FEATURE: Burning Down the House: Bringing a More Theatrical and Original Approach to Live Performance

FEATURE:

 

 

Burning Down the House

 IN THIS PHOTO: David Byrne during his American Utopia tour (venue location unknown)/PHOTO CREDIT: Getty Images 

Bringing a More Theatrical and Original Approach to Live Performance

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MY eye has been caught by an article on the NME website…

 IN THIS PHOTO: David Byrne and his troupe at the Hammersmith Apollo on 23rd June, 2018/PHOTO CREDIT: Vianney Le Caer/REX

that looked at some modern artists who are doing something different with the live performance. Rather than the usual gig experience – artist/band turns up with a support act and then plays a set and maybe an encore comes – technology is allowing something different to gigs. Not only are we seeing some artists take a more technological approach to gigs but some are taking a theatrical, symbolic and original approach. Talking Heads gigs of old were never normal and predictable so it is no surprise to hear David Byrne bring something beguiling and educational to his latest tour. His American Utopia tour, as NME explain, is more than a man playing songs as we’d expect:

“Even if you’ve never been subjected to such pretentious whimsy, everyone’s seen a set a bit like it – a disappointing phone-in effort from an artist who used to break creative boundaries. Like resting on laurels, too many rely on legacy.  It’s why David Byrne’s ‘American Utopia’ tour – hyped to high heaven for completely understandable reasons – is all the more refreshing in contrast, bucking the trend.

Skipping barefoot across the stage, flanked by a roving cast of marching-band dancers who dive in and out of the curtains lining the stage, David Byrne’s show is carefully choreographed, but – as with Christine and The Queens’ current show – it manages to feel very human. It’s the opposite of alienating; the joy is pure and infectious. Even an alien landed straight from another galaxy with no working knowledge of the Talking Heads’ staggering impact would get it straight away. Hell, it doesn’t matter if you’ve only ever heard ‘Psycho Killer’ sampled on Selena Gomez’s ‘Bad Liar’ (banger)...

 

Tellingly, Byrne also subverts another tradition, too – instead of ending on a huge banger of his own, he swerves in a different direction and closes every show with a cover of Janelle Monáe’s 2015 song ‘Hell You Talmbout’. It feels fitting to see a true innovator using his time in the spotlight to pay it forward”.

I guess it can be quite routine and uninspiring if an artist as established and well-known as David Byrne does the usual gig thing. Rather than have a setlist of Talking Heads songs and solo material; Byrne brings something physical, high-concept and precise to his shows but makes it accessible and, odd, simple. Not only does one – attending his gigs – get the songs known and loved but there is a piece of performance art. Maybe those words lead people to something arty and pretentious but, with Byrne, he is unifying dance, theatre and technology into something magical. The Guardian, when attending one of his American Utopia gigs, provided their take:

“This unprecedented, exquisite live show finds a 12-strong band in near-constant motion, with percussion to the fore: at several points, half a dozen musicians are playing bits of drum kits hanging off harnesses they are wearing, a cross between an American high school marching band and a Brazilian carnival procession. (The harnesses are so discreet, the keyboard player’s instrument appears to hover in mid-air.) Everyone is in (normal-sized) grey Kenzo suits and barefoot; by the end, backing vocalist Chris Giarmo’s jacket is entirely black at the back, and Byrne’s own back is piebald with sweat”.

 

“Pop is no stranger to troupe dancing, but working musicians don’t normally move this perfectly, rearranging themselves like psychic starlings into clumps or lines, posing, vogue-ing, proceeding backwards in circles; choreographer Annie-B Parson is the architect of these manoeuvres. You can see the link to a previous Byrne outing – 2015’s US-only Contemporary Colourshows, since released as a film – which found Byrne reinterpreting the US sports pastime known as “colour guard”, where flag-spinners join marching bands for half-time performances.

This set, by contrast, is all grey and minimal and yet somehow just as kaleidoscopic. A huge swath of songs – Talking Heads songs, Byrne solo outings drawn from various periods, covers, collaborations – have all been subtly rescored to fit a show heavy on funk, fun, drama, shadowplay and a sprinkling of overt politics. Between two recent songs – Dog’s Mind and Everybody’s Coming to My House – Byrne encourages everyone to vote “in every election they possibly can”.

Maybe it is more of an American artist thing – as NME’s article explored – but I wonder whether artists are properly utilising technology or developing live gigs. Consider how far music production has come and how we share it: can we really say the gigs and viewing experience has made similarly big steps?! One can never get rid of the traditional and high-energy show – imagine the likes of IDLES or Foo Fighters employing dancers and have something high-concept working away whilst they were thrashing, swaggering and generally owning the stage!

 IN THIS PHOTO: St. Vincent at the Cambridge Corn Exchange on 2nd September, 2018/PHOTO CREDIT: Sonja Horsman for The Observer

There is a division line in terms of the genres/artists who are taking this approach but I feel the art world is divided. We might see albums employing elements of theatre, dance and technology but do we often get to see a gig, from a mainstream artist, like that?! In the case of David Byrne; he is someone who uses music as education as much as entertainment. In tandem with his American Utopia album; he has launched a website dedicated to feel-good stories and has done lectures and, in many ways, brings an academic side to his work. Perhaps it would be odd seeing Byrne performing his epic songs in an ordinary way: bringing in dancers and introducing much more physicality, spectacle and imagination into the mix leads to a more enriching and emotional memory. You will go to a gig, as many have, and come away inspired and changed. This somewhat new approach to live performance has been controversial. As NME stated; St. Vincent accrued some divisive reaction when she tried something new:

“Towards the end of last year, fresh from releasing ‘MASSEDUCTION’, St Vincent put on one of the most divisive shows in recent memory. Parring off the convention of a support act entirely (instead she opted to screen her short horror film The Birthday Party) Annie Clark also did away with almost every element that you’d associate with a typical live show. A band was nowhere to be seen; a curtain unfurled to reveal a screaming face instead. Clark performed alone with her guitar, backed by garish day-glo visuals, for the entire show...

Far from indulging the usual patter between songs there was zero audience acknowledgement, and in stark opposition to the brute physicality of her previous live shows – touring ‘St Vincent’ Clark frequently injured herself mid-performance – any movement was clinical and small. Shifting her microphone a metre to the left for one song, turning robotically to her right for another, it was less a gig, more a visual collage. It left some staggered by the bold move towards minimalism; others simply scratched their heads in confusion”.

She was not the only one whose deep messages and thought-provoking material required a performance that seemed to match the lyrics and themes being explored:

“Currently on tour in the UK, Christine and The Queens has also taken a turn towards the theatrical, using a cast of charismatic dancers – each with distinct styles and clear personalities – to help pull her audience closer. As with St Vincent’s ‘MASSEDUCTION’ her latest album ‘Chris’ also plays heavily with tensions around power and lust. Except in Christine’s case, she’s largely questioning how these things are typically wielded by women in the spotlight. To cut a long story much shorter, society doesn’t tend to be a massive fan of women in assertive command of their sexuality – Christine and The Queens, however, doesn’t really give a shit about this weird expectation. ”I’m just trying to deflect the male gaze and to sabotage it slightly,” is how she put it, talking to NME for our Big Read with the star earlier this year. “I’m horny, and I desire, and I’m sad, and happy, and joyful.”

IN THIS PHOTO: Christine and the Queens (Héloïse Letissier)/PHOTO CREDIT: Jamie Morgan

In terms of the types of artists who are embracing the unconventional and changing the nature of live performances; it is unlikely to extend much to the Pop mainstream. I think it would be dangerous for someone like Dua Lipa or Ed Sheeran to change what they do considering their popularity and what their fans expect. Maybe it is insulting – not meant to be – but David Byrne and St. Vincent appeal to a more mature and deep-thinking audience. If you had an artist whose demographic was very young and were screaming the whole set then they would not stand for the sort of thing you’d see at a David Byrne gig. Dancers, routines and theatre have always been part of the live show for many artists but there is this small band bucking trends and taking risks with their shows. It is a lot to do with personas and new personalities being revealed. The Christine and the Queens-Chris and St. Vincent-MASSEDUCTION are different to their earlier work! The themes being tackled in these albums – and for David Byrne – are more political, provocative, perhaps, and require something challenging. If these artists simply delivered this big and potent songs as a Pop artist would – or in a more conventional manner – one wonders whether the results would be as emphatic. Consider this review of a recent Christine and the Queens show:

“The otherwise sparse stage is adorned for the first act by a floor to ceiling painting of bucolic rolling hills, creating the perfect backdrop for low-slung single Girlfriend and its sprightly choreography.

During the emotionally ravaged Paradis Perdus, the lights on the painting shift and a thundercloud that had seemed to be resting calmly in the distance hovers into view. Later, the screens fall away altogether, replaced variously by banks of lights, plumes of green smoke and fluttering fake snow. At one point, a dancer seems to literally go up in smoke. It is modern theatre cajoled into a pop concert framework...

Joined by six dancers, Chris swaps the supple, loose-limbed movement of her debut for a more animalistic physicality, jostling sweatily with her cohorts on opener Comme Si and providing the centre around which they spin like orbiting planets during a spectacular 5 Dollars. The choreography is so far removed from your typical pop show – at one point, during the harpsichord heavy The Stranger, the dancers mimic the rise and fall of a wave, as if in slow motion – that when they do line up for a typical dance break, as on the horny strut of Damn (What Must a Woman Do), it feels cathartic. As the song crashes to a close, keen to really hammer home the lineage she’s channelling, she chucks in a quick snippet of Janet Jackson’s Nasty for good measure”.

Another artist, who I have mentioned, who is pushing boundaries is St. Vincent. Last year, when she played Brixton Academy, she divided people with a show that consisted of a short film; her playing songs to a simple backing track and no other performers. Last month, when playing Cambridge, this review shows Annie Clark has lost none of her ability to move and cause worried whispers:

“The banks of lights at the rear aren’t the only things pulling the crowd’s eyes out on stalks. Everyone on stage is dressed in tight flesh tones which, for a couple of seconds, registers as nudity – save for Clark’s thigh-high dominatrix boots and belt. (The band are in fact wearing leotards, dresses or shapeless jumpsuits)...

Then you notice the male players have bowl-haircut wigs and what look like tights over their faces – as though they are about to rob a bank, or worse. Drummer Matt Johnson (formerly of Jeff Buckley’s band) and keyboard player Daniel Mintseris are featureless mannequins, while the women – Clark and Toko Yasuda, who plays bass and keyboards – get to breathe normally. As a performance, it’s hard to read precisely: of a piece with the plasticity, kinkiness and electronics swirling around the Masseduction songs and their videos, but with the tables turned: Clark is nobody’s vapid eye-candy, but a female musician playing with gender roles, control and abandon; very forbidding, a little inviting.

Does it all get a bit samey? Well, yes – although effective, the heavily stylised aesthetic of this show does grate, and the weirdness that used to be a feature of St Vincent’s output seems in thrall to a number of familiar 80s motifs. Back then, Robert Palmer had a notorious video in which a gaggle of models were dressed up as musicians. Although it’s clear that St Vincent is purposely performing a kind of takedown of that robotic, gazed-upon femininity, after a while, it becomes hard to separate from empty sexiness.

Gradually, though, as the sweat makes its way through her hair, Clark becomes more naturalistic as the set draws to a close. Laughing, she tries to insert Cambridge road names into New York and delivers Smoking Section with a husky, Left Bank feel”.

Perhaps we have not seen a mass movement of artists going against the conventional grain but we have seen some big artists do something very different with their sets. Whether it is risky or a natural evolution of the live set; I think we will see more artists experimenting and bringing a cinematic, theatrical and strange edge to their shows. Whether enflamed and intense like Christine and the Queens; artistic and stunning like David Byrne or a quirkier St. Vincent approach; it is good seeing these musicians try something different. I think one of the reasons why venues are struggling and why a lot of us are not going to gigs is because we know what to expect. The decades-old routine or support acts coming on and then the artist tackling their material in a very normal way sounds sensible but how likely is that show – unless they are truly iconic – going to stick in the brain?! You can bet the likes of David Byrne have left many speechless recently and that, in no small part, is due to the way the live show is approached. Perhaps it will take a while for most of the big artists to follow the likes of Christine and the Queens but I think the results speak for themselves. I want to go to a gig to hear the songs I know and love but I want to be moved and involved in something spectacular and unique. A lot of gigs provide the former but the latter, sometimes, lacks. With innovators and pioneers transforming live gigs and making them more of a spectacle; they are bringing the humble stage to...

IN THIS PHOTO: Christine and the Queens at Bournemouth International Centre on 17th November, 2018/PHOTO CREDIT: Dan Reid   

A new era…                                                      

INTERVIEW: Jazzboy

INTERVIEW:

PHOTO CREDIT: Louise Desnos 

Jazzboy

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MY last interview of the day...

is with Jazzboy. He has been telling me about his new E.P., Jesus Jazz, and its creation; what the music scene is like where he is in Paris; which artists and albums guide him – I ask whether there are any tour dates approaching.

Jazzboy tells me about some upcoming artists to check out and what advice he would offer musicians starting out; if he has plans for 2019 already and how he spends time away from music – he picks a pretty good song to end things on.

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

I’m good, thanks. My week’s been kind of intense and full of surprises, but I’ve actually enjoyed it.

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

My name is Jules and I write, record; produce and perform music as ‘Jazzboy’. I’m currently living in Paris, France.

Jesus Jazz is your latest E.P. What sort of themes inspired the E.P.?

Songs are about death, ego, drugs and falling asleep. This is the first time I’m summing it up and it’s sounding weird. Haha.

What was it like working on the music? Do you have a favourite song from the selection?

The process was very natural, as I’m producing everything myself. The only pressure I felt was my own and that was a nice thing to experience. 

I don’t really have a favourite song: the E.P. as an entirety forms this kind of little monster that I love. It’s hard to choose just one piece of his whole body, you know?

What sort of music did you grow up around? Which artists inspired you to get into music?

I grew up around Nu-Metal, Post-Punk and Pop music, basically. Marilyn Manson, The Clash; Siouxie and the Banshees, Pavement; Deftones and David Bowie had a big influence on me as a teenager. 

As a Parisian artist; can you reveal what the music scene is like in Paris right now? Has it changed a lot over the last few years?

I feel that the most interesting scene in Paris right now is the Electronic music scene. It takes a lot from the D.I.Y. and Punk ethos: throwing illegal parties in huge basements, playing very loud music and the rest of it...I’d love for the Pop music scene to move more in that kind of direction; to get more attracted to danger in a way, thereby becoming more risqué.

For example, I think that N.Y.C. has a great Pop/Experimental scene with a very free and crazy vibe (s/o to The Glove). Saying that; D.I.Y. parties in Paris have come a long way, which is good.

 PHOTO CREDIT: Christopher Barraja

Do you already have plans for 2019?

I'm barely making any plans; just going with the flow I guess. I'm gonna go back to N.Y.C. in February to support the great Tredici Bacci at Mercury Lounge and will probably play in London, Paris and Berlin too.

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

I guess the very first time I tried to record music on a computer. I was messing around with samples and vocal effects; I didn't know what the hell I was doing but I loved it. Kind of the same feeling as when I first stepped on a skateboard – freedom!

PHOTO CREDIT: Louise Desnos 

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

Always a very harsh question. I'll go with whatever comes to mind now…

Television - Marquee Moon

Instant crush when I was very young and into Punk music. It sounded so different, pure and beautiful but also very unapologetic. If ‘perfection’ is a thing, I think it comes very close to it…

Jeff Buckley - Grace

Totally hated it the first time I heard it and then I spent a whole month getting lost in all of the songs. I love how it's easy to hate it, but how it also has this magic that eventually gets to you.

Broadcast - Haha Sound

The most melancholic, divine; beautiful, weird and haunting album I’ve ever heard. It reminds me that music is something way bigger than the humans making it.

As Christmas is coming up; if you had to ask for one present what would it be? 

A little donkey-back riding trip in the countryside with my girlfriend.

PHOTO CREDIT: Edouard Sagues

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

I'd love to support Mica Levi or Micachu and the Shapes. And I’d ask for fifty fresh kiwis with fifty bananas, all cut in small, round pieces in a big bowl.

What advice would you give to new artists coming through?

Get as close as you can to your inner-self and try to love it.

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

I’m playing in Paris for one of my ‘Jazzodrome’ parties I run there on 23rd November. I'm also playing in N.Y.C. at Mercury Lounge on 14th February, supporting the great Tredici Bacci.

 IN THIS PHOTO: Ryder The Eagle/PHOTO CREDIT: @loganwhitephoto

Are there any new artists you recommend we check out?

Luxardo, Ryder The Eagle; Krampf, Oklou; EarTheater, Tirzah; Tredici Bacci, Ryan Power and Locate S,1.

 IN THIS PHOTO: Oklou

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

I go skate a lot - mostly in the mornings. I do a bit of English boxing too. Also, a lot of movies.

