songs such as Changes, Life on Mars and Kooks are considered staples and fan favourites. Bowie himself considered Hunky Dory one of his most important. He was afforded an actual audience and people were directly responding to music and communicating that. A lot of Hunky Dory’s acclaim did not arrive until 1972 when The Rise and Fall of Ziggy Stardust and the Spiders from Mars arrived. Bowie had been experimenting with characters and personas up until that point but here was the man creating his own world; a new figure that he could embody and speak through. The concept, loose as it was, was this fictional, androgynous bisexual Rock star who was a messenger for extraterrestrial beings.

  IMAGE CREDIT: Getty Images

Bowie said the album was (about a) story that didn’t really take place; fragments he randomly dropped together and, as such, you could listen to in any mood and would not be led by a strict concept. Ziggy Stardust and the Spiders from Mars, essentially, could be the last band on Earth. The ill-fated hero, Ziggy Stardust, comes to Earth and wins the minds and hearts of teens; scares their parents and becomes this revered figure. He, by the closing of the album, falls victim to his own fame and, whilst not on the planet, is kept in the hearts and souls of his disciples. The reason why I need to make a distinction between ‘best’ and ‘most important’ albums is because many would say The Rise and Fall of Ziggy Stardust and the Spiders from Mars is David Bowie’s best album – I argue Aladdin Sane must be considered as his most important. A lot of critics, when the album came out, were impressed but not really completely on board. They could recognise the quality of the work and the inventiveness throughout but nothing like it has ever come before. Even during a time when Glam was around and you had these wild and extroverted performers like Marc Bolan; music was acclimatising to this new wave and there was something alien about David Bowie and this new persona.

Certainly; in terms of creative and personal leaps, it took a lot of people by shock. Consider the rather ordinary and relatable figure that we saw on the cover of David Bowie (1967) and, in a way, you get a very typical and normal human – looking a bit like Scott Walker, in fact! Maybe there was a feeling this new sound and look was pretentious but Bowie executed it perfectly and with huge confidence. I feel The Rise and Fall of Ziggy Stardust and the Spiders from Mars is considered an enduring masterpiece is because of the acclaim it has accrued after its release. A lot of people responded to the record years down the tracks and, perhaps, The Rise and Fall of Ziggy Stardust and the Spiders from Mars was light years ahead of its time. Bowie was taking a big leap and risk – although he would never think so – and it is testament to his natural abilities and instincts The Rise and Fall of Ziggy Stardust and the Spiders from Mars resonated and is viewed as this classic record. I feel Aladdin Sane is his most important work is because it was the first time in his career Bowie was coming from a position of creative and personal strength.

Hunky Dory proved successful and popular but it was the aftermath of The Rise and Fall of Ziggy Stardust and the Spiders from Mars that provided the most willing springboard. His sixth studio album came with this expectation and waiting eyes. Bowie could not very well do another Ziggy-type album and continue the concept he explored before. He could not return to a more traditional and homely look or explore the styles/ideas he did in the first few years of his career. Lesser artists could have panicked and made a mistake; released an album too quickly or taken too long to produce anything. David Bowie, at the time, was a star and was being accepted as this originator and unique personality. Some critics at the time (1973) felt Aladdin Sane lacked the intimacy of Hunky Dory and was less intense than The Man Who Sold the World. This was an understandable vantage considering how little material Bowie had put out until that point. Look back at his entire career now and you can see that he was always moving and changing courses. Aladdin Sane is essential and influential because of what could have been. Instead of producing a copy of his previous moves or going off the rails; Aladdin Sane is an essential, urgent and instantly memorable album that captures you the moment you hear it.

 IMAGE CREDIT: Robert Bateman

That sense of image and character was still in play. Maybe the character of Aladdin Sane was less ostentatious than Ziggy Stardust but the cover alone has accrued interest and speculation. Shot by Brian Duffy, it is this enduring and iconic image that seemed to take Bowie and his work to another level. Seeds had been planted during the previous album regarding image and the idea of David Bowie as this otherworldly figure and true chameleon but, to me, Aladdin Sane was when it was truly cemented. In this article; Chris Duffy - the son of Brian Duffy – talks about the impact of Aladdin Sane and that cover image:

“Still, he’s well aware of the cultural impact the sessions they conducted together continue to have. “Duffy’s pictures of David are so iconic,” Chris says. “Eventually we have all got to pass on, but I would guess that David’s legacy will be the Aladdin Sanepicture. It has become a cultural icon. Several years ago I started calling it the Mona Lisa of Pop. I think it is quite befitting – there isn’t really an image that is as ubiquitous. It’s been on used fridge magnets, caps, calendars, t-shirts, lighters, beer mats and it is quite extraordinary, you know? You can go somewhere like a market in Goa and you will find people selling rip off Aladdin Sane T-shirts”.