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).

You should play OK by Demon V then. Thx!

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Follow Jazzboy

PHOTO CREDIT: Louise Desnos  

Facebook:

https://www.facebook.com/jazzboyworld/

Spotify:

https://open.spotify.com/artist/6EaFxUvBz6JbPruye7gwGN?si=SI-VeMP2QiatCkxuHfdQ0g

Twitter:

https://twitter.com/jazzboyworld

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YouTube:

https://www.youtube.com/channel/UCG0-N_JMpcI1HEoS8DTafPQ

INTERVIEW: Julian Mika

INTERVIEW:

Julian Mika

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THE first port of call today...

is with Julian Mika. He has been talking with me about his latest track, Know To, and what comes next; which albums and artists have been inspiring and influential; what he thinks of the current British Hip-Hop scene – he recommends some rising talent to watch.

I have been asking about his heroes and idols; whether he gets time to chill outside of music; which artist he’d support on tour if he had the opportunity – Mika ends the interview by selecting a cool track.

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

Yo. What’s happening? Yeah. It’s been good; lots of things going on. Lining up a couple things for the next months. You know how it goes.

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

First and foremost, my name’s Julian Mika - that’s my real name, no stage name. I feel like it’s important to keep it personal; it represents what I'm trying to do with the music which is to keep connected to the people who listen and get involved. I want to feel like there’s a relationship there through the music and what better way to start that than with your birth name. That’s really me at the end of the day.

Know To is your new track. What is the story behind it?

(Laughs). Do you want the short version or the long version? Nah; I'll put it simply...I heard the beat and the song literally just wrote itself. You have different experiences of writing. Sometimes, it takes a bit longer to write a track and you sit with it a bit more and sometimes it’s like fishing. You just catch it out of thin air and that’s what happened with this song.

It came at a time when I was figuring out a lot of different things and I just felt like this song is going to represent the start of something new. It’s kind of like saying I've been waiting for some time and the time is now.

Might we see an E.P. coming next year?

You might (laughs).

Which artists do you consider role models and icons? Did you grow up around a lot of music?

The thing is, yeah, the list of artist is very long because there’s been a very wide range of music that has surrounded me my whole life. But, what pops into my head straight away, and even if it might seem super bate (laughs), are the early Jiggaman (Jay-Z) records. When I heard Reasonable Doubt and The Blueprint young, it proper just connected to me and I feel like I really studied that. The words and the way it makes you feel like you were really there. And, then obviously you got your Tupac Shakurs who I just feel like even (just) his character in interviews taught me loads. In terms of Hip-Hop, as I’m sure you can imagine, the list is long.

When I think about my relationship with words; that really brings up Bob Dylan for me. There was something about his voice and the poetry he used which was intriguing to me, even as a child. In a funny way, that kind trickled down to my taste in music. I like a voice that actually stands out; that you can recognise as soon as you hear it, along with the words which makes the message so much stronger. From that, that sparks the time when I heard Boy in da Corner for the first time. You can’t deny the production and Dizzy’s voice.

Lastly, growing up, there was so much music around. So much Soul, Rock; Blues...just all of it. The Aretha Franklins, Whitney Houstons; Sam Cooke, Ray Charles; Otis Redding, Lauryn Hill; James Brown and, of course, uncle Frank, the great Frank Zappa. It’s one of those questions I could sit and talk about for days because these are all part of the D.N.A. that makes me. Not just as an artist but as a person.

Do you think the British Hip-Hop scene is growing? What is your take on the modern vibe?

So, firstly, I love it, what’s going on. It’s not even just about Hip-Hop to me; it’s just about being part of something. I just love the whole thing of being unapologetically U.K. It doesn’t matter what you’re doing, as long as you’re representing that; you’re all one because we are representing where we are from and not sugar-coating it for the rest of the world to accept like we might have done back in the day.

But, also, that is part of the growth...so, yeah, in short: I do think the scene is growing. It’s always been here but it’s for the world now, not just our little bubble and that’s sick to see. Coming from London, I just rate the merging of sounds because that represents our community, essentially.

Do you already have plans for 2019?

Yeah. I’ve definitely got plans. Keep releasing music, getting shows going. Big plans for 2019; I’m excited.

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

Yeah. I think my favourite memory would be Willesden Green Resident Studios; just turning up there after-hours with a bunch of olders, just falling in love with the craft. Those were like the beginning days of catching the bug.

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

Oh, rah; that’s mad-difficult. I recon, right now, it would have to be Reasonable Doubt - like I mentioned earlier. Also, To Pimp a Butterfly and Views. The answer to that question will forever be changing though. Depends on the day, my friend.

As Christmas is coming up; if you had to ask for one present what would it be?

A boxer puppy (laughs). R.I.P. Noodles.

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

It’s funny, actually. I was having this conversation with my girl the other day and, again, obviously I could list a thousand artists but, for right now, I would have to say SZA, yeah. I think there’s something I like about supporting an artist that’s in the same family of what you do but that’s in a different medium.

My rider would be: Magret de Canard (laughs hard). Nah. I would probably have some good speakers to bang music, some rum and ginger; some Monster Munch, a bucket-full of 99p chicken wings from KFC - cos it’s my favourite, even though man’s trying to get on that veggie life (laughs). Tea and biscuits, no doubt, and a nice comfortable sofa. It’s the simple pleasures. Yeah. I'll keep it at that for now.

What advice would you give to new artists coming through?

The advice I would give myself (laughs) would just be persistence.

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

Not yet. I still want to get a couple songs out into the world but, yeah, keep your eyes peeled.

 IN THIS PHOTO: RIMON

Are there any new artists you recommend we check out?

Yeah, there are. I like RIMON. She’s really hard. It’s not necessarily new but I'm messing with slowthai and Octavian right now. There’s also an artist called dijon that I like. There’s loads, man.

 IN THIS PHOTO: slowthai

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

I watch The Great British Bake Off (laughs). Shout out to Prue.

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).

Eugy – ‘Starboy  Soco’ remix

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Follow Julian Mika

Facebook:

https://www.facebook.com/Julian-Mika-2064529566914248/

Spotify:

https://open.spotify.com/artist/2Mvd1qANA5NbEJQFwt7q50?si=RvN0Yg5-T5C9HupX1jazqQ

Twitter:

https://twitter.com/JulianMika1

YouTube:

https://www.youtube.com/channel/UCzfdCTM-JQNFGNGd7Uh53KQ

FEATURE: An Ideal Romance: The Beauty of Collaborations

FEATURE:

 

 

An Ideal Romance

IN THIS PHOTO: LUMP (Mike Lindsay and Laura Marling)/PHOTO CREDIT: Mathew Parri & Esteban Diacono  

The Beauty of Collaborations

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MOST people realise music trends have changed…

 IN THIS PHOTO: Arctic Monkeys in 2018/PHOTO CREDIT: Getty Images

over the past decade or so. There was a day, not an age ago, where bands had a big say and there was a lot of great music from them. This year has not exactly been lazy when it comes to bands and their glory – we have the likes of IDLES and Arctic Monkeys flying the flag – but there is not the scene there was back in the 1990 or last decade. I know there are a tonne of bands coming through and a load of stunning acts that are picking up awards and creating great music. Music, still, is very much about the solo artist. Look at the top-twenty albums from this year – in terms of the critical reaction – and they are from solo artists. I am not sure when the change happened but music has become more and more a solo endeavour. Many might say that is quite lonely and wonder where bands have gone but are bands going out of fashion?! Maybe they will not disappear from the consciousness of the mainstream. I do wonder how we got to a time when the band market ruled to now: solo artists are dominant and providing us with the finest albums (by and large). I do wonder whether a lot of the best bands have past their best days and the finest of the new breed are fighting to get attention.

I know there will be a swing back towards bands and we will see years when band-created music rules but, as of now, I have to ask whether sheer numbers is the problem. I feel there is something freeing and liberating with the solo artist. They can do what they want and are more flexible regarding genres and splicing sounds. Back when there was a bigger and more mainstream-visible band scene, it was easier to succeed and be visible. Now, I feel there is less of a demand for groups and what they are doing – a lot of festivals are reflecting this. Duos are a great ‘compromise’ but are still not as potent and popular as the solo artist. I think musical collaborations are providing a lot of promise. Look at LUMP and what they are putting out right now. Laura Marling and Mike Lindsay are this dream partnership that are creating fantastic sounds. It can be the case solo artists who have their own vibe and fanbase can find new delight and ambition when they join with another. I am more familiar with Marling’s work but am not as au fair with Lindsay. Tunng is the twisted Acid-Folk band started by Lindsay and it is completely different to what Laura Marling has put out. Both are incredible musicians and they are a potent force when joined together.

IMAGE CREDIT: Getty Images

There is not the same bulk and crowding as you’d get in a band of four or five huge musicians; it is a duo that unites the diverse and wonderful sounds of Marling and Lindsay. I love solo artists and what they are releasing but do wonder whether there will ever be that shift back to bands. Until that happens – if it does at all – I feel these musical collaborations are a great step. LUMP is an interesting name and idea and is not a million miles away from Laura Marling’s solo work. Lindsay has brought something distinctly him to the mix and it is wonderful hearing these two musicians fuse and create something memorable and tantalising. LUMP spoke with The Line of Best Fit regarding collaborations and their favourite partnerships. There are, as The Line of Best Fit say, risks when you bring together artists with these high expectations:

“The results aren’t always golden - have a listen to Paul McCartney and Stevie Wonder’s ‘Ebony and Ivory’ - but when artists find a natural chemistry together, the songs they write complement and enhance one another and create something brilliantly new in the process.

Such joy can be heard in Laura Marling and Mike Lindsay's work together as LUMP. Their spirit of collaboration is writ large throughout their eponymously titled record, where Marling adds words and vocals to Lindsay’s music and is literally spelt out on the final song, “LUMP is a Product (credits)”, which starts with the lyric “LUMP is a product of Mike Lindsay and Laura Marling.” There’s also the mysterious LUMP himself in the mix, the figurative embodiment of their work and the albums’ cover star who they’ve described as “Bagpuss but mixed with a yeti".

LUMP are showing what magic can be created by joining two musicians with different sounds/pasts and putting them on the same page. One of my favourite recent pairings is Matthew E. White and Flo Morrissey. They brought out Gentlewoman, Ruby Man last year and it is a selection of eclectic cover versions. I was not too familiar with either artist but they sound incredible together. I sought out Flo Morrissey after I heard the album and compared her work (solo) with the duo’s album. It is a partnership that Marling and Lindsay enjoyed:

“Laura: “The record they did together, Gentlewoman, Ruby Man was very good and actually it’s probably the easiest equivalent to LUMP in some ways. I thought it was a brilliant use of her timeless, weird ‘60s’/‘70s vibe and his production style."

Mike: “I hadn’t actually heard it and what’s been nice about doing this is the opportunity to listen to things; you can explore a little bit. I know both artists but I hadn’t heard their collaboration and I really loved it when Laura sent it through. I don’t always sit down and listen to records when they come out, it sometimes takes a nudge or two here or there for me to notice what’s going on in the world".

I hope this is not a one-off project from Morrissey and White and the fact LUMP are doing what they are can be traced back to Gentlewoman, Ruby Man. Another collaboration that is named in the article is Kylie Minogue and Nick Cave’s track, Where the Wild Roses Grow.

This was a big mainstream, big-name collaboration that one did not see happening. Certainly, the styles of Nick Cave and Kylie Minogue are as different as you can imagine. The 1995 duet was a case of big names forging their voices together and showcasing new layers. Few had heard that sort of soothing and alluring sound from Minogue and it was a more romantic, if dark, territory for Cave. Lindsay and Marling have their views:

“Mike: “I threw this one in, I don’t know if you know it or not Laura?”

Laura: “I remember it, I haven’t really listened to it since it came out, but I remember thinking it was an amazing clash of two worlds and a very smart move on both of their parts.”

Mike: “My ten year old self used to have posters of Kylie Minogue on my wall, I’m a secret fan of early Kylie. This was the turning point for her, when suddenly her whole persona of a sweet pop star kind of disappeared. It was amazing she was singing with Nick Cave and that’s definitely a sign of the greater than the sum of its best parts scenario - Nick Cave hadn’t worked with someone like that before, from that side of the pop world and she hadn’t gone over to the dark side. It’s a great song, this is about collaborations and ‘Where The Wild Roses Grow’ is a good one”.

There are, as we know, cases where artists are getting together and collaborating. You do not have to look too hard on the weekly Spotify recommendations and there are a whole host of artists combining for some track. A lot of the time, I find these collaborations excessive and driven by commercial needs. You often get four or five random names on a song and it can sound cluttered and cheap. A lot of these collaborations are designed to get streaming figures up and that commercial. Consider a song like Girls that saw Rita Ora join with Cardi B, Bebe Rexha and Cardi XCX together and you’d think, on paper, something brilliant could have come out. They are four of music’s biggest names but, in reality, the song is a rather lacklustre and slight offering that does not linger in the mind. The best collaboration of this year is the group, boygenius. Phoebe Bridgers, Lucy Dacus and Julien Baker are the ‘supergroup’ and their eponymous E.P. has gathered huge acclaim. NME assessed the E.P./album in these terms:

“Backed by just a finger-picked acoustic guitar, it sounds like its being sung as the women drive down a quiet road in middle-of-nowhere America on their way to the next set of walls and doors. In the song’s final seconds, the guitar softens further, their soaring voices drawing out the final line until it cuts off abruptly midway, reinforcing that sense of brevity. It’s a notion that works on more than one level, too; much like its creators’ time in any one place, ‘Boygenius’ is all too fleeting, a record that leaves you yearning for more”.

This, again, is a project I hope continues like LUMP and Matthew E. White and Flo Morrissey. Rather than abandon their solo careers; Bridgers, Dacus and Baker have been able to bring together their new songs/thoughts together and are turning heads. Courtney Barnett and Kurt Vile, last year, brought us Lotta Sea Lice. There is a natural symmetry and companionship between the musicians and their styles, to me, fuse naturally. Barnett and Vile are not that far apart in terms of their lyrical style and delivery and I feel that was a reason why they recorded an album together. Both are still recording solo – Barnett’s recent record, Tell Me How You Really Feel, is one of this year’s best – but I think it is great she and Vile have an outlet if they want to try something different. One off-duets/collaborations can work brilliantly – I think the best is still Elton John and Kiki Dee’s Don’t Go Breaking My Heart – but they can be hit-and-miss. I think more artists should join together and create something unusual/unexpected. You get it more in genres like Pop and Hip-Hop – where big names get together for a track or album – but they can fizzle. I think the likes of LUMP show well-known artists can step out of their normal world and make music together. I hold high hopes boygenius make another album and we get more from Flo Morrissey and Matthew E. White.

Neko Case, k.d. lang, Laura Veirs released the case/lang/veirs album in 2016 and that was met with positive reviews. The musicians have their established and respected solo careers but, like boygenius, there is this sisterly and instant bond within the group. Whether it is a duo like LUMP or a trio; a supergroup-style band...if the chemistry is right then it can be a wonderful thing to behold! I would love to see more of these collaborations/groups form and show what can happen when you bond these popular and defined names into a new project. From Beyoncé and Lady Gaga uniting on Telephone; Beyoncé and Jay-Z forming The Carters or Mark Ronson and Bruno Mars giving us Uptown Funk; you get that power when you bring together these great names. Maybe bands will have their day again but, right now, these great musical collaborations provide something different and fresh. Who knows what combinations and hybrids we could get in 2019?! The collaborations this year – LUMP and boygenius – have been hugely successful and there will be great demand for more work. It is clear the music scene is more attuned to the solo artist and they are getting most of the press. I feel there are remarkable bands about to spring to the mainstream but think about these great and organic musical collaborations and how great they sound. Apart from the odd disastrous single through the years; if you get the right partnership(s) then it can pay dividends! I have only cracked the surface of collaborations I music but the last few years has seen some mighty musical forces emerge. We might be familiar with an artist in their own milieu and zone but, when they stand aside and work with another great name – or several artists come together – what comes from them...

CAN truly stagger the senses!

FEATURE: Queens, IDLES and a Cherry on Top: The Best Albums of 2018

FEATURE:

 

 

Queens, IDLES and a Cherry on Top

IN THIS PHOTO: Héloïse Letissier, A.K.A. Christine and the Queens/PHOTO CREDIT: Getty Images  

The Best Albums of 2018

__________

A lot of others are putting together…

 IN THIS PHOTO: IDLES/PHOTO CREDIT: Getty Images

their lists of the year’s best albums and there has been some stiff competition this year. I have been thinking about the best records from 2018 and, in no particular order, have assembled the very finest. From the incendiary and extraordinary sophomore album from IDLES to Anna Calvi’s remarkable Hunter; it has been a wonderful year for music that has seen some of the decade’s finest emerge. Have a look at the rundown and selection of this year’s finest discs and I hope you agree with (at least) some of the choices. It is very clear that 2018 has been a wonderful and varied...

IN THIS PHOTO: Neneh Cherry/PHOTO CREDIT: Getty Images

TIME for music!

ALL ALBUM COVERS: Getty Images

________________

Janelle Monáe – Dirty Computer

Release Date: 27th April, 2018

Labels: Wondaland/Bad Boy/Atlantic

Review:

“Although Monáe sings that she won’t “spell it out for ya,” the multi-hyphenate artist came out as pansexual in a recent Rolling Stone interview—or, as she put it, “a free-ass motherfucker.” That revelation signifies the next step in her evolution, as an artist and an individual. Technically speaking, Dirty Computer is a wonder, deft and cohesive in its blending of genres, but Monáe’s declaration—really, a call to action—lends the album a sense of urgency. On Dirty Computer, the erstwhile Electric Lady loses the metal and circuitry, but none of her power or artistry, cementing her status alongside Prince in the hall of hyper-talented, gender-fluid icons who love and promote blackness” – The AV Club

Standout Track: Crazy, Classic, Life

Kacey Musgraves – Golden Hour

Release Date: 30th March, 2018

Label: MCA Nashville 

Review:

“Everything clicks perfectly, but the writing has an effortless air; it never sounds as if it’s trying too hard to make a commercial impact, it never cloys, and the influences never swallow the character of the artist who made it. In recent years, there have been plenty of artists who’ve clumsily tried to graft the sound of Fleetwood Mac’s Rumours on to their own. On Lonely Weekend, possibly the best track here, Musgraves succeeds in capturing some of that album’s dreamy atmosphere without giving the impression that she’s striving to sound like Fleetwood Mac. It’s an album that imagines a world in which its author is the mainstream, rather than an influential outlier. It says something about its quality that, by the time it’s finished, that doesn’t seem a fanciful notion at all” – The Guardian

Standout Track: High Horse

Arctic Monkeys – Tranquility Base Hotel & Casino

Release Date: 11th May, 2018

Label: Domino

Review:

“The Sheffield band’s journey has now taken them from “chip-shop rock’n’roll”, in Turner’s own words, to their very own ‘Pet Sounds’: the threads have been dangling for years, but Turner’s finally tied them together in a rather magnificent bow. Depending on where you’re sitting, this album will likely either be a bitter disappointment or a glorious step forward. But to where, exactly?

The album’s title is a fitting one: this record feels a lot like gazing into the night sky. At first it’s completely overwhelming – you’ll be trying to connect the scattered dots on this initially impenetrable listen, and maybe even despairing when it doesn’t all come together. But when the constellations show through, you’ll realise that it’s a product of searingly intelligent design” – NME

Standout Track: Four Out of Five

Courtney Barnett – Tell Me How You Really Feel

Release Date: 18th May, 2018

Label: Milk!/Mom + Pop/Marathon Artists

Review:

“The source of Barnett’s frustration is a moving target though – and she is both fuelled and exhausted by it. Need a Little Time, whose melody is at once bright and flat, feels like a conversation with herself: “You seem to have the weight of the world upon your bony shoulders.” The peppy isolationist anthem City Looks Pretty is conflicted too, dabbling in optimism and nihilism, succumbing to neither: “Sometimes I get sad / It’s not all that bad / One day, maybe never / I’ll come around.”

As much as finding a neat conclusion might lighten that mental load, Barnett has none to offer here. All she can do is show her workings, but leave the problems unanswered” – The Guardian

Standout Track: Charity

Parquet Courts – Wide Awake!

Release Date: 18th May, 2018

Label: Milk!/Mom + Pop/Marathon Artists

Review:

“‘Violence’ is the first standout, a mazy, bassy call to arms. Like many of Parquet Courts’ best songs, it functions as an alarm clock, a cattle prod. “Violence is daily life,” they chant, Savage considering the “pornographic spectacle of black death” that is the human condition. But the frontman is there for the listener too, offering us his hand as he spits, “Savage is my name because Savage is how I feel… My name belongs to us all… My name is a threat”.

This band have long articulated the inertia of acclimatising to adult life, and ‘In And Out Of Patience’ – a classic Parquet number – does so almost flippantly. “I’m neither here nor there,” muses Savage. It’s there again on the breakneck ‘Extinction’, Savage poking fun at his daily existence (“I’m trying not to turn into a psychopath”) over impatient guitars” – NME

Standout Track: Freebird II

Father John Misty – God’s Favourite Customer

Release Date: 1st June, 2018

Labels: Sub Pop/Bella Union

Review:

“God's Favorite Customer is littered with asides and in-jokes, peaking with the winking self-parody of "Mr. Tillman" and bottoming on "The Palace," where Tillman offers the revelation "Last night I wrote a poem/Man, I must've been in the poem zone." As Tillman's voice is pushed to the front of the mix -- there's no hiding from the many words of this singer/songwriter -- it's difficult to avoid his lyrics, which will either play as devilishly clever or solipsistic slop depending on your perspective. Then again, that double edge is also by design: Father John Misty means to provoke and soothe in equal measure, which is precisely what he does on God's Favorite Customer” – AllMusic

Standout Track: Mr. Tillman

Jorja Smith – Lost & Found

Release Date: 8th June, 2018

Label: FAMM

Review:

“Any artist of note will tell you they’re influenced by all kinds of different musical genres, and Jorja Smith is no exception. On ‘Lost & Found’, the hook on ‘Teenage Fantasy’ is straight out of an early ‘00s R&B cut. Jazz exerts a force right from the album’s title track (and indeed throughout) and, needless to say, Dizzee Rascal interpolation ‘Blue Lights’ nods to her affinity with rap, a discipline in which she regrettably dabbles on freestyle ‘Lifeboats’. The moments at which Smith manages to distill any of these genres into something entirely her own are truly special.

It’s the first full length album from a young creative brimming with ideas and promise. While ‘Lost & Found’ doesn’t feel like Jorja Smith’s magnum opus, it’s a brilliant first draft” – CLASH

Standout Track: Blue Lights

Anna Calvi – Hunter

Release Date: 31st August, 2018

Label: Domino

Review:

“Like gender, the record also examines sexuality. Calvi has flirted with a queer point of view before, as on "I'll Be Your Man" from her 2011 debut. But Hunter is the record which fundamentally lives and breathes queerness, a record where on "Chains" she suggests, "I'll be the boy, you be the girl/I'll be the girl you be the boy." Unlike earlier efforts, this feels less like theater for theater's sake, and ultimately, unbridled and infinitely real. On "Wish," for instance, she's never sounded so liberated, and that lack of constraint bleeds into her guitar playing, hinting at a newfound joy amid the curious majesty of her music.

Hunter is the record where, more than any other, Calvi's talents have fully crystallized. The true character of her music has been unleashed and will likely see all those PJ Harvey comparisons finally fade, eclipsed by the radiance of this tough yet open-hearted work” – AllMusic

Standout Track: Hunter

Neneh Cherry – Broken Politics

Release Date: 19th October, 2018

Label: Smalltown Supersound

Review:

“Now the multi-faceted agent of cool is back with a fifth solo album, ‘Broken Politics’. It’s ostensibly more restrained than preceding ‘Blank Project’ from 2014 yet holds a subtle potency. Continuing the artist’s collaboration with Four Tet, and longtime writing partner Cameron McVey, its stripped back sonics zero in on Cherry’s beautifully clear, distinctive vocals that slip periodically into spoken word as they wrap around rich and poignant lyrics.

Her social commentary emerges from a deeply personal perspective, at no point despondent but often melancholic and at times defiantly direct. ‘Fallen Leaves’ pleads: “Just because I’m down/Don’t step all over me.” Trip-hoppy, dub-backed ‘Kong’ protests the refugee crisis, while sinister-edged single ‘Shotgun Shack’ takes on gun violence.

A slow burn of an album, ‘Broken Politics’ artfully cuts through a turbulent, noisy world” – CLASH

Standout Track: Shot Gun Shack

IDLES – Joy as an Act of Resistance.

Release Date: 31st August, 2018

Label: Partisan

Review:

“Everything about ‘Joy As An Act Of Resistance’ is just so perfectly realised. The band began to write the album immediately after they finished work on ‘Brutalism’ – and it shows. The songs feel lived in, the record’s overarching message – that of the necessity of unity, positivity and loving yourself – so empowering that it almost amounts to an entire worldview. It’s even more powerful for the fact that Talbot worked on the album in the midst of massive personal trauma. This is a proper classic punk album, one that people will turn to in times of need, one whose authors are unembarrassed about still believing that art can manifest positive change. As Talbot roars on ‘I’m Scum’: “This snowflake’s an avalanche” – NME

Standout Track: Samaritans

SOPHIE – OIL OF EVERY PEARL’S UN-INSIDES

Release Date: 15th June, 2018

Labels: MSMSMSM/Future Classic/Transgressive

Review:

“But where once those tracks were tinny, here they have become steroidally imposing, gilded with distortion and industrial heft. Based around catchy chants, perfect for skipping rope games conducted by dominatrices, Ponyboy, Faceshoppingand the Aladdin-quoting Whole New World/Pretend World are dazzlingly brash and butch. Pretending is less successful – a stately bit of Tim Hecker-ish ambient, where her very particular sonics get lost in reverb – but it leads into the album’s biggest pop moment, Immaterial, where all the latent J-pop vibes get brought to the fore in a high-speed pachinko cacophony.

Despite software advances, so many electronic producers are content to lapse into nostalgia or a safe, compromised emotional range; Sophie has crafted a genuinely original sound and uses it to visit extremes of terror, sadness and pleasure” – The Guardian

Standout Track: Faceshopping

Jon Hopkins – Singularity

Release Date: 4th May, 2018

Label: Domino 

Review:

“In terms of Hopkins’ career trajectory, this isn’t quite as good as his last album, 2013’s Immunity, which was something of a breakthrough for the Englishman, but it does feel like the continuum. Like Immunity, it’s beautiful and it’s heartbreaking – as attractive as a sunrise peaking out over an doomed industrial zone. There’s humanity in desolation. Hopkins knows it to be true. That’s why we desperately need him out here” – The Irish Times  

Standout Track: Echo Dissolve

Eleanor Friedberger – Rebound

Release Date: 4th May, 2018

Label: Frenchkiss Records

Review:

“For so many people, the 2016 election activated a sense of uncertainty or inspired aimless wandering. There’s something closer to home happening to Friedberger on Rebound, though. On “Everything” she sings of a coveted romance, “a man in Greece, a girlfriend in Italy.” “Are We Good?” gives her an approximation of what that relationship might be like: “I proposed to a woman for a man last night.” But the experience is remote and dissatisfying. Friedberger isn’t exactly part of the action. While it continues her project of self-investigation, Rebound does not quite feature the Eleanor Friedberger we’ve come to know from her first three albums. It’s as though part of her has receded from view, as she tries to figure out—as we all do, all the time—what happens next” – Pitchfork   

Standout Track: Everything 

Shame – Songs of Praise

Release Date: 12th January, 2018

Label: Dead Oceans

Review:

“First impressions and preconceptions do few bands many favours, but Shame seem to have had to work hard to shelve such opinions on ‘Songs Of Praise’. The power and ferocity with which they do so across the album - as well as its rollocking instrumentation and clear social conscience - makes it a triumph.

“In a time of such injustice, how can you not want to be heard?” Charlie offers in ‘Friction’, before he launches himself into a roaring chorus, and on ‘Songs Of Praise’, Shame shout louder than anyone else at the moment, and make a claim to become Britain’s best new band” – DIY

Standout Track: Concrete

Let’s Eat Grandma – I’m All Ears

Release Date: 29th June, 2018

Label: Transgressive Records

Review:

“Like a magic eye puzzle falling into place, ‘I’m All Ears’ has only slightly shifted the band’s focus, but suddenly it all makes sense. ‘Hot Pink’ had signalled scuzzier intentions, but that track’s crushing drop transpires to be only one of many tricks up the Norfolk duo’s sleeves. Later singles ‘It’s Not Just Me’ and ‘Falling Into Me’ sound nothing short of invincible, the latter continually shapeshifting each time you think you’ve got it nailed down.

But if they’ve perfected the modern pop template associated with acts like SOPHIE (on production duties here) - and they have - it’s somehow not the most impressive element of the record. The second half of the album includes a pair of breathtaking epics, ‘Cool & Collected’ and ‘Donnie Darko’, that showcase a songwriting maturity well beyond their 18 and 19 years. Somehow it all fits. Let’s Eat Grandma, it turns out, are nobody but themselves” – CLASH

Standout Track: Hot Pink

Robyn – Honey

Release Date: 26th October, 2018

Labels: Konichiwa/Interscope

Review:

“Perhaps as a tribute to her connection with Falk, Robyn made Honey with other close friends. Along with Klas Åhlund, her collaborator since the Robyn days, the album features lush, expressionistic tracks produced by Kindness' Adam Bainbridge ("Send to Robin Immediately") and Mr. Tophat ("Beach 2K20"). However, her main creative partner is Metronomy's Joseph Mount, who contributed to over half the album and brings a crisp synth-pop edge to "Ever Again," which finds a stronger, wiser Robyn promising herself to never be this devastated again. The eight years between Body Talk and this album would be a lifetime for almost any artist, and several lifetimes for a female pop star, whose career longevity isn't usually measured in decades. However, Robyn continues to make the trends instead of following them, and with Honey, she enters her forties with some of her most emotionally satisfying and musically innovative music” – AllMusic

Standout Track: Honey                              

Young Fathers – Cocoa Sugar

Release Date: 9th March, 2018

Label: Ninja Turtle

Review:

“Cocoa Sugar bursts with the weird warmth of an ice burn, a sizzling stew of Tricky-covers-the-Fall garage rap. Each song is nasty, brutish and short, bristling with imagination. Wow shackles its motorik angst to a dead-eyed drawl, seasoned with abattoir squeals. In My View is a slugabed’s vision of anthemic pop, while Toy is the most conventionally vicious rap here, every word a wound. The trio reckon this is their most “linear” album, which seems a stretch. It feels just as estranged of pop’s traditional structures and strictures as they’ve always been. It feels exhilarating; it feels like freedom” – The Observer  

Standout Track: In My View                    

Christine and the Queens – Chris

Release Date: 21st September, 2018

Label: Because Music

Review:

“You don’t need to see her dancing to work out that Letissier is a fan of Michael Jackson – but you also catch an occasional echo of Scritti Politti’s pillowy white funk, not least on opener Comme Si, and, on Feel So Good, the clank and grind of both Jam and Lewis’s work on Janet Jackson’s 1986 album Control and the Art of Noise’s sample-mad dance music. She just writes fantastic songs: the melody of 5 Dollars is perfe ctly poised between sweetness and melancholy; What’s-Her-Face frames a lyric about self-loathing with an ominous cloud of electronics; Damn (What Must a Woman Do?) conjures a crowded dancefloor at 4am so effectively you can virtually feel the perspiration dripping from the ceiling. It is an album about pop music as much as any of the other topics it addresses. Or rather, about a belief in pop music as something more than ephemeral – as a vehicle for ideas, a space in which you can transform yourself – in an era when pop is supposed to have lost its longstanding hold over its audience, when it’s not supposed to amount to much more than a pleasant soundtrack or minor distraction. Get it right, Chris implies, and it can still be powerful” – The Guardian

Standout Track: Feel so good                 

Cardi B – Invasion of Privacy

Release Date: 5th April, 2018

Label: Atlantic  

Review:

“The Latin trap "I Like It," with Bad Bunny and J Balvin, is a notable highlight, a potential chart-buster in waiting. Surprisingly, Invasion is not just sneering street bangers about her "money moves." Bittersweet infidelity dirge "Be Careful" finds Cardi yearning for a solid relationship with a real man, not an unfaithful one (all signs point to Offset). On "Ring," a smooth R&B jam that features Kehlani, Cardi is vulnerable, revealing a well of pain beneath her tough-as-nails facade. "Thru Your Phone" is unflinching and relatable, wherein Cardi burns with vengeance as she poisons her cheating man with bleach in his cereal and a good old-fashioned stabbing. It's cartoonish but real, a confession of thoughts that are all too familiar to the scorned. This balance between over-the-top party starters and thoughtful reflection makes Invasion of Privacy an impressive debut for a rising star who can back up her outspokenness with raw talent” – AllMusic

Standout Track: Bodak Yellow

Boy Azooga – 1,2, Kung Fu!

Release Date: 8th June, 2018

Label: Heavenly   

Review:

“The sense that Newington has poured everything into this significant debut ensures an emotional resonance at the heart of songs like ‘Waitin’, with the spiralling repetition of its weary chorus set to cause all kinds of borderline obscene tingles within festival-goers over the coming months.