The importance of Aladdin Sane cannot be underestimated. It was the first release from an artist who had transformed from this promising and exciting figure to someone who was a true star.

The flirtation with image and personas continued and showed The Rise and Fall of Ziggy Stardust and the Spiders from Mars was no fluke and, in fact, there was a lot more of this to come from David Bowie. Aladdin Sane was the moment David Bowie killed off Ziggy Stardust. It was the transformation from the somewhat playful and charming figure to something darker and more disturbed. Beforehand, you could hear a lot of British influenced on Bowie but Aladdin Sane was the master embracing America and what it held – from seedy and salacious elements to new sounds his audience had not heard. Bowie could have played it safe or kept on the same course people were familiar with but Aladdin Sane as this first real leap and shift. Bowie would bring in America music and culture on albums like Young Americans and Station to Station – in many ways, Aladdin Sane was this awakening and portal into a new nation; taking his music in another direction and influencing what he would become. In 2016; Rolling Stone ran a piece that investigated the death of Ziggy and the birth of this much more intense and intimidating figure:

“A sinister influence, to be sure. Aladdin Sane is a harder, nastier, gaudier album than Ziggy Stardust, written on the road and immersed in the decadence and sleaze of American culture. Each song on the LP is listed with the place that supposedly inspired it: “Watch That Man” in New York, “Drive-In Saturday” in Seattle and Phoenix, “Cracked Actor” in L.A., “Lady Grinning Soul” back in London. But everywhere he goes, he sees cheap sex and cheaper drugs. Now that he’d hustled his way into the American limelight, he wasn’t sure he liked it...

Bowie wrote the songs amid the frenzy of touring, with the working title Love Aladdin Vein. (In that same crazed year, he produced Lou Reed’s Transformer and mixed the Stooges’ Raw Power.) The music expanded as avant-jazz pianist Mike Garson joined the Spiders From Mars. (A Scientologist, Garson spent the tour trying to convert the boys in the band, adding to the general chaos.) Ronson goes for his filthiest and flashiest guitar heroics in “Panic in Detroit,” “The Jean Genie” and “Watch That Man” – the hardest rock of Bowie’s life – while Garson’s piano carries drama-queen ballads like “Lady Grinning Soul”.

Aladdin Sane was released in April 1973, three months before he famously killed off Ziggy Stardust onstage in London. As far as the rock & roll big time was concerned, Bowie had just arrived. But with Aladdin Sane, he was already restless to move on to parts unknown”.

That last paragraph – relating to a huge leap and this icon arriving – marks Aladdin Sane as a vital and hugely important work. You cannot look at an album like Aladdin Sane purely in the context of the time or a particular phase. You have to acknowledge the sound, the look; the other records of the time and where Bowie would head. 1973 was a fantastic year for music and, in many ways; Aladdin Sane seemed to incorporate a lot of elements from the best of the year. Consider the trip and imagery of The Dark Side of the Moon (Pink Floyd) or the extravagance of Goodbye Yellow Brick Road (Elton John); the potency and explosion of Raw Power (The Stooges) or the variety and richness of Mott (Mott the Hoople).

 IMAGE CREDIT: Getty Images

David Bowie’s Aladdin Sane stood out in a busy and eclectic year for music and propelled his music to new realms. Clash looked back on the album and how it inspired and changed the music landscape:

“The album also sacrificed the linear narrative of ‘Spiders’ in favour of a more experimental sound which saw Bowie, empowered by the production skills of Ken Scott, embrace commercially successful reinvention for the first time. ‘Watch That Man’ aggressively broke with the polish of ‘Spiders’ in favour of a Stones influenced blend of raw blues, which saw the vocal lost in a sleazy wall of sound.
Equally diverse, the title track was one of several to incorporate the piano playing of avant-garde jazz pianist Mick Garson who weaved his jazz playing into a two-minute piano solo that elevated Bowie above his peers. The sense of the otherworld is recaptured on a sleeve depicting Bowie gazing vacantly from an expanse of white nothingness while a lightning bolt slashes his face in two to conjure the schizophrenic symbolism of some faraway planet”.