The love for his craft that Newington clearly possesses is writ large across these eleven songs and the bloated Sabbath crescendo of closer ‘Sitting On The First Rock From The Sun’ is a bizarrely fitting finale. It feels like a release, entirely lacking cynicism, simply the right thing for that moment in the song. It’s a philosophy that Boy Azooga lives by on ‘1, 2 Kung Fu’ to often giddying effect” – CLASH

Standout Track: Loner Boogie

INTERVIEW: Zoe Polanski

INTERVIEW:

PHOTO CREDIT: Ori Kroll 

Zoe Polanski

___________

MY last interview today...

PHOTO CREDIT: Ori Kroll 

is with Zoe Polanski who has been talking about her new single, Violent Flowers, and filming its video (which is due soon). I ask the Tel Aviv-based artist what the scene is like there and which artists have inspired her – and which albums are most important to her.

Polanski talks about her upcoming plans and provides some advice to rising artists; which gifts she would like for Christmas and whether there are any approaching artists we need to get behind – she selects an interesting song to end the interview with.

__________

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

Hi, Sam. I’m great thanks! This week has been really nice since summer has finally ended in Tel Aviv and the heavy hit has been broken at last. It always feels like a burden is lifted when summer ends here and the first rain arrives.

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

I was trained as a guitar player, but I’ve been also writing music for as long as I can remember myself. I started my first solo project, Bela Tar, in 2010 as a manifestation of my growing fascination with texture-based songwriting, production and loop exploration and, during the years, it has been an active project. I have released two albums and an E.P. Another substantial project I was involved with is the Israeli band, Reo. It served as an outlet for a vision we had combining ’80s Pop aesthetics with Hebrew lyrics. In recent times, Bela Tar and Reo have taken the back seat in my life and gave room to new interests.

Composing several film scores shifted my work into the field of ambient experimentation. I met Aviad Zinemanas, who is a prominent Israeli Electronic musician, and together we started creating new arrangements to my songs.

Violent Flowers is your latest single. What is the story behind it?

I originally created it as a Bela Tar song using my familiar method of working with loops. First came inspiration for a single loop with a texture that fascinated me and made me want to explore all of its secretes; its lights and shadows. In this method of working, the loop is like a terrain for me and the song structure is my exploration of it.

I later realized that the basic loop in Violent Flowers was a manifestation of a beautiful memory I had that belonged to a previous chapter of my life. The song evolved as a visualization of that memory. When I met my current band mate, Aviad, we tackled this song pretty quickly. The soft electronic parts are his take of my first basic loop and an enriching addition to the sound image of the song.

What was it like putting the video together? Was it good working with Nadav Direktor?

In the video, we tried translating the audial experience of the loop based song into image and editing. We knew from the start that our subjects are going to be flowers and leaves, so coming up with the idea of a constant ‘zoom-in’ motion set us on a journey exploring hundreds of old nature films. It was a really fun process and Nadav is a mastermind in finding the rarest most beautiful pieces of film. Nadav worked hard on creating an organic flow between the different footage and the result, in my opinion, is a trip like experience.

Is there a strong music scene in Tel Aviv right now? What sorts of sounds are popular?

Tel Aviv is a very culture oriented city. Music-wise, its strong-suit at the moment is the Electronic music scene. There are a lot of great-sounding clubs and a growing amount of Techno/House producers and D.J.s that are based here. Tel Aviv is dramatically different from the rest of Israel (much more international) but, still, this is a Middle Eastern country and you can find traces of more local musical genres in a lot of the music that originates from here. The use of African or Arab instruments is evident. I also like using the Darbuka (an Arab percussion instrument) in some of my songs.

The sound of it is pretty far away from the kind of dream Pop that my music is often described as, but it’s an instrument that I heard around me growing up in Israel and I feel that it makes sense for me to combine it with what I do.

PHOTO CREDIT: Goni Riskin

Did you grow up in a musical household? When did music come into your life?

My mother was a classically trained pianist and we always listened to music when I was growing up. Jazz and ethnic music were the most common; some Country music as well. Surprisingly enough, we hardly ever listened to music sung in Hebrew, so when I started writing songs, it was strangely obvious for me that I needed to write in English - even though my native tongue was Hebrew. Only later on did I start writing in Hebrew and it was a big challenge for me.

Do you already have plans for 2019?

Yes, I do. I am planning to release the album that I am currently finalizing with Aviad Zinemanas. It will include both songs and ambient pieces. I am also currently working on a few collaborations that will see the light of day in 2019. One is with an Israeli Techno producer and another is a new project in Hebrew. My biggest plan for 2019, which is more of a hope though, is to continue experimenting and collaborating and creating lots of new materials.

PHOTO CREDIT: Ori Kroll 

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

Music gave me so many great memories. But, in all honesty, I think nothing beats the feeling of having a moment of musical inspiration when I’m working on a piece, by myself. It’s rare and it’s wonderful.

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

Teenage years are the ones in which music hits you with the most intensity so it saddens me a bit to admit that music I discovered then and loved during that period of my life probably means the most to me. Red House Painters - Rollercoaster was one of the first albums I fell in love with.

In later years, I discovered a newer incarnation of the same artist and Sun Kil Moon’s Admiral Fell Promises became a really important album for me. My third choice would be a more recent one; one of the exceptions that were able to blew my mind, even though I was older…that’s William Basinski’s Disintegration Loops. In contrast to Mark Kozelek’s work I adored in previous years, in Basinski’s music I found elements that are closer to my own creative process.

PHOTO CREDIT: Ori Kroll 

As Christmas is coming up; if you had to ask for one present what would it be?

Tough call. There is a Neumann microphone that I am dying for and a Maison Kitsuné jacket I would love to have. Either one of those would be awesome. Or, perhaps, that the entire world becomes vegan.

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

I was actually pretty blessed and I got a chance to support so many great musicians in their Israeli tour dates - like Tame Impala, Swans; Mark Kozelek, Lætitia Sadier; Sleep Party People and more. I feel I’m satisfied in that area. Regarding my dream rider - maybe a backstage full of dogs.

What advice would you give to new artists coming through?

I don’t know that I’m qualified to give any advice; I believe that, for different people, it works differently. Some clichés are worth mentioning though - that it’s okay to be influenced by stuff but don’t try sounding like someone else. Try doing only what inspires you and makes your insides feel warm and fuzzy. Don’t worry too much about self-promotion. Worry about your art being amazing. That being said, you should find an awesome graphic designer.

PHOTO CREDIT: Ori Kroll 

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

I am currently playing only in Israel but planning some European dates for spring of 2019.

How important is it being on stage and delivering your songs to the fans?

Playing live is a part of my work as a musician that I have grown to love. When I started out, I had a terrible stage fright and it took me years to shake it off. Only in the past year have I started to enjoy it. And I do now, tremendously. I am not a super-social person to say the least and playing shows allows me to connect with people on a very profound level, something that is almost impossible for me otherwise. So, I would say being on stage is a huge deal for me and it has a lot to do with me being less lonely.

 IN THIS PHOTO: Shame on Us

Are there any new artists you recommend we check out?

I would love to recommend some Israeli artists that I admire. As I mentioned; the Electronic scene is happening in Tel Aviv and there are a lot of interesting artists like: Red Axes, Shame on Us; Or Edry and TV.OUT. And, not Electronic but still great: Vaadat Charigim and Hila Ruach.

 IN THIS PHOTO: Vaadat Charigim

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

Since I work independently in music - with no day job -, I have no other choice but to really fill my time with all kinds of different projects. Other than creating original music, I score films and I teach production and guitar. I actually don’t have much time left for hobbies. I do unwind though by taking my dog on walks and watching Netflix.

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).

Or Edry - Cheder Choshech  

__________

Follow Zoe Polanski

PHOTO CREDIT: Goni Riskin 

Facebook:

https://www.facebook.com/zoepolanskiakabelatar/

Spotify:

https://open.spotify.com/artist/6Bo6nw7v7mY8f8Qx9hET3B?si=SN8OzqMLT7mgWG_f0juHug

YouTube:

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

SoundCloud:

https://soundcloud.com/bela-tar

Bandcamp:

https://belatar.bandcamp.com/?fbclid=IwAR14cg9O25CJT053mEtvE066E7KyhBJvXAFI4hyCPmJdxA3BDQuiqJ73w9M

INTERVIEW: Love Ghost

INTERVIEW:

Love Ghost

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THE guys of Love Ghost have been talking with me...

about their track, Nowhere, and its award-winning video; whether there is going to be new material coming along and how the band found one another – they select albums that are important to them and rising artists we need to watch.

I ask if they get time to relax away from music and whether they share musical tastes; the importance and role of L.A. in their music and what they have planned going forward  - they select some cool songs to end the interview with.

__________

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

Finn: My week has been the whole mix of emotions - good and bad, happy and sad; you name it.  We have been getting ready for a show this Saturday at Casey’s Irish Pub - it is one of our favourite spots to play, so that’s good. I also had a friend that passed away over the weekend and that’s been difficult.

Mya: I have felt especially swamped by graduate school applications, essays; book contributions, meetings and, of course, performing. I am unsure whether I have actually gotten worse at adulating (sic), or whether my obligations have placed a peak level of demand on pre-existing adulting capabilities.

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

We are Love Ghost.  We play progressive, hard Grunge-Rock with Jazz elements and strings. Mya Greene plays viola, Finn Bell plays guitar and sings lead vocals; Ryan Stevens plays bass guitar and sings backup vocals and Samson Young plays drums and sings backup vocals. Our new album is called Lobotomy.

Nowhere is your new track. What is the story behind it?

Finn: Nowhere actually grew out of an argument I had with an ex-girlfriend. It sprung from that argument but, on a deeper level, it speaks to adolescent depression. Depression is something I have fought with for most of my life. We all jammed together to come up with the instrumentals.

Mya had initially composed a viola part, which involved mode-mixture in rhythmic unison with the guitar but Finn offered suggestions, which led to the catchy melody you hear on the recording. The song has initially been shorter, but a bridge was added. We have performed it extensively.

The video has won awards! How did it come to be and what was it like being involved?

Finn: My dad directed it. It was fun to be a part of the filmmaking process. Finding all the locations with him was a fun experience. My dad was really inspired by this Beatles movie, Across the Universe, by Julie Taymor and The Beatles concert on the roof. Those were the inspirations initially and I guess there is also a little Magical Mystery Tour in it - so it was sort of our ode to The Beatles.

Mya: Our manager Dan Bell has extensive filmmaking experience and came up with the idea to do a psychedelic-themed video featuring our performance of the song. To my knowledge, none of the band members really had too much input on the script for this particular video, though that is different for the other videos. We filmed the video on a rooftop in downtown Los Angeles.

The weather and food provided at the shoot were perfect and it was fun being shot by drones (pun intended) and with Go Pros attached to our instruments in unusual places. The person managing the location was over-the-top aggressive, but we all had a good laugh poking fun at him.

Might we see more material later in the year perhaps?

Absolutely. We will be recording a single next week and we have plans to record an E.P. when we return from Ireland.

How did Love Ghost find one another? Did you all meet in L.A.?

Finn and Mya are the two original members from the initial lineup. They met through parental connection in the film industry. Their parents suggested a jam session and it went well. Ryan had come to our shows and had a mutual connection with Finn and so was invited to join after the initial bassist left. We knew Samson through mutual attendance at a local music school. We all met in Los Angeles.

Do you share similar tastes? Who are you inspired by?

Finn: I would say, since we all come from different musical backgrounds, we don’t exactly have the same musical tastes but it lends to our unique sound and for that I am grateful. Me, personally; I love ’90s and early-2000s music. I am inspired by Alice in Chains, Smashing Pumpkins, Radiohead and Elliott Smith amongst others.   

Mya is rather open to experiencing all genres, but was trained primarily as a musician in the western Classical tradition. We are inspired by an increasingly diverse array of genres and artists.

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

Finn: I would like to record the best single I possibly can; one that showcases all our abilities.

Mya: I hope that we produce a high-quality new single, solidify some of our new, yet-to-be performed material and attract a significant audience during the first days of our tour in Ireland.

Do you already have plans for 2019?

We will be doing the latter-half of our Ireland tour. We are going to go to Japan and play twelve shows in both Tokyo and Osaka.

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

Finn: That’s a really good question. There are a lot. Selling out our record release at the Bootleg and having four-hundred people chant “Love Ghost, Love Ghost” - that really moved me.

Mya: For me, I would say that it would have to be during this one outreach performance at an elementary school where children literally jumped out of their seats and tried to hug me. I played some excerpts from the Viola Concerto by Bela Bartok and the Cello Suite No. 3 by Johann Sebastian Bach. That was the most enthusiastic audience response I have ever witnessed with respect to any music that I performed.

That moment also supported the hypotheses that none of us are innately wired to only appreciate top-40 hits and that exposure helps form musical preference, which felt encouraging.

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

Finn: In Utero by Nirvana

Listening to that album is what really made me want to write music. In particular, Scentless Apprentice really captured my imagination.

Mya: I cannot really say. I pretty much never listen to whole albums and my favorite songs by different groups are usually a collection of songs and/or pieces scattered across albums.

Rayn: System of a Down - Mezmerize has some of the hardest bass lines ever. Love that album.

Samson: Buddy Miles - Them Changes made me want to be a drummer. Listen to it.

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

We’d support Thom Yorke. 

Our rider would be that the venue we are playing at has to give one meal to a homeless kid at the end of every show. That is definitely a cause for all of us. We have been organizing and feeding the homeless on skid row in Los Angeles this entire year.

Mya: ...and I want hot sauce with Carolina Reaper listed in the first five ingredients.

What advice would you give to new artists coming through?

Finn: Stick with it. It’s the ones who have faced adversity and stuck with it that you know about today.

Mya: Don’t put all of your eggs in one basket; don’t underestimate the need for entrepreneurship and don’t major in music. I have been around too many musicians who appear to never make an effort to develop any other skills in addition to their musical discipline and then struggle to make ends meet when they cannot make their career take off. There are also many who do not understand the need to be promoted and wait for others to simply hand things to them. I had this mentality for a while.

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

We are playing six shows in Ireland coming up: Roisin Dubh, Galway 27th; Whelan's, Dublin 28th; Cleere's, Kilkenny 2nd Jan; ChezLeFab, Limerick 3rd Jan; Spirit Store, Dundalk 4th Jan; Crane Lane, Cork 5th Jan.

We will be playing twelve shows in Japan in March.

 IN THIS PHOTO: Bitch Falcon

Are there any new artists you recommend we check out?

Bitch Falcon (from Ireland), Moollz and the Irish band we will be touring with, modernlove.

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

Finn: I don’t get much time to chill but, whenever I do, I usually eat ice cream and watch YouTube tutorials on black holes.

Mya: I do lots of things in addition to music. I am not sure I would use the word’chill’ to describe many of them. I unwind by Googling things; looking up videos of medical procedures which involve things oozing, looking at puppies; writing and lying in bed under piles of clothes with crumbs underneath them.

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).

Finnegan: Frame by Frame - King Crimson

Mya: Langes Haar by Die Vamummtn

Ryan: Flypaper by My Ticket Home

Samson: -Istoid by Chuan Tzu

__________

Follow Love Ghost

Official:

https://loveghost.com/

Twitter:

https://twitter.com/@LoveGhost_

Instagram:

https://www.instagram.com/loveghost_official/

Facebook:

https://www.facebook.com/loveghost.official

Spotify:

https://open.spotify.com/artist/7oYWWttOyiltgT19mfoUWi?si=uBDs4XScRp-F_7d6oiBvrg

YouTube:

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

SoundCloud:

https://soundcloud.com/loveghost_official

FEATURE: Starting the Decade in Style: Part II/V: The Finest Albums of 1970

FEATURE:

 

 

Starting the Decade in Style

PHOTO CREDIT: @jacegrandinetti  

Part II/V: The Finest Albums of 1970

__________

THE reason I am putting together this feature…

 PHOTO CREDIT: @danedeaner/Unsplash

is to shine a light on the albums that started a decade with a huge deceleration. I feel it is hard to define what a decade is about and how it evolves but the first and last years are crucial – I have already looked at decade-ending albums. I am bringing to life this feature that celebrates albums that opened a decade with a mighty amount of quality and gave inspiration to those who followed. In this second part, I am focusing on 1970 and the best ten records from the year. The 1970s was a wonderful and inspiration time and some of its best records were released right at the start! Have a look at these ten 1970-released albums and look at the brilliance that greeted the start....

 PHOTO CREDIT: @manuelsardo/Unsplash

OF the 1970s.