‘Aladdin Sane’ had entered the UK charts at No.1 to propel Bowie from outsider to legend. However, after 18 months of touring, a cancerous exhaustion was rotting the band from the core, and following a lacklustre performance at Earls Court, Bowie seized the opportunity to amputate the festering wound while burning Ziggy in to the conscience of rock iconography. In the final moments of an arousing performance at the Hammersmith Odeon in July 1973 the falling star made his most provocative statement yet. Set against the backdrop of ‘Rock ‘n’ Roll Suicide’, the dramatic announcement of "that will be the last show we ever do" reverberated around a silent hall to send shockwaves of disbelief through an atmosphere thick with distilled emotion”.

Bowie is synonymous with reinvention and this was the first time we had seen this happen. Many saw a lot of Aladdin Sane points as to what he would achieve with Diamond Dogs – a grittier sound and one that is a bit post-apocalyptic in terms of themes and tones – and, as such, its impact and importance cannot be undermined:

“‘Aladdin Sane’ bridged the gap between ‘Ziggy Stardust’ and ‘Diamond Dogs’. With advanced orders of over 100,000 the album finally clarified Bowie’s position as an established rock ‘n’ roll star. In maintaining his fan base while diverting to more experimental territory Bowie was confident he could hold a crowd and set the trend. Crucially this period saw the beginning of Bowie as pop auteur. Brimming with self-belief after having the audacity to kill off Ziggy, he went on to reinvent himself time and time again, becoming a key innovator and changing the face of the musical and cultural landscape throughout the seventies”.

Ultimate Classic Rock looked at the influence of Aladdin Sane and how it helped predict where Bowie would go and what would define his music:

“But Bowie also dug deeper into the avant-garde and jazz shadings that would fuel some of his later records (see the title track). In addition to the music's legacy, the album's cover art became one of Bowie's most iconic images. The lightning bolt that splits his face in half was partly inspired by the way Bowie felt he was being pulled in different directions during this hectic time in his life, and a perfect visual complement to the album's title pun. More than all of this, Aladdin Sane clinched Bowie's standing in the big leagues”.

I think about Bowie and, in addition to sonic shifts and these distinct ‘periods’ (geographical and genre); you cannot escape the fashion and iconic looks Bowie adopted until his death in 2016. In many ways, Aladdin Sane is one of the most enduring and inspiring albums because of that iconic lightning bolt on the cover. The Telegraph (their fashion director Lisa Armstrong penned it) wrote a piece regarding the impact and popularity of that lightning bolt look:

“Aladdin Sane was everywhere in 1973, so ubiquitous, he had even infiltrated my school  -  Dorchester Grammar, a rural  establishment hitherto impervious to fashion and, so it seemed to me, anything colourful.  Like a West Country kabuki tribe, the girls in the fifth and sixth form marched arm-in-arm (forbidden) down the corridors with their spiky orange hair-cuts (not forbidden, but only because the rules had yet to catch up), alabaster faces and tweezered-to-the-brink-of-extinction eyebrows in tribute to their hero, terrifying my fellow first years and me.

And the list of beneficiaries of Bowie inspiration goes on. The New Romantics, New Order, Madonna, Kate Bush, Kate Moss, Gaga, Florence, Jean Paul Gaultier, Balmain and many more, have openly paid homage to his influence on their style and careers.

Without doubt however, it’s Bowie’s androgyny that has had the most lasting footprint. Unlike other agents of glam rock, Bowie’s gender fluidity managed to shock because it wasn’t mere posturing. While the members of Slade and Sweet went out of their way to demonstrate their machismo, Bowie, with breath-taking insouciance, flouted his bisexuality”.

Maybe there are finer and more complete works than Aladdin Sane – one thinks of “Heroes” and Low – but there are none, in my estimation, that as important (in Bowie’s career) than the 1973-released gem. Such was the importance and popularity of Aladdin Sane; it would be a little while before Bowie created another masterful album. 1973’s Pin Ups is not considered an essential Bowie release whilst Diamond Dogs (1974) is brilliant but flawed (and his first album not to feature any of the Spiders from Mars). Many people focus on the look and iconography of Aladdin Sane and overlook the rich bouquet of music on there. Drive-In Saturday and Cracked Actor are tremendous cuts from the first side whilst The Jean Genie and Lady Grinning Soul end the album spectacularly. Critical reaction from the U.S. was stronger than it was in the U.K. and it meant his popularity there grew enormously – which, in turn, inspired his future direction and popularity. The fact Aladdin Sane is forty-five and still gathering huge acclaim and investigation shows how important and impactful it was – and how it signalled the rise and birth of an artist like no other! You can argue as to which Bowie album is the king but, if you think about importance and the transformation from The Rise and Fall of Ziggy Stardust and the Spiders from Mars; Aladdin Sane has to be in your thoughts and its relevance acknowledged. Not only does the imagery and look of the album endure and influence but the rawer and harder-hitting sounds of Bowie not only inspired the man himself but generations of artists. We always here that thing about icons and the new breed: they do not make them like this anymore! In some cases that is a bit of an over-exaggeration but, in the instance of David Bowie and the wonder of Aladdin Sane; I feel that statement is…

 IN THIS PHOTO: David Bowie, Aladdin Sane (album cover, 1973)/PHOTO CREDIT: Brian Duffy/the Duffy Archive  

VERY apt indeed.

INTERVIEW: Velvet Starlings

INTERVIEW:

Velvet Starlings

___________

I have been speaking with Velvet Starlings…

which is the moniker of fifteen-year-old Christian Gisborne. He has been talking about his musical rise and his band; what the story behind If Life Ain’t Getting You High and whether he will follow it with more material next year.

The teenager reveals whether it is daunting being in the industry at such a young age and which albums are important to him; if there are tour dates and which artist, if he had the chance, he would support.

__________

Hi, Velvet Starlings. How are you? How has your week been?

Pretty good. We had an incredible week playing our record release party at Madame Siam. It was pretty awesome having legendary DJ Rodney Bingenheimer of SiriusXMradio and Frank Infante from Blondie in attendance. We were invited to hang out with them at Canter’s Deli afterwards.

We also had our best Sofar Sounds LA show yet at the Hotel Erwin in Venice. And, to top it off, we were voted #3 on the KROQ locals only show! We could not be more grateful to our friends and fans we who have been requesting and voting for our music.

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

My name is Christian Gisborne and I am a singer/songwriter and the guitarist of Velvet Starlings - which is a '60s-influenced Indie Brit-Rock and Blues-based band. The name came from a period in time when I was listening to Cream (White Room’s reference to ‘tired starlings’) and Velvet Underground. 

 

If Life Ain’t Getting You High is your new cut. Is there a story behind it?

If Life Ain’t Getting You High is a question…

I try to present some options. There are a lot out there right now addressing the impact of social media addiction and overload on people; including depression for some. So, the idea was to write a song about getting off your devices and living life beyond the tiny screen. Take a look around and you’ll see the big picture or at least another perspective. We spend so much time ‘wired in’ or stressing about a negative comment or not being noticed. Sometimes, a change of scenery could be the ticket.

We included lots of natural backdrops in the video to convey that idea. I seriously believe in the power of music; whether playing, writing; tracking, going to a concert or just listening.  Music, literally, can tune you up spiritually.

You seem to be inspired by vintage guitar sounds and a classic edge. Were you influenced by particular artists/sounds when writing it?

Totally. I love The Beatles and all things '60s. I am a fan of Syd Barrett’s whimsical lyrics  and I may have been inspired by Mick Jagger in my vocal phrasing on the chorus. The production and overall feel on the outro was clearly influenced by I Am the Walrus and Strawberry Fields straight off The Beatles’ Magical Mystery Tour.

Might we see an E.P. or more material next year?

Yes, definitely. We have another E.P. already in mix stages that we are excited about. We are also releasing another single, Sold Down the River, off this one and we will probably release a holiday number for fun.

Was your early life filled with music? Which artists did you follow when growing up?

My father is from Leicester (Kasabian country). In the '90s, before I was born, he headed up an Indie Brit-Rock band (Skylab and Plastiscene) and later ran a label and managed bands - and was out touring or making records so he was not around much. I loved his music and The Beatles and let’s just say I caught on real quick where his influences had come from.

At six; I also had a computer so I was downloading music off of the Internet, going deep into many artists’ catalogues - starting with The Beatles and everything evolved from there. I started experimenting on an old vintage organ and with some of my parents’ gear. The first songs I learned were by The Beatles, The Animals and The Kinks and then I switched to guitar. I was really into The Who, Cream; The Stones, The White Stripes; Cage the Elephant and Arctic Monkeys. 