ALL ALBUM COVERS: Getty Images

______________

George Harrison – All Things Must Pass

Release Date: 27th November, 1970

Label: Apple

Review:

“The language of physical media still haunts our vocabulary. Streaming services debut playlists that get dubbed “mixtapes”; we pull music from the available air and pipe them through our phones like water from a tap, and we still call use quaint words like “LP” and “EP” to describe them. For that legacy, we have artifacts like All Things Must Pass to thank. Today, albums like this are a bit like old ruins: They are important to keep around, even if they mostly remind us of what has changed. This dichotomy is the kind of thing that Harrison, who exited the earth in 2001, would probably have appreciated. All Things Must Pass is a monument to impermanence that has never once, even for a moment, left us” – Pitchfork  

Standout Track: My Sweet Lord

 

Led Zeppelin – Led Zeppelin III

Release Date: 5th October, 1970

Label: Atlantic

Review:

“And even the rockers aren't as straightforward as before: the galloping "Immigrant Song" is powered by Robert Plant's banshee wail, "Celebration Day" turns blues-rock inside out with a warped slide guitar riff, and "Out on the Tiles" lumbers along with a tricky, multi-part riff. Nevertheless, the heart of the album lies on the second side, when the band delve deeply into English folk. "Gallows Pole" updates a traditional tune with a menacing flair, and "Bron-Y-Aur Stomp" is an infectious acoustic romp, while "That's the Way" and "Tangerine" are shimmering songs with graceful country flourishes. The band hasn't left the blues behind, but the twisted bottleneck blues of "Hats off to (Roy) Harper" actually outstrips the epic "Since I've Been Loving You," which is the only time Zeppelin sound a bit set in their ways” – AllMusic  

Standout Track: Since I’ve Been Loving You

Derek and the Dominos – Layla and Other Assorted Love Songs

Release Date: 9th November, 1970

Labels: Polydor/Acto

Review:

“Every song within this album tells a love story, but none are as enthralling or sincere as "Layla". This is Eric Clapton's passionate confession to Patti Boyd, the wife of his best friend, George Harrison. The song expresses all of the unrequited love Eric Clapton had silently kept locked inside himself. "Layla" is a very unique piece of music because of its rather contrasting movements. It begins as an eruptive, guitar-driven song, but as it progresses it transcends into a delicate piano ballad. Eric Clapton's performance in this song is among one of his best. The guitar solos are fiery and aggressive, expressing all of the intensity and frustration that seems to posses our emotions when we're in love. The latter half of the song is just as mesmerizing, providing a sensitive yet affectionate sound induced by the coalescence of Duane Allman's soothing slide guitar and Bobby Whitlock's sentimental piano arrangements. Layla and Other Assorted Love Songs is often recognized as one of the definitive releases in classic rock, and it is certainly one of Eric Clapton's finest efforts. The bluesy sound that coats the music of the album will be sure to prove itself as a captivating listen to the very end” – Sputnik Music  

Standout Track: Layla                                      

The Beatles – Let It Be

Release Date: 8th May, 1970 (U.K.); 18th May, 1970 (U.S.)

Label: Apple

Review:

“McCartney in particular offers several gems: the gospelish "Let It Be," which has some of his best lyrics; "Get Back," one of his hardest rockers; and the melodic "The Long and Winding Road," ruined by Spector's heavy-handed overdubs (the superior string-less, choir-less version was finally released on Anthology Vol. 3). The folky "Two of Us," with John and Paul harmonizing together, was also a highlight. Most of the rest of the material, by contrast, was going through the motions to some degree, although there are some good moments of straight hard rock in "I've Got a Feeling" and "Dig a Pony." As flawed and bumpy as it is, it's an album well worth having, as when the Beatles were in top form here, they were as good as ever” – Entertainment Weekly

Standout Track: Let It Be

Joni Mitchell – Ladies of the Canyon

Release Date: March 1970 

Label: Reprise

Review:

“Joni Mitchell writes some of the finest tunes around and matches their flowing hesitancy with her enduring epiphanies and modern parables. Her clever inner rhymes and stylized satire have been around for years—recall Tom Rush's "Circle Game" and Judy Collins' "Both Sides Now"? Ably matched here by "For Free," "Conversation" and the already CSNYed "Woodstock," not to mention the elusive "The Priest" or the incisive "Ladies of the Canyon" and seven other enigmatic, poetic word-journeys that move from taxis to windows to whiskey bars to boots of leather and racing cars. Plus the fact that Joni has now mastered the piano to the point where she employs it rather than guitar on nearly half the cuts—she plays it shrilly with a lot of echo and lingering notes, giving certain songs even more dimension and wideness. Other innovations this time out are a mild use of horns and even vocal choruses on some cuts. The choruses don't work for me—I think they ruin her long-awaited version of "Circle Game"—but the point is debatable. The use of horns is excellent—in particular the minor riff at the close of the stunning. "For Free” – Rolling Stone

Standout Track: Woodstock

Simon and Garfunkel – Bridge Over Troubled Water

Release Date: 26th January, 1970

Label: Elektra

Review:

“At the other extreme are sprightly tunes that hearken back to the duo's Fifties roots: "Cecelia," whose echoed hand claps sound like an early hip-hop drum loop, and "Keep the Customer Satisfied," the antic tale of a flimflam man staying ahead of the law. During the Bridge sessions, Garfunkel was often working on the film Catch-22 in Mexico; Simon gently notes his absence in "The Only Living Boy in New York." The notion of life chapters closing also permeates the folksy bossa nova "So Long, Frank Lloyd Wright." It's ironic that "Bridge Over Troubled Water," a gospel-style song of reassurance and solidarity that Simon wrote as a vehicle for Garfunkel's golden tenor, would be one of their final collaborations. But they exited on an exhilarating note” – Rolling Stone  

Standout Track: The Boxer

Miles Davis – Bitches Brew

Release Date: 30th March, 1970

Label: Columbia

Review:

“The first thing that Bitches Brew made clear is that Miles was keenly interested in expanding the idea of what his music could be, and was starting to stretch it way out. The title track runs 26 minutes, which then and now is at the extreme end of what a side of vinyl on an LP can hold; the opening "Pharaoh's Dance" also breaks 20 minutes. And these pieces weren't lengthy compositions or single jams, but were assembled by Miles and producer Teo Macero through editing-- unrelated tracks could become one piece through the miracle of the razor blade and magnetic tape. For an improvisatory art form that was founded on the idea collective expression in the present moment, the idea of stitching together pieces into a new whole was radical enough on its own. But Miles was changing his approach in several ways simultaneously as the 1960s came to a close” – Pitchfork  

Standout Track: Bitches Brew

 

John Lennon – John Lennon/Plastic Ono Band

Release Date: 11th December, 1970

Label: Apple

Review:

“It was a revolutionary record -- never before had a record been so explicitly introspective, and very few records made absolutely no concession to the audience's expectations, daring the listeners to meet all the artist's demands. Which isn't to say that the record is unlistenable. Lennon's songs range from tough rock & rollers to piano-based ballads and spare folk songs, and his melodies remain strong and memorable, which actually intensifies the pain and rage of the songs. Not much about Plastic Ono Band is hidden. Lennon presents everything on the surface, and the song titles -- "Mother," "I Found Out," "Working Class Hero," "Isolation," "God," "My Mummy's Dead" -- illustrate what each song is about, and chart his loss of faith in his parents, country, friends, fans, and idols. It's an unflinching document of bare-bones despair and pain, but for all its nihilism, it is ultimately life-affirming; it is unique not only in Lennon's catalog, but in all of popular music. Few albums are ever as harrowing, difficult, and rewarding as John Lennon/Plastic Ono Band”– AllMusic   

Standout Track: Working Class Hero

 

The Stooges – Fun House

Release Date: 7th July, 1970

Label: Elektra

Review:

“And Fun House is where Iggy Pop's mad genius first reached its full flower; what was a sneer on the band's debut had grown into the roar of a caged animal desperate for release, and his rants were far more passionate and compelling than what he had served up before. The Stooges may have had more "hits," but Fun House has stronger songs, including the garage raver to end all garage ravers in "Loose," the primal scream of "1970," and the apocalyptic anarchy of "L.A. Blues." Fun Houseis the ideal document of the Stooges at their raw, sweaty, howling peak” – AllMusic    

Standout Track: Down on the Street

 

James Taylor – Sweet Baby James

Release Date: February 1970

Label: Warner Bros.

Review:

“Taylor only shifts from this stance a couple of times. “Oh Baby, Don’t You Loose Your Lip On Me” is less than two minutes long; bluesy yet random, it sounds like studio hi-jinks used to fill out an album. But the other exception, “Steam Roller,” is a different story. Here Taylor is earthy and lowdown with definitely crude electric guitar behind him as he moans “I’m gonna inject your soul with some sweet rock and roll and shoot you full of rhythm and blues.” Then a miasmic, brass riff to make sure things stay tough, followed by a particularly timely and potent couple of verses: “I’m a napalm bomb for you baby/stone guaranteed to blow your mind/ and if I can’t have your love for my own sweet child/there won’t be nothing left behind.” A double-entendre tour-de-force pulled off effortlessly.

This is a hard album to argue with; it does a good job of proving that his first effort was no fluke. This one gets off the ground just as nicely, as Taylor seems to have found the ideal musical vehicle to say what he has to say” – Rolling Stone

Standout Track: Fire and Rain

INTERVIEW: Holler my Dear

INTERVIEW:

Holler my Dear

___________

IT has been cool speaking with Holler my Dear...

about their recent album, Steady as She Goes, and its themes. I wanted to know how the band started life and whether they share similar tastes; what Berlin, their base, is like in terms of influence and creative drive – they recommend rising artists to watch.

I discover what they have coming up and if they each have favourite albums; whether there are any gigs coming up and how they relax outside of music – the and choose a song to end the interview with.

__________

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

Hey! It’s been an exciting week. We’ve been making a lot of plans and creative decisions. So, yeah, quite a good week altogether! (Smiles).

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

We’re Holler my Dear; an international six-piece from Berlin. We have been described as “Music as antidepressant” (Die Bühne); we call it ‘Disco-Folk’. We are a passionate live band: for us, nothing is better than a sweaty burst of energy while playing one’s heart out.

Steady as She Goes is your latest album. What sort of themes and ideas inspired it?

It’s a political album that signalises confidence, courage and movement. When the shadows in the world grow longer, lamenting doesn’t help but optimistic determination does. No fear. Seeming contradictions are also where the album’s nautical title stems from: Steady as She Goes, a term for 'keeping the ship on course', is less about going in straight lines and more about navigating high tides: finding consistency in fluctuation. Change is part of our life and we are in perpetual motion.

How did Holler my Dear get together? When did you start playing together?

It felt like a blind date when we met for our first session in 2011. Fabian was the first musician I got to know in Berlin and I literally found the others via a combination of recommendation and coincidence. I had a sound in mind and was very lucky that it came off right away and kept going ever since.

Do you share similar tastes? Who are you inspired by?

Our musical tastes are as super-diverse as our musical backgrounds: from Hip-Hop to Turbo-Folk; Neo-Soul to Ambient. This contrast keeps us going. We inspire each other.

Is Berlin a great home? What is it like to create there?

Oh, yes! We love Berlin! Although gentrification has kicked in massively in the last couple of years, we still feel and love the city’s unique spirit and sense of freedom and space. It seems to attract libertines of all kinds from all across the world. There are so many talented people out there! We find Berlin’s vibrant art scene seriously inspiring.

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

After the intense period of our third album release and now at the end of various release tours, it’s time for us to get back in 'Schwung' creatively and write new songs. Plus, our video series, the Neon Tearoom Sessions, is in the making - so watch out for massive output from us. Muahaha! You know, autumn and winter are no joke in Berlin, so better to slip off into the creative zone where you can basically achieve anything...

Do you already have plans for 2019?

We’re about to launch our very first crowdfunding campaign to realise a massive concert at Lido in Berlin next April under the title The More the Merrier (named after a soulful ditty from our latest album). With the help of our fans, we will be putting on a spectacle featuring various special guests, circus performers; a light-show and our very own recipe Holler drink...super-exciting!

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

Playing an open-air festival in Mexico City in 2016 for 9,000 pogoing music-lovers was an experience beyond words – pure love!

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

Stephen: Rage Against the Machine – Rage Against the Machine

It switched me on to Rap, showed me that music can have a message, be funky AND angry at the same time and still ecstatically enjoyable...and encouraged my small rebellion and shift toward the counter culture that I hold dear to this day.

Lucas: A Love Surpreme by John Coltrane

This album inspired me to study music.

Laura: Cewbeagappic by Beady Belle

It felt as if somebody was singing directly into my ear and was reading my teenage mind (“When my anger starts to cry”).

Fabian: De-Loused in the Comatorium by The Mars Volta

Its intensity completely blew my mind and changed my way of thinking about Rock music fundamentally.

Lena: My favourite four albums from Pink Floyd (Wish You Were Here, The Dark Side of the Moon; A Momentary Lapse of Reason and The Division Bell)

Melodies, philosophical lyrics and, of course, Gilmour’s guitar solos.

Valentin: Nevermind by Nirvana

Because it was something completely different than Bach. And, finally, loud.

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

Well. You know we are foodies, so...catering! Never-ending catering! Never-ending, delicious catering!

What advice would you give to new artists coming through?

Keep going. We strongly believe in langer atem (literally ‘long breathing’; meaning being in it for the long haul and persevering) #forward.

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

Have we already mentioned our crowdfunding campaign? (Winks). If the campaigns goes well, we shall Holler in Lido (Berlin) on 04/04/2019.

 IN THIS PHOTO: Yazzkimo

Are there any new artists you recommend we check out?

We’re lucky to be surrounded by inspirational creative colleagues such as: Ben Barritt, Yazzkimo; Kwena, Kid Be Kid; Tanga Elektra, Jim Kroft; Oko, Zinq; Komfortrauschen, Maria Christina/Federico Casagrande DuoJacky Bastek; Schmieds Puls, Skazka Orchestra; Alright Gandhi, Yusuf Sahili; Teresa Bergman, Friede Merz; Leni & The Boys, Meetin’ Moa; Fräulein Hona, Listen to Leena and many, many more!

 IN THIS PHOTO: Scmieds Puls/PHOTO CREDIT: Astrid Knie Photography

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

Nature, food; books, travelling; dancing, meditation; having deep talks and silly laughs with friends and lovers.

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

Moses Sumney - Lonely World

It’s magic.

__________

Follow Holler my Dear

Official:

http://www.hollermydear.com/

Instagram:

https://www.instagram.com/hollermydear/

Facebook:

https://www.facebook.com/hollermydear/

Spotify:

https://open.spotify.com/artist/6OhRuqw2CDZ9O9FJUuIHUb?si=esRNA-U9QnWRFZn6dGpdgQ

YouTube:

https://www.youtube.com/channel/UCwFk39bbG9QBgkgNk5oLzeA

INTERVIEW: Hero Fisher

INTERVIEW:

Hero Fisher

___________

THE fantastic Hero Fisher...

has been talking with me about her latest single, Life Through Closed Eyes, and how the song came to be - she talks about her new album, Glue Moon. I was keen to explore how music found her and which artists she is inspired by; what is coming next and a rising artist we need to look out for.

Fisher explains her plans going forward and which three albums mean the most to her; what advice she would give to artists coming through and if there are any tour plans – she ends the interview by selecting a cool song.

__________

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

Hi! So sorry for the late reply. My week has been great, thank you. I just moved to a new neighbourhood and have met lots of interesting and magical people.

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

Well. My name is Hero Fisher. I am a singer-songwriter and I’ve just released my second album, Glue Moon. I was born in London to Australian parents and grew up in a small village just outside Paris, France. My father is an artist and illustrator; my mother a potter and writer and my sister is a weaver. All being artists, neither of us actually know how to make money. 

Life Through Closed Eyes is your new single. What is the story behind it?

I think this song speaks to and old friend/lover, calling on shared memories. To me, it feels like an intimate moment of forgiveness, but from a distance. It should give relief, lift a weight off. The song is like a repeated chant, summoning lighter feelings. It should feel nostalgic, forgiving and peaceful.

What was it like putting the video together? Do you like making videos?

The video was shot by my friend and frequent collaborator Julian Broad, who consistently not only understands my visions but also brings them to another level that I could not have possibly imagined. He's a true artist.

We shot the video in the same location as we did the album artwork, by the giant reservoir Caban Coch in the Elan Valley in Wales. The valley used to hold a village before they flooded it in 1893, completing the dam in 1904. The idea of a submerged ghost-town lent perfectly with the general themes of the album.

Glue Moon is your album. Are there particular themes and times from your life that inspired the music?

A lot of the songs on the album are written with a specific place in mind, which I refer to as 'Glue Moon'; now the name of the album. It takes place in the wee hours, in the woods; by a lake, under a big, pale duck egg blue/green moon. While writing it, I was drawn to images of decay and nature taking over manmade structure; ghost-towns and solitary/transient characters.

Did you grow up in a musical family? Which artists did you discover at a young age?

Yes. Music was played all day every day in my home. Regulars were Bob Dylan, Van Morrison; Leonard Cohen and then I fell in love with Billie Holiday as a teenager.