This record that is out now was recorded right before my fourteenth birthday. After that experience, I saved up my cash from busking at the farmers market and bought a computer and Pro Tools and started writing, producing and tracking the songs myself before I started high-school. As a result, I was admitted a year early into the recording arts program as a freshman.    

As a fifteen-year-old; do you have to juggle studies and music?! Is it quite tough a balancing act?

Yes. It is very challenging. My teachers are upset that I have to miss school and make up homework because I have been traveling and playing so many shows. It is a grueling lifestyle. But, I have to put in the work to keep the grades in check.

What do you hope to achieve by the end of 2018?

Playing more shows. The end of 2018 is coming up fast. My second E.P. should be mixed and mastered. I would also like to finish off a few new songs I’ve had on the back burner. And, I hope to see Tenacious D! 

Do you already have plans for 2019?

We have the new E.P. to release; lots more dates in Los Angeles, SXSW, Canadian Music Week and, as soon as school lets out; we are off to the U.K. to hopefully bring music to the masses. 

Lots of amazing music and artists there so it’s a bit daunting. We will also be playing Milwaukee Summerfest as the booker and owner caught one of our showcases in Sweden last month and was impressed enough to offer us a slot.  

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

We opened for Robbie Krieger and got to hear him play some of those classic Doors songs that I have been listening to since I was young. As far as live music experiences; probably seeing The Who, The Stones, Paul McCartney and Dylan live at Desert Trip - along with Jack White in Vegas and Cage the Elephant at the KROQ Weenie Roast.

Which three albums mean the most to you would you say (and why)? 

The Beatles – ‘The White Album’

Greatest album ever. The diversity of genres, quality of songwriting; originality and production.

The White Stripes – Elephant

Best Jack White songwriting.

The Doors – The Doors

As it’s The Doors when they were bringing a new and darker tone to the sixties; a bit more mystery and poetic madness to the L.A. scene.

If you could support any musician alive today, and choose your own rider, what would that entail? 

I’d like Jack White to come on stage and play a song with me and I’d also like ten Impossible burger sliders topped with Jack White’s special guacamole that he always has backstage. The recipe can be found on the Internet. 

What advice would you give to new artists coming through?

If you love music, don’t ever quit. The main reason I do music is because I straight-up love music. I could not imagine my life without it. A song is magical. It can change your whole vibe and day and its proven to tune up your soul.

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

I think we have some Los Angeles shows coming up: The Mint and The Hotel Cafe and another Sofar Sounds event! We love those as, even though they are mainly acoustic, the audience always gets involved and makes the energy electric.

 IN THIS IMAGE: Jack White

Are there any new artists you recommend we check out?

They might not be considered new but of newer bands: all things Jack White; Ty Segall; Arcade Fire; Gorillaz; Kaiser Chiefs.

 IN THIS PHOTO: Arcade Fire/PHOTO CREDIT: Ellen Matthews

Do you get much time to chill away from music? How do you unwind?

When I’m not doing music, I’m watching other bands play live or watching previously recorded concerts and music festivals. Old live footage from early shows is the best as it’s cool to see these legends we know today at their musical inceptions and in their prime.

Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).

All of Rattlesnake by King Gizzard and the Lizard Wizard...haha! Just kidding! For real, though, this is a tough question. How about Oh My God by the Kaiser Chiefs or Instant Karma by John Lennon

___________

Follow Velvet Starlings

Twitter:

https://twitter.com/VelvetStarlings

Facebook:

https://www.facebook.com/VelvetStarlings/

YouTube:

https://www.youtube.com/channel/UCsWqc-eMlHqO1zVYVBrMQ5A

INTERVIEW: Blushing

INTERVIEW:

PHOTO CREDIT: Kendall Chapman

Blushing

___________

THE brilliant Blushing…

have been telling me about their single, The Truth, and how the song came together. I ask whether there is more material coming along and how the band found one another; which album is most important to each member and what they have planned regards touring.

The U.S. band recommend some approaching artists to follow and tell me which artist they’d support given the chance; how they unwind away from music and what they have planned for 2019 – they each select a song to end the interview with.

__________

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

We are great! This week has been amazing. Our single, The Truth, was released on Friday and then on Sunday we went into the studio to start recording our full-length. We are answering these from the studio right now!

For those new to your music; can you introduce yourselves, please?

Christina Carmona on vocals and bass, Michelle Soto on guitar and vocals; Noe Carmona on guitar and Jake Soto on drums.

The Truth is your new single. Is there a story behind it?

Lyrically…it’s about how there can be many versions of the truth and sometimes we will choose to believe a version that may not be factual simply because it’s easier to or will cause less pain/controversy.

Will there be more material coming next year?

Yes. We are currently at The Bubble studios in Austin recording our debut full-length and are shooting for a release early-2019.

How did you all find one another? Were you friends before you started the band?

Jake and Noe were high-school friends from El Paso. They both ended up moving to Austin and Michelle and Christina met through them; then, in 2015, Michelle and Christina got together to write music and Blushing was formed.

PHOTO CREDIT: Kendall Chapman

It is strange to see two married couples in a band. It is sort of like Fleetwood Mac but with less drama! Do you think your music is lending a unique quality because of your bonds?

I think, as married couples, we know each other’s working style and musical preferences so well that it makes communication easier.

In terms of sounds/artists; who are Blushing inspired by?

Cocteau Twins, Wild Nothing; Lush, Smashing Pumpkins and Drab Majesty

Being based out of Austin; what is the music scene like there? Is it a great place to be?

There are a lot of great venues, great promoters and an abundance of music lovers. It’s definitely a great place to be if you want to play live.

What do you hope to achieve by the end of 2018?

We hope to be finished recording and ready to press our next album.

Do you already have plans for 2019?

Big plans! We are lucky enough to come back in 2019 as official SXSW showcasing artists, we will be releasing our debut full-length and then going out on the road to tour.

Have you got a favourite memory from your time in music so far – the one that sticks in the mind?

SXSW 2018 sticks out in all our minds as a pinnacle moment. We played a whirlwind of shows in one week and had an amazing time. It was exhausting but we were always having fun.

Which one album means the most to each of you would you say (and why)?

Christina: Nine Inch Nails – The Downward Spiral

The soundtrack to my youth.

Michelle: Smashing Pumpkins – Gish

It was the first C.D. I purchased on my own at Blockbuster Music. It changed my perception of what music could be and I still listen to it with the same awe and wonder decades later.

Noe: At the Drive-In – Relationship of Command

It was very inspiring seeing and hearing this kind of creativity; especially coming from my hometown.

Jake: Silverchair – Frogstomp

Seeing kids my age making music was inspiring and the first song I learned on guitar was Tomorrow - which led to me playing music till today.

If you could support any musician alive today, and choose your own rider, what would that entail?

Slowdive. As long as we have Topo Chico, Sour Punch Straws; Takis and some original Coca-Cola.

What advice would you give to new artists coming through?

As cliché as it may sound, always remember to have fun. We see making music as a privilege and a way to enjoy those moments in between all the obligations.

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

November 3rd is our single release show at Cheer Up Charlie’s and also the label launch party for The Nothing Song Records, who helped us release our 7” single on vinyl. Winter (L.A.), Ringo Deathstarr; Rose Ette and Glaze will also be playing so we are super-excited. We are also playing November 14th with Holy Golden (N.Y.) and El Lago (Galveston) at Hotel Vegas in Austin.

 IN THIS PHOTO: Wild Moccasins/PHOTO CREDIT: Arturo Olmos

Are there any new artists you recommend we check out?

El Lago, Flasher; Wild Moccasins and Holy Golden are coming out of our speakers quite often.

 IN THIS PHOTO: Flasher

Do you get much time to chill away from music? How do you unwind?

Music is our main mode of chilling. Outside of work and band stuff, we don’t have much free time but luckily we really enjoy doing band stuff so it works out!

Finally, and for being good sports; you can each choose a song and I’ll play it here (not any of your music - I will do that).

Christina: Sally Dige – Holding On

Michelle: The Lightning Seeds – Pure

Jake: tricot - Tokyo Vampire Hotel

Noe: Drab Majesty - 39 by Design

___________

Follow Blushing

 PHOTO CREDIT: Jake Soto

Official:

https://www.blushingmusic.com/

Twitter:

https://twitter.com/blushingband

Facebook:

https://www.facebook.com/weareblushing/

Instagram:

https://www.instagram.com/blushingband/

Spotify:

https://open.spotify.com/artist/27rWdoCAtvpwChpCDz9PK0

YouTube:

https://www.youtube.com/channel/UCCs3Z_TNtTi3udiQXH7MwJg

Bandcamp:

https://weareblushing.bandcamp.com/