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

I hope people buy the album so that I am able to make more music!

Do you already have plans for 2019?

Yes. I hope to be able to tour Glue Moon. I’m already working on a new album and am keen to do more collaborations with other artists.

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

I love the festivals. I always feel like a new person after them. I also sang a song with Craig Armstrong and the London Contemporary Orchestra at the Union Chapel in London recently which I loved beyond words.

 PHOTO CREDIT: Brett Walker

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

Bob Dylan’s Blood on the Tracks - because it reminds me of when I was first driven to write music.

PJ Harvey’s White Chalk - because I love everything she does.

Nick Cave and the Bad Seeds’ Skeleton Tree - because it is so delicate, feathery and moving. I’ve never heard anything like it.

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

I’d love to support Cat Power, PJ Harvey; War on Drugs, Chelsea Wolfe and Nick Cave. I’d probably ask for whiskey and a bowl of pasta… 

What advice would you give to new artists coming through?

Get a diploma if you can so that you don’t have to work shi*ty part-time pub jobs forever.

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

I’ll be playing some shows in the New Year.

 IN THIS PHOTO: Anna von Hausswolff/PHOTO CREDIT: Gianluca Grasselli

Are there any new artists you recommend we check out?

Anna von Hausswolff. She’s powerful!

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

Music is a constant back-thought; I’m always ready for a new inspiration, so it’s not easy to switch it off. In down time, I read and cook a lot.

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).

Cat Power’s Maybe Not. One of my all-time favourites!

__________

Follow Hero Fisher

Official:

http://www.herofisher.com/

Instagram:

https://www.instagram.com/therealherofisher/

Facebook:

https://www.facebook.com/herofisher

Twitter:

https://twitter.com/herofisher

Spotify:

https://open.spotify.com/artist/2UTLIPgfUhvKa3m0poQrC0?si=ElFcp0JARMO_I9U5fAFKlg

YouTube:

https://www.youtube.com/channel/UCtmmEsNkh7gKC77QkH8jpMA

FEATURE: The Daisy Age, Huge Growth and Potholes in My Lawn: De La Soul’s 3 Feet High and Rising: Its Place in Hip-Hop’s Golden Era, Sheer Brilliance and Lack of Online Availability

FEATURE:

 

 

The Daisy Age, Huge Growth and Potholes in My Lawn

IN THIS IMAGE: The cover for De La Soul’s 1989 masterpiece, 3 Feet High and Rising/ALL IMAGES/PHOTOS (unless credited otherwise): Getty Images 

De La Soul’s 3 Feet High and Rising: Its Place in Hip-Hop’s Golden Era, Sheer Brilliance and Lack of Online Availability

__________

MANY have their opinions regarding Hip-Hop’s ‘golden period’…

and when it was at its most potent. Every year sees some brilliant Hip-Hop albums and modern stars like Kendrick Lamar are doing brilliant things and pushing the genre to new heights. I am amazed that Hip-Hop continues to produce such majesty and can hit remarkable peaks. Whilst there is a great collective of artists doing their own thing and producing sensational work; I feel the masters really laid down the rules and produced the yardstick back in 1988/1989. There were fantastic Hip-Hop albums prior to 1988. Go back to 1986 and Run-D.M.C.’s Raising Hell arrived in 1986 and it was a bold move for the third record. Run-D.M.C. were on a hot streak already but few could have seen Raising Hell come along. Produced by Rick Rubin and Russell Simmons; it was Rubin’s love of Metal and Rap that created a tougher, tauter and more explosive album. Not only is there a reinvention of Aerosmith’s Walk This Way but the palette of sounds is amazing! There are a tonne of drum loops and heavy beats; so many layers that made it a guide and bar for Hip-Hop albums to follow. Eric B. and Rakim’s Paid in Full arrived the following year and the album was recorded inexpensively and quickly. Again…Russell Simmons of Def Jam Records made a push and signed them to Island Records.

Rakim wrote the songs in about an hour while listening to the beat; he recorded the lyrics in a booth and read the lyrics from a piece of paper. The duo worked in forty-eight-hour shifts and completed the record in a week. There was no calculation and precision: the duo was putting together sounds that felt right and natural. The reviews and praise that came in for Paid in Full were extraordinary:

“Paid in Full was released during what became known as the golden age hip hop era.[44] In The Rolling Stone Album Guide (2004), Sasha Frere-Jones called it "one of hip-hop's perfect records",[38] while Alex Ogg considered it to be the duo's magnum opus in his book The Men Behind Def Jam.[3] Rakim's rapping on the album set a blueprint for future rappers and helped secure East Coast hip hop's reputation for innovative lyrical technique.[13][45] Author William Cobb stated in To the Break of Dawn that his rapping had "stepped outside" of the preceding era of old school hip hop and that while the vocabulary and lyrical dexterity of newer rappers had improved, it was "nowhere near what Rakim introduced to the genre".[44] The New York Times' Dimitri Ehrlich, who described the album as "an artistic and commercial benchmark", credited Rakim for helping "give birth to a musical genre" and leading "a quiet musical revolution, introducing a soft-spoken rapping style".[46] Allmusic's Steve Huey declared Paid in Full one of hip-hop's most influential albums and "essential listening" for those interested in the genre's "basic musical foundations".[20] MTV ranked it at number one in "The Greatest Hip-Hop Albums of All Time", stating it raised the standards of hip-hop "both sonically and poetically" and described it as "captivating, profound, innovative and instantly influential".[15] The album is broken down track-by-track by Rakim in Brian Coleman's book Check the Technique[47]”

To me, this album was one of the first seed planted in the minds of De La Soul. 1988 would have a profound impact as, off of the back of the growing tide, Public Enemy, N.W.A. and Eric B. & Rakim produced ground-breaking and seismic records. Eric B. & Rakim released Follow the Leader and, as would be common of the other icons of the year; sampling and splicing sounds helped elevate their potent and powerful messages to new heights. Paid in Full was crammed with great sounds but its follow-up was a slicker, tighter and more consistent album. N.W.A. released the incendiary and explosive Straight Outta Compton that, whilst rallying against corruption, racism and suppression; there were a tonne of samples. It is seen as one of the most important Hip-Hop records regarding pushing the genre forward and opened eyes in 1988. Public Enemy’s It Takes a Nation of Millions to Hold Us Back, whilst less sweary, was another charged and titanic album whose clever and eclectic use of samples helped to spotlight augment some incredible messages. 1988 was a phenomenal year for Hip-Hop and, with lesser-celebrated albums like He's the DJ, I'm the Rapper (DJ Jazzy Jeff & The Fresh Prince) helping to create an epic and evolving scene, it would inspire those who arrived in 1989. This was the start of a terrific boom for Hip-Hop and the duel pillars of Public Enemy and N.W.A. put out these socially aware and skilful albums that married serious and inspiring lyrics with a kaleidoscope of sounds.

1989 was defined by two especially great Hip-Hop records: Paul’s Boutique and 3 Feet High and Rising. There are rumours that Beastie Boys and De Le Soul were in each other’s company and the former heard the latter’s new album. Beastie Boys, hearing the insane and vast samples on 3 Feet High and Rising, despaired and knew they had to up their game. Beastie Boys were in-exile and suffered mixed reviews after their debut album. They would receive puzzled looks and muted reviews when Paul’s Boutique was released in 1989 – few knew what to expect and how to handle such a complex and ambitious record. Whilst Paul’s Boutique seems to have similar traits to records like Paid in Full and It Takes a Nation of Millions to Hold Us Back; 3 Feet High and Rising was a different beast and signified a more peaceful and less confrontational style of Hip-Hop. The record was the first of three collaborations between De La Soul and producer Prince Paul and is seen as one of the greatest Hip-Hop albums ever. It has the same depth and variety as previous works of genius but its messages are rooted in peace, fun and something less potent. Completely different, lyrically, to the work of N.W.A. and Public Enemy; it was another bold shift in Hip-Hop and helped spearhead a ‘Flower Power’/’Daisy Age’ style of Hip-Hop.

Again, the spread of positive opinion was amazing to see:

“It is listed on Rolling Stones' 200 Essential Rock Records and The Source's 100 Best Rap Albums (both of which are unordered). When Village Voice held its annual Pazz & Jop Critics Poll for 1989, 3 Feet High and Rising was ranked at #1, outdistancing its nearest opponent (Neil Young's Freedom) by 21 votes and 260 points. It was also listed on the Rolling Stone's The 500 Greatest Albums of All Time. Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, De La Soul's uniquely positive style made them an oddity beginning with the first single, "Me, Myself and I". Their positivity meant many observers labeled them a "hippie" group, based on their declaration of the "D.A.I.S.Y. Age" (da inner sound, y'all). Sampling artists as diverse as Johnny Cash, Hall & Oates, Steely Dan and The Turtles, 3 Feet High and Rising is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap).[23]

"An inevitable development in the class history of rap, [De La Soul is] new wave to Public Enemy's punk," wrote critic Robert Christgau in his Village Voice review of 3 Feet High and Rising: "Their music is maddeningly disjunct, and a few of the 24-cuts-in-67-minutes (too long for vinyl) are self-indulgent, arch. But their music is also radically unlike any rap you or anybody else has ever heard — inspirations include the Jarmels and a learn-it-yourself French record. And for all their kiddie consciousness, junk-culture arcana, and suburban in-jokes, they're in the new tradition — you can dance to them, which counts for plenty when disjunction is your problem."[22]

Rolling Stone magazine gave the album three stars and concluded that it was "(o)ne of the most original rap records ever to come down the pike, the inventive, playful 3 Feet High and Rising stands staid rap conventions on their def ear"[18]”

Artists like Macy Gray and James Lavelle have been inspired by the risks, experimentation and sheer wonder of 3 Feet High and Rising. Not to mention, of course, all the Hip-Hop artists who would try and follow De La Soul’s masterpiece!

 IN THIS PHOTO: De La Soul in 1989

I want to end by bringing in a great piece that sort of ties together some important aspects regarding the album. It looks at 3 Feet High and Rising in the context of those ‘golden years’ (1988/1989 to 1991/1992; that start came in 1986…) and how it managed to transform Hip-Hop. It also mentions one of the biggest issues regarding the record: the fact it is unavailable to stream online. Some say it was De La Soul who screwed up – singing a contract that meant their music would not be available electronic – but it is a shame the only way one can hear this epochal creation is through physical sale. That is no bad thing but its absence online has been noted by the band themselves who regret this. This Pitchfork article looks at 3 Feet High and Rising and how it followed such gems like It Takes a Nation of Millions to Hold Us Back:

“Consider that in the preceding 12 months, It Takes a Nation of Millions to Hold Us Back, Straight Outta Compton, Critical Beatdown, Lyte As a Rock, and In Full Gear had made a massive impact in hip-hop. All of these records commanded attention, wore their sizable ambitions on their jackets. But while their New School peers stood tall, offering righteousness (Public Enemy), rebellion (N.W.A.), street wisdom (MC Lyte), style-war futurism (Ultramagnetic MC’s) and crowd-pleasing showmanship (Stetsasonic) to hip-hop’s expanding audiences, De La Soul were the quiet kids lingering at the edge of the cipher, withdrawn and a little mysterious, conversing in coded language meant to distance themselves from all the big personalities jockeying for position around them”.

IN THIS PHOTO: De La Soul on Long Island in 1989/PHOTO CREDIT: Janette Beckman 

One of the biggest differences between the world of West Coast artists who seemed to offer a brand of Hip-Hop that was striking, rallying and had anger at its heart – then there was De La Soul:

“But the narrative of the album is still framed by a tired contrast between the rise of N.W.A. and the West Coast gangsta rap and that of De La Soul and the Native Tongues’ ”completely unthreatening” “message of positivity.” De La never asked to be the saviors of hip-hop, much less to answer for all the supposed pathologies that critics wanted to put on Black masculinity and Black popular culture. Instead, De La Soul defined their outsiderness through a weird, wild, and wholly self-referential creativity. Their MC names were “Sounds Op” and “Yogurt” spelled backwards. Their album would be full of inside jokes, invented slang (“A phrase called talk” was their rhyme style, “Public Speaker” was a dope emcee, “Buddy” was a hot body, and “Strictly Dan Stuckie” meant “awesome”), and an odd mix of preoccupations ranging from TV to Aesop’s fables to Luden’s cough drops to, of course, sex”.

It is amusing to think of the stark contrasts between Hip-Hop artists battling police, being put down by politicians and having to experience violence and hatred.

On one of my favourite cuts from 3 Feet High and Rising; De La Soul spoke about a suburban battle that was less to do with gun violence and border disputes and more concerned with neighbourhood disputes – Potholes in My Lawn, one suspects, was a story of De La Soul’s place in Hip-Hop and how their peers viewed them:

“The Black suburban imagination of Long Island rappers offered a distinctive kind of street romance and horror. Public Enemy rapped about cruising the boulevards in muscle cars, their adrenaline amping up their politics of provocation. De La Soul’s second single, “Potholes In My Lawn,” was a battle rhyme refracted through the brutal status consciousness of the ‘burbs. De La played the family on the block coming into success, only to be met with the envious rage of the Joneses next door. Trugoy complained, “I don’t ask for a barbed wire fence, B, but my dwellin’ is swellin’.” Meanwhile, imitating wannabes lurked in the bushes. These rhyme-biting rappers took the form of vermin leaving unsightly craters all over the front yard. The crew repatched the potholes with daisies. Individuality trumped suburban conformity”.

During recording, there was this quest to put denser sounds together and throw more ambition into the lyrics. A lot of the songs on 3 Feet High and Rising concerned juvenile topics yet there was no lack of intelligence and originality from De La Soul. Genius tracks like The Magic Number – band philosophy and their personal mantras – captivated and remain hugely popular to this day.

One of the hardest things De La Soul had to face after 3 Feet High and Rising arrived was a backlash. Many threatened physical violence and the band were seen as soft hippies and not as credible and purposeful as their Hip-Hop peers.

“If Black complexity had been the meta-message lost in De La’s big crossover, abstraction, abjection, and humor were the winning trifecta of 3 Feet High and Rising. The skits and interludes poked fun at more of their obsessions—funky smells (“A Little Bit of Soap”), fashion trends (“Take It Off”), and porn flicks (“De la Orgee”). The funniest featured hip-hop party-starters veering off script (“Do As De La Does”). The game show skit might have been a transferral of rap’s meritocratic competition into something absurd—no one wins but the audience: Were you not entertained?”...De La Soul were making a point about the power of culture to mobilize people to action or immobilize them with fear. It was an idea they explored more explicitly on their fable, “Tread Water”.

3 Feet High and Rising followed those monumental, sample-heavy records like Straight Outta Compton and Paid in Full but took a more humorous and easy-going nature – whilst not skimping on the genius, scope and skill! One wonders whether we could ever see an album like this again because of sampling clearance and legalities:

“Today’s debate over sampling is mostly mind-numbingly narrow, shaped largely by big-money concerns that are ahistorical, anti-cultural, and anti-creative. The current regime rewards the least creative class—lawyers and capitalists—while destroying cultural practices of passing on. Post-hip-hop intellectual property law rests on racialized ideas of originality, and preserves the vampire profits of publishing outfits like Bridgeport Music, that sue sampling producers while preventing artists like George Clinton from sharing their music with next-generation musicians, and large corporations like Warner Brothers that continue to disenfranchise Black genius”.

There have been some big albums that employed samples but nothing, since the turn of the century at least, that have had the same effect and range as 3 Feet High and Rising. You would think it would be easier to sample work and get clearance but it seems there is even more litigious barrier and problems facing those who want to create their own 3 Feet High and Rising. One big tragedy is we might not see 3 Feet High online anytime soon. This article explains why De La Soul’s early work cannot be found on sites such as Spotify:

“The influential trio’s 1989 debut 3 Feet High and Rising is widely considered a masterpiece of the rap genre but, along with follow-up De La Soul is Dead, is unable to appear in digital form because of the many samples the band used.

MC Kelvin Mercer, known by his alias Posdnuos, described finding out that the group’s early contracts were for vinyl and cassette only as “really heart-wrenching”.

“It’s an unfortunate place we’ve been put in as a group,” he told the BBC. “Our contracts on those early albums said specifically ‘vinyl and cassette’. The wording wasn’t vague enough to lend itself to music technology”...

 

De La Soul heavily sampled an eclectic range of artists from James Brown and Michael Jackson to Smokey Robinson and Johnny Cash. Their record label got legal permission for most of them back when the band first began but in order to stream or download these songs, new deals must be cut for the albums.

The only hope of hearing them online now rests with Warner Bros, who owns the tapes. Sadly, according to Posdnuos, they “just don’t want to deal with it” due to the time involved in carefully going through each song to check every sample is cleared. The lengthy process has been “draining” and further hindered by staff changes, he said”.

One reason why Hip-Hop masterpieces like It Takes a Nation of Millions to Hold Us Back and 3 Feet High and Rising are so important is not just because of the messages and the fact it highlights problems affecting the black population in America – there have not been that many similar British Hip-Hop albums or scene – but the way music is spliced together. You get to hear about the struggles and problems that afflict sectors of U.S. society overlooked but, in the process, disparate artists and genres and woven together and this brings that music to new generations. Pitchfork’s article explains:

“Pos’s production on “Eye Know” put Steely Dan into conversation with Otis Redding and the Mad Lads, his work on “Say No Go” Hall and Oates with the Detroit Emeralds. The musical chorus of “Potholes in My Lawn” pointed not only to Parliament’s 1970 debut Osmium, but to the African American roots of country and western music...

IN THIS PHOTO: De La Soul, circa 1990/PHOTO CREDIT: Michael Ochs Archives/Getty Images

Together, the sampled sounds of the Jarmels, the Blackbyrds, the New Birth, and even white artists like Led Zeppelin, Bob Dorough, and Billy Joel, make a strong case that all of American pop is African-American pop, from which everyone has been borrowing. Sampling—De La Soul sampling Parliament, Obama sampling Lincoln, Melania sampling Michelle—is nothing less than the American pastime, the creative reuse of history amid the tension between erasure and emergence that is central to the struggle for the republic. No one can ever do it as big as De La Soul did”.

Hip-Hop has not seen such a golden and productive time since the late-1980s and a lot can be learned from albums like 3 Feet High and Rising. Maybe more modern Hip-Hop artists like Eminem and Dr. Dre helped provide the genre another exciting burst in the late-1990s/early-2000s but nothing like the world saw in the late-1980s. Some might say things started with Run-D.M.C. in 1986 or Eric B. & Rakim’s Paid in Full the year after. It is clear the explosive during 1988 – with Public Enemy and N.W.A. - propelled a sample-heavy reaction from De La Soul. It was a peaceful and colourful alternative to the rather sharp and political albums from some quarters. It garnered some criticism and heat from certain quarters – feeling De La Soul were wet and opposed to Hip-Hop’s ideals – but it was a stunning progression and evolution in Hip-Hop. Even through there is a notable 3 Feet High and Rising-shaped hole in the streaming marketplace few can deny the genius and legacy of this 1989...

WORK of brilliance.

FEATURE: Now That’s What I Call Music! at Thirty-Five: The Compilation Series That Succeeds in a Streaming Age

FEATURE:

 

 

Now That’s What I Call Music! at Thirty-Five

IN THIS PHOTO: The cover for the first Now That’s What I Call Music(!) (released in the U.K. on 29th November, 1983)/ALL IMAGE/PHOTO CREDIT (unless credited otherwise): Getty Images

The Compilation Series That Succeeds in a Streaming Age

__________

THERE are times when one is permitted…

to look back fondly and not be accused of nostalgia and being sappy! It is never good being stuck in the past but it is also important to note where our music tastes grew and where we came from. The Now That’s What I Call Music! was born thirty-five years ago (on 28th November). Before I give my memories (you can hear the first compilation here) and argue why the series continues to appeal; here is some historical background from Wikipedia:

“The idea for the series was conceived in the office of Virgin Records in Vernon Yard, near Portobello Road, by the head of Licensing and Business Affairs at Virgin Records (1979–1990) – Stephen Navin, and General Manager (1983–1988) – Jon Webster.[2] The concept was taken to Simon Draper (Managing Director at Virgin Records) and then Peter Jamieson (Managing Director of EMI Records (1983–1986)). Jamieson had similar plans to launch such a compilation and he immediately agreed to the partnership. The deal was negotiated and finalised on Richard Branson's boat moored in Little Venice.[3]

The series took its name from a 1920s advertising poster for Danish bacon featuring a pig saying "Now. That's What I Call Music" as it listened to a chicken singing. Richard Branson had bought the poster for his cousin, Simon Draper, to hang behind Draper's desk at the Virgin Records office. Branson wrote "He was notoriously grumpy before breakfast and loved his eggs in the morning, so I bought him the poster, framed it and had it hung behind his desk.".[3] The pig became the mascot for the series', making its last appearance on Now That's What I Call Music 5.[4] It has recently made a reappearance on the cover of Now That's What I Call Music! 100, which was released on 20 July 2018...

The first Now was released on 28 November 1983[5] and featured 30 UK hit singles from that year on a double vinyl LP or cassette. Although the compilation of recent hit songs into a single release was not a new concept (K-tel and Ronco, for example, had been issuing various artists' compilations for some years), this was the first time that two major record labels had collaborated on such a venture. Virgin agreed to a deal with EMI, which allowed a greater number of major hits to be included (the first album in the series included a total of "eleven number ones" on its sleeve). The album went to number one, and soon after, CBS/WEA's The Hits Album, adopted a similar format to Now!. The two series co-existed for the rest of the 1980s, but when Universal joined the collaboration the Now! series was more successful commercially. The Out Now series by MCA and Chrysalis was also established as a rival to the series,[6] but was short lived”.

We have just seen the one-hundredth edition of the series come out (in July) and it is remarkable that the Now (if I can shorten it?!) series has reached such a milestone! I remember the BBC article that took us inside the Now offices as the decisions flew regarding the tracklisting for Now’s huge one-hundredth:

"It's Now day!" declares Jenny Fisher, settling into a sofa in a relaxed, but cramped little room on the second floor of Abbey Road.

Quietly spoken but authoritative, she's here to decide, compile and master the tracklisting for Now That's What I Call Music 100, which is set to be one of the year's biggest-selling CDs...

The Now series began in 1983 as a way of showcasing the success of Virgin Records which, at the time, was having an unprecedented run of hits with acts like Culture Club, Phil Collins and UB40.

They took the idea to EMI, who were so impressed they linked up with Virgin to release it - the first time that two major labels had collaborated in such a way.

Today, the series is so big (120m sales and counting) that all the record labels get a look-in. But that doesn't mean that compiling the 100th edition will be easy.

"It looks like we won't be able to clear Drake," sighs Steve Pritchard, a 58-year-old motorcycle enthusiast who's been a custodian of the series for more than half his life.

Steve has been working on Now since its 19th edition (side one, track one - The Clash, Should I Stay Or Should I Go) and it's not the first time he's struggled to get permission for a song.

"Historically, a lot of big American artists didn't really understand Now," he explains.

"They saw it - erroneously - as cannibalising their own sales. We were never able to access Madonna, for example."

Still, Drake hasn't been crossed off Steve's master list just yet. Some songs get cleared right at the last moment… and we're only just getting started.

He's joined in the studio by Peter Duckworth, who's been working with him since Now 20 (side one, track one - Vic Reeves and the Wonder Stuff, Dizzy). Jenny is a relative newcomer, having signed up for Now 82 (side one, track one - Fun ft Janelle Monae, We Are Young).

For the 100th anthology, however, disc two is being handed over to classic hits from previous compilations, including Phil Collins (who opened the very first album in 1983) and Robbie Williams (who's appeared more times than anyone else).

That means the mixing session at Abbey Road is over - but the work is far from over.

Jenny scurries off to her office, where she has to write a biography for every artist on the compilation. Her text gets sent to a designer, who works through the night to finish the artwork.

"Then we listen to the CDs all the way through three times looking for any explicit lyrics or audio that doesn't sound right," Jenny says.

"Hopefully by tomorrow night, we'll be completely happy with it, and we can send it to manufacture and start the process on Wednesday morning".

One of the problems that exist with Now is the demographic of genres. Look at any number in the series and you will see more Pop music than anything. When I was growing up and listening to the series – as I shall explore later – there was Dance and Electronic stuff but it was mostly Pop. It seems exceptional and amazing to consider, given we all do our own playlists, we still have an appetite for Now. The fact the latest edition sold well was not to do with history and nostalgia but the fact we want the best of the current crop in an album. There is something wholly unsatisfying about having a digital playlist and listening on a phone. You want to have something physical because, as you grow older, these Now C.D.s are the sound of a particular time.

Whereas studio albums can sound dated and have potency in the moment; Now seems to age without wrinkles and provides pleasure and nuance whenever you play it. Maybe it is the eclectic selection of songs and the range you get but there is always something to enjoy. I think of the Now series as pick ‘n’ mix. You get so many colours and flavours in there and it is a real treat. Many might say the quality of the music has gone down since the 1980s (or when it was at its peak) but that is another argument. We all have our opinions regarding quality but I feel Pop still plays a big part. It is amazing when you look at any compilation and see entire genres wiped out. Take the 1980s and the brilliant Hip-Hop that was coming out in 1988/1989. Maybe it was Now 16 or 17 around about that time but, I know, there was music by Phil Collins and other Pop acts included. Consider the Hip-Hop genius from De La Soul, Public Enemy; Eric B. & Rakim and Beastie Boys and that didn’t make it on there! In essence, the Now series is about chart music and the mainstream. There is nothing wrong with that but, like these decade-defining compilations; does it truly reflect music in a particular time or is it a very Pop-biased viewpoint?!

Maybe there is a very narrow and particular sound that you get with the series but, for those who want Hip-Hop, Metal and other genres then there are compilations and albums that do the job! I think we have that taste because it, as I said, defines a year and you can look back in years to come and compare how music has evolved. In many ways, Now is a way of charting the changes in the mainstream and the tastes of the public! My first exposure to Now was, as I have mentioned before, 24. This came out in April 1993 and I might have got it for my birthday (9th May). For a then-ten-year-old, it was exciting having this assortment of chart songs in my hand. In fact, the compilation exists in C.D. form at my family’s home but I bought it originally on a double-cassette. The giddy joy of reading the notes and credits on the inserts and popping the tape in the deck...pure bliss! I was blown away you could have Shaggy, k.d. lang and Paul McCartney on the same compilation! Before the Internet and streaming, the only way we could get a compilation was to record (perhaps, illegally) material from the radio. You could put a blank tape in one deck and then hit ‘record’ when the chart show was on. It was horribly crude and awkward but having a lot of top-class material on cassette/C.D. was wonderful. There are articles that poll the Now series and rank the very best. Here is one from Metro and, aside from the omission of my favourite, it is hard to argue against their top choices. There is a general consensus that the majority of the finest Now compilations were released in the 1990s – a few from the 2000s, I guess.

If you are looking for a particular Now compilation then there are details here but a lot of people think Now That’s What I Call Music! 44 as the best. It is the biggest-selling and came out right at the end of the 1990s. Bangers and gems from Lou Bega, Britney Spears and Moloko cannot be sniffed at. I remember, tragically, Mambo No. 5 (A Little Bit of...), being one of the songs I was listening to when I opened my GCSEs in 1999! I think there are a lot of happy memories for those of us who were school-age around that time. Even if you are younger/older; you cannot deny there is a lot of fun and catchy music on there! The music seems to defy age and you can pick up what is on there and instantly get behind it. No matter which one of the series is your favourite, it makes you feel warm and happy listening back to the artists that were popular when you were younger. Every one of the Now compilations has some tragic crap on there but that is the charm – you’ve got to have a little bit of greenery among the sweets! Many of us have our own memories and reasons why Now is very much the sound of the present – but has that important nostalgic feel to it.

This article from The Independent shows what I am on about:

“...And yet Now! got a lot right from the start. An eye-bulging 11 No 1s were present on the first edition, but look again and you’ll find the latent influence of punk through the presence of Malcom McLaren, The Cure and Stiff Records’ definitive version of Kirsty MacColl’s “They Don’t Know” (courtesy of Tracey Ullman).

It was a democratic hallmark of Now! albums that all genres must be represented and soon entire sections of the record would be devoted to different types of music: “dance” sides emerged strongly in the late 1980s/early 1990s just as “indie” sides were a staple through Britpop. In fact, it could be argued that Now! did as much in the pre-digital age to diffuse music’s tribal instinct as Spotify does today.

Elsewhere care was taken – as with artist albums – to ensure that an upbeat opener (in this first instance, the Phil Collins-does-Supremes “You Can’t Hurry Love”) was matched with a closing ballad (Culture Club’s overlooked “Victims”). How much the listener appreciated this book-ending over the course of 30 tracks is open to debate, but it’s a tradition that exists to this day with Calvin Harris & Dua Lipa’s “One Kiss” being complemented by Justin Bieber’s “Love Yourself” for Now 100...

 

Nothing lasts forever and, looking back, the school holiday sound-tracking Now 12 of of 1988 was a personal peak. Within 18 months, myself and Now! would go our separate ways, the age of innocence over for both of us. As a new decade began, Now! moved towards a more straightforward, does-what-it-says-on-the-tin approach, gaining sales but losing some of the charm of earlier collections.

Me? I’d heard The Stone Roses’ debut for the first time and things would never be the same again. The Smash Hits subscription was cancelled and the NME installed in its place. Now! was then: I had the Nineties to be getting on with.

Yet while I was away, the series prospered; 1999’s Now 44 was the most successful to date – selling 2.3 million copies, at the height of the CD market thanks to big hitters such as Britney Spears and Robbie Williams.

 

Yet in the age of personal curation that followed, Now!, perhaps the ultimate curator, would somehow come into its own. At the same time, the idea that the internet would render everything before it obsolete proved false; instead, we were in for an era of co-existence. Things weren’t replaced, simply enjoyed side by side.

Hence Now! CDs continue to be played in cars across the country, hours after their drivers have enjoyed a Spotify-assisted morning run and before they returned home to their Crosley turntables”.

It is great to see how Now affects people in their own way and the memories that have been provided. Again, here is an example where you can feel the passion coming from the page:

“Jonathan Isaby has every album in the series. Here he explains how they have formed the soundtrack to his life.

When I was given an old 1950s transistor radio by my grandmother in the summer of 1986, at the age of eight, I tuned it to Radio 1 and immediately got into the pop music of the day.

With artists like Bananarama, Duran Duran and Five Star in their heyday, I was hooked.

And by the time I got a brand new (if highly unsophisticated) radio/cassette player for my tenth birthday in December 1987, I knew I wanted to start creating a music library of my own.

Like most kids of the time, I would try to tape songs off the radio, but was always frustrated by the DJs' ramblings over the beginning and end of tracks, so there was only one thing for it - buy the music for myself.

The Now albums are - quite literally - the soundtrack to my life. I'm quite a nostalgic person and I can pluck any one at random and immediately be transported back to a particular time.

The albums provide a brilliant snapshot of the music I was enjoying at any given moment: Now 28 takes me back to the summer of 1994 after I did my GCSEs and was about to go into sixth form...

Now 34 was what I was listening to during my first term at university in 1996 with tracks like the Spice Girls' debut single Wannabe and Wonderwall by Oasis.

Now 67 was released around the time I met my now wife in 2007 and brings back fond memories (she tolerates the collection by the way)”.

I will continue to keep a look out for new Now compilations but there is a lot of profit to be found if you have kept an older one back. Not that you’d want to part with it but auction sites are selling a lot of the better compilations for a lot of money. It shows the value of Now is ongoing and people are keen to snap up the classics. Whilst other compilation C.D.s might be flagging, we cannot get enough of Now and all the goodness it provides. In ten days’ time, as we tip our caps to a thirty-five-year-old series; I will look back at the best Now had to offer and see where it might head. Given the fact there is a big birthday coming out, dust off – either digitally or physically – your favourite Now compilations and let...

 PHOTO CREDIT: @oviidaniel/Unsplash

THE good times roll!

FEATURE: To Wit, To Woo: Why Modern Songwriters Can Learn a Lot from the Old Masters

FEATURE:

 

 

To Wit, To Woo

IMAGE CREDIT: Getty Images 

Why Modern Songwriters Can Learn a Lot from the Old Masters

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MAYBE this is a generational thing…

IN THIS PHOTO: Jacqui Abbott and Paul Heaton/PHOTO CREDIT: Getty Images

but I tend to find there are fewer and fewer songwriters who are providing something human and interesting in their lyrics. I know a lot of songwriters are putting their relationships and personal concerns into the mix but how often does one see relationships portrayed in a very real way? By that, I mean the suburban houses and silly arguments; throwing wit into things and having two-hander songs?! It seems there is a distinct formula for artists in regards relationship dramas or songs in general. Before I come to my point; this piece has been inspired by an album of Paul Heaton-penned songs, The Last King of Pop. The Housemartins and Beautiful South lead is currently working/touring with Jacqui Abbott (The Beautiful South) and the former bandmates have released successful albums together. This article gives details regarding the album:

“One of the UK’s most prolifically gifted songwriters Paul Heaton will release a career spanning album on 16 November 2018 on the Virgin EMI label.  Entitled The Last King Of Pop it will feature 23 of the finest songs from throughout Paul’s extraordinary music career, including hits from his days in the Housemartins, through his time in the multi-platinum pop co-operative The Beautiful South, his solo years, and up to the present day in his long-standing collaboration with former Beautiful South singer Jacqui Abbott.

From the Housemartins’ glorious 1985 debut single ‘Flag Day’ to the Beautiful South’s chart dominating pop standards ‘Don’t Marry Her’, ‘Rotterdam’ and ‘Perfect 10’ through to last year’s Heaton & Abbott smash hit ‘I Gotta Praise’ they’re all present and correct….and there’s also room for a 2018 re-record by Paul and Jacqui of the Beautiful South classic ‘A Little Time’, and a brand new song, a deliciously infectious ska-pop paean to a lifetime of jukebox dancing and pop music obsession entitled ‘7”Singles’...

PHOTO CREDIT: Getty Images 

To celebrate the release of ‘The Last King of Pop’, Heaton and Abbott will play 3 very special live shows at London’s Royal Albert Hall, Sheffield City Hall and Blackpool Empress Ballroom at the end of November where they will perform the album in full.

The dates are as follows:

24 November: Blackpool, Empress Ballroom
26 November:  Sheffield, City Hall
28 November: London, Royal Albert Hall”.

The Beautiful South went through different incarnations and saw three different female singers come through. Abbott is, to me, the female voice of The Beautiful South and the perfect foil to Heaton. Someone who can throw back some wit and spike but perfectly blend in harmony when needed. The band was seen, by some, as middle of the road. Not quite as cool as a lot of the best 1990s/2000s bands and never the funkiest outfit, for sure. The fact the band would often appear at gigs in coats and project a rather middle-aged image, from the start, market them as a ‘guilty pleasure’.

I feel this is wrong. Maybe the songs were not as hook-laden and anthemic as a lot of the stuff coming through but, from the first album (Welcome to the Beautiful South, 1989), there was this wit and incredible originality. Look at songs like You Keep It All In and this repressed scene of domestic tension. Song for Whoever is as flippant as the title suggests: Heaton earning money and chart success from the tears of his various lovers – the more they cry, the wetter his pen becomes with ambition. Some critics labelled Heaton and the band as being caustic and grumpy but many could not get their head around the ordinariness and revelation of the lyrics. Every line was real and talked of a world, a working-class one, that was not being projected that much. In 2018, you do not see many songwriters pen the same sort of songs as Paul Heaton. Love songs tend to be quite ordinary and you are not often taken too far away from the predictable scenes. It is not only the lyrics that strikes me but the make-up of The Beautiful South. Three vocalists (Paul Heaton, Dave Hemmingway and Briana Corrigan/Jacqui Abbott/Alison Wheeler) and songs that would literally present a conversation. Heaton never writes about women in a sexist or unknowing way and is unafraid to write songs with arguing lovers or a couple that slyly jab at the other. I am not going to give a complete history of the band but what they stood for – in terms of lyrics and the sort of wit you got – was amazing. It is a shame they split but I am glad Heaton and Abbott are still performing together.

 IN THIS PHOTO: Prefab Sprout’s Paddy McAloon (1985)/PHOTO CREDIT: © Michael Putland

Look back a bit further and songwriters like Paddy McAloon spring to mind. The leader of Prefab Sprout, the last album was back in 2013 (Crimson/Red). Paddy and his brother Martin are the only remaining members from the original line-up but McAloon, as a songwriter, has few equals. From 1984, with their Swoon debut, the band was being highlighted for their exceptional songwriter and sound. At the heart of the mix were McAloon’s words. Maybe some of the early material features too much juxtaposition and it is a bit stuffed but, in terms of language and wit; nobody in that era seemed to have the same muscle and intelligence as McAloon. Perhaps The Smiths’ Morrissey – the third northern writer I am mentioning – could match that blend of wit, tragedy and florid language but from Two Wheels Good (the U.S.)/Steve McQueen (the rest of the world), critics were taking note of this unique and talented writer. AllMusic, writing retrospectively, provided their thoughts on the album:

“Smart, sophisticated and timelessly stylish, Two Wheels Good (titled Steve McQueen throughout the rest of the world) is a minor classic, a shimmering jazz-pop masterpiece sparked by Paddy McAloon'switty and inventive songwriting. McAloon is a wickedly cavalier composer, his songs exploring human weaknesses like regret ("Bonny"), lust ("Appetite") and infidelity ("Horsin' Around") with cynical insight and sarcastic flair; he's also remarkably adaptable, easily switching gears from the faux-country of "Faron" to the stately pop grace of "Moving the River." At times, perhaps, his pretensions get the better of him (as on "Desire As"), while at other times his lyrics are perhaps too trenchant for their own good; at those moments, however, what keeps Two Wheels Good afloat is Thomas Dolby's lush production, which makes even the loftiest and most biting moments as easily palatable as the airiest adult-contemporary confection”.

 

My first taste of Prefab Sprout was The King of Rock ‘n’ Roll. Taken from their third album, From Langley Park to Memphis; it is seen as the band’s biggest track but many critics felt it was too commercial and not as sharp as earlier songs. Cars and Girls is a Bruce Springsteen pastiche (taking away the romance of the road and girls) whilst The King of Rock ‘n’ Roll is about a faded and deluded singer who thinks he is all that. When Jordan: The Comeback arrived in 1992 – following the odd bump in the road – critics raved and this was seen as an album that could break America. Entertainment Weekly, in this review, look at the contrasts and complexities of McAloon’s words:

“With few exceptions, highbrow pop music-making is a commercially treacherous occupation. Nonetheless, Newcastle’s Prefab Sprout — something of a British answer to Steely Dan — has done quite nicely, purveying evanescent music and frequently loopy subject matter. With Jordan: The Comeback, the quartet is poised to reach a wide American audience as well.

For all their fascinating intelligence, McAloon’s ironic lyrics can be difficult to pin down. Following the whimsical conception of ”Looking for Atlantis,” the arch iconography of ”Jesse James Symphony,” and the Presleyesque content of the beautiful title song (and others: Elvis is one of the album’s thematic threads), it’s hard to resist searching the sincere sentiments of ”All the World Loves Love” for a subtext that isn’t there”.

IN THIS PHOTO: Morrissey (1984)/PHOTO CREDIT: Nick Knight for The Face

I have mentioned a couple of songwriter and tipped a nod to Morrissey – and maybe there is a geographical element. The last lyricist to put a new spin on love and regular life was Alex Turner. The Arctic Monkeys’ frontman has been weaving exceptional rhymes and visions since the band’s debut album back in 2006. Like the aforementioned; Turner was looking around everyday life and scenes that he was walking through and putting them into music. Perhaps these northern writers have a very different experience to the predominantly southern/American writers who are dominating the charts now. There are some special and fascinating songwriters who can take life’s ordinary sides and make them shine but, for the most part, they are away from the mainstream. I keep getting review requests from people and, largely, the songs are about heartbreak or some sort of change. The most depressive part is the same synopsis and pitch. All the songs seem to be saying the same thing and said in the same manner. It seems there is this formula and restrictive mind-set from writers; they get caught in a loop and their language can be very narrow. I have mentioned male names but look at female songwriters such as Patti Smith and Joni Mitchell and they have created incredible songs that are so different to anything around them.

It is dangerous replicating songwriters and looking back too much but there are lessons that can be learned. As music is becoming sadder, slower and more repetitive; are we just accepting this format and accepting music that is pretty brief and familiar? Those artists who break habits and producing something stunning are fewer and rare and I feel a lot of wit and freshness has been lost from music. I always love discovering a songwriter who can make me smile or tackles life from a different side. I am not saying every song needs to sparkle with its language and wit but I think we are all starting to get lazy. The quality of my writing, I feel, could be better and too much time on social media and conversing in a very electronic way means we are not as together and fluent as we used to be. I am scaling my interviews right back because of the standard of written response and writing less (from next year) as I am making silly errors. My need to move into the radio/audio side of things is the result and does songwriting have the same problem? My biggest problem with music today is the rather unengaging and unmemorable lyrics. This does not apply to everyone but I feel a lot of artists are more interested in sound and production rather than standout lines.

 PHOTO CREDIT: @neonbrand/Unsplash

One gets bored hearing the same sort of lyrics and the clichés pour; the hyperbole, strain and unengaging words pounding in the ear. Maybe there were faults and flaws when we look at those songwriters such as Heaton, McAloon and Morrissey – not to forget the likes of Patti Smith – and maybe it is a generational shift. I think their upbringing was more humble than a lot of their peers so their perspective was not the same. Maybe too many modern artists have that comfort and, if they are struggling, anger is replacing the charm and foibles of their setting. It might tie into a piece I wrote recently about the fun escaping music and I think lyrics as a whole are getting more predictable and boring. I would prefer to hear something sarcastic and snide – two lovers poking one another – and see words beautifully crafted and contorted than the usual delivery of routine and predictability. We might have gone past that point where we can encourage this sort of change but I know there are songwriters out there who have not lost that sort of edge. There are plenty out there who are brilliant lyricists who can write in a very interesting way. They are being buried and lost in a rabble of plain and generic artists. Whilst I yearn for something uplifting with a hint of the humorous; a bit of bitterness with a side order of domestic grumbling, let’s hope the current crop can take notes from those whose music...

WE are listening to decades after it first came out.

INTERVIEW: J Lndn

INTERVIEW:

J Lndn

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I have been speaking with J Lndn...

about his single, Like Me, and what its story is. I was eager to know what sort of music inspired him and how he got into the business; which albums mean the most and what he has planned coming up.

J Lndn talks about his plans and tells me how he unwinds away from music; if there are any tour dates coming up and if he has a favourite memory from his time in music – J Lndn reveals whether he has anything to achieve by the end of the year.

__________

Hi, J Lndn. How are you? How has your week been?

Hey. The week’s been pretty stressful, not gonna lie; have a lot of stuff to deal with my university, been cooped up in the studio like every night just working on my new releases; making new ideas and trynna innovate my sound.

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

I am nineteen-years-old. I was born in Cali; never lived in the U.S. my whole life till this year. I grew up in three different cities: Moscow, Dubai and London. So, just a year ago I moved out of the U.K. to Boston to pursue my music career here. So, unlike a typical rapper - which reps only one city - I tend to represent all three. I’m currently a student in college and I’m also a boxer. Other hobbies are I enjoy reading about other people’s cultures, history.

 

Like Me is your debut single. What is the story behind the song?

I wouldn’t say there was actually a story behind that song. I was more addressing a statement to the public and others in the Rap game. I felt that my first single should have been a little more self-centered. This song was to establish myself in the industry and portray the message of ‘to look out for someone like’. This was mainly directed to the people who didn’t believe in me or my passion for music and thought that I had nothing in the bag - that soon those who doubted me are the same people that are going to be praising me for my art.

In this song, I’m laying out my ambition, my dedication and I’m shutting down and addressing those who had no hope in my career. This is one of a few songs I would consider ‘selfish’ since it’s all about me. However, most of my music doesn’t evolve around that subject. I wanted my debut to be about self-empowerment. 

Can you give me a sense of the artists you grew up around? When did music come into your life?

As a little kid, I grew up listening to a lot of Jazz, R&B; Funk and Blues as those genres would always be played in my house or the car. I started listening to Rap/Hip-Hop at the age of eleven. It was mainly Jay-Z and Eminem who put me onto this genre. At the age fifteen, I would be freestyling after school with my friends however I never took it seriously; it was more of a joke.

At seventeen, my best friend bought me an e-drum kit and I just started making beats from there. Surprisingly, music production is where my passion for my career roots in. I would always consider myself a producer first and then a rapper. After efforts of experience, I established myself as a producer for other artists but the more I made beats the more I felt the need to flow and rap on them. Hence, why I’m here now in my Rap career.

My biggest influencers are Biggie Smalls, Nirvana; Kanye West, Nina Simone; J. Cole, Eminem; Jay-Z and Kendrick Lamar.

You were born in California but spent time in London. How important was your time here?

Actually, I have never lived in Cali I was born and then six months later my family moved to Moscow where I spent my childhood there. Then I moved to Dubai (this is where I developed an interest for Rap); then I moved to London, which was one of the most important locations I would say for my music as this is where I really got inspired to start my sh*t.

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

By the end of 2018, I want to establish myself in venues in my local area. I want to slowly start spreading the word to the public about me.

Do you already have plans for 2019?

Yes, I do. I’m planning to expand my venue capacity release. Two more singles and perhaps release an E.P. or an album. 

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

One of my favorite memories was when I was making music in Dubai on my vacation. I started linking up with a lot of local artists there and they have inspired me a lot to make my music. At the time, I was going through a rough phase in my life. Although it was rough, it benefited my music a lot (I made hella dark songs at the time).

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

Yeezus - Kanye West

At first, when I heard this album I HATED it. Like zero interest, man. But, something kept telling me to listen to it again and again and again. Until I started loving this sh*t. This album, by far, resonated with me most. It was an experiential album from Ye as he never made that type of music before. And the courage to experiment really attracted me to this artwork. I’m also very picky with my sound and music so, when I hate something, it’s very rare that I come back and listen to it. This wasn’t the case for this album.

Blonde - Frank Ocean

When this album came out, I was in a dark place of my life and this album helped me out. I went through a phase of about three months where I would only listen to Frank Ocean. Sh*t was crazy. Nevertheless; every time I listen to a song off this album I feel like it takes you into another world and makes me reminisce on some memories that I had and some memories which I never had before. This album is crazy man.

Good Kid, M.A.A.D City. This was just Kendrick’s (Kendrick Lamar) classic album. By far his best piece. Talked about the struggle, ambition and how gang violence doesn’t make you a real person. This album inspired my Rap style and music to this day.

As Christmas is coming up; if you had to ask for one present what would it be?

I don’t really celebrate Christmas due my culture but, for the sake of the question, if I had to choose a present it would be a new pair of boxing gloves. I need to replace mine A.S.A.P.

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

I feel like, in order to be successful with regards to this, this would require a clear vision for that musician, confidence in yourself and that musician and trusting the work input.

What advice would you give to new artists coming through?

Trust the process. Do not rush anything.

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

Unfortunately, not yet. I’m planning to release much more music (like, two more songs) then my team and I will start planning to get up on some venues or perhaps to open up for a big name. We’ll get there don’t worry (winks).

Are there any new artists you recommend we check out?

 Yes. I would suggest you check out El Léon. We got a lot of collab work coming up. And, to be honest, if any upcoming artist has some sh*t on me that’s 100% him. His bars are dope and the delivery is even better. Go check him. 

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

Yes, I do. For me, in order to shut off from this process I either box, chill with my boys or go out for a dinner (maybe a club here and there; I don’t want this lifestyle to distract me). I also use reading books as a way to detach. It kind of helps my brain to relax and, at the same time, get inspiration for new ideas. I fu*k with museums too.

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Follow J Lndn

Instagram:

https://www.instagram.com/nishanov.j/

Spotify:

https://open.spotify.com/artist/1A89Eoi2z1SaJamujRxSyq?si=LJtIQdRUQVWPaKVl-9kJ8Q

SoundCloud:

https://soundcloud.com/zxddy

INTERVIEW: Lydia Evangeline

INTERVIEW:

Lydia Evangeline

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MY first interview of the day...

is with Lydia Evangeline as she tells me about her new single, Down, and its story; whether she is already looking ahead to next year and more material; the influence of her dad regarding music and which rising artist we need to get behind.

The songwriter chooses a few albums that mean a lot to her and whether there is anything to achieve by the end of the year; who she’d support in tour given the chance and how she relaxes away from music – she selects a great song to end the interview with.

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

Hey there! I’m great thank you! My week’s been good. I’ve just got back from Leeds where I was part of a Sofar Sounds gig. 

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

I’m Lydia Evangeline; twenty-four, based in Brighton. Started writing music at about thirteen/fourteen when I entered a very dreary poem into my school poetry competition and then decided to put it to some even drearier chords and write my first song...and the rest is history. Haha. 

I’ve only recently started releasing music as a solo artist (I’ve put out five singles in 2018) and before that I was in bands. I also play for artist Jake Isaac as his keys/guitar/percussion/backing vocalist (which is SO fun) and has taken me to many countries on many tours, which I’m so grateful for.  

I’m heavily inspired by women in music; I love 'em. At the moment, I’m drawing lots of inspiration from the likes of Jade Bird, Fenne Lily; Dodie, Maggie Rogers; Sigrid and MUNA - oh my gosh, the list is endless. Girls rock! 

Down is your new single. What is the story behind the song?

I started the lyrics for Down about three years ago actually - it’s been on a long old journey. I’d finally pulled myself away from a relationship that looking back just wasn’t great, but I wasn’t strong enough in myself to stay away. I kept being sucked back in and that’s primarily what the songs about. I liken the feeling of loss of control over your willpower to that of drowning and feeling like you’re struggling to resurface from the relationship that’s suffocating you and take a deep breath.

Did you experience a lot of music as a child? Can you recall which artists were in your collection growing up?

I know this is the classic answer, but my dad is my musical hero. He brought all of us up listening to Billy Joel, The Police; Mott the Hoople, The Carpenters etc. He almost daily sends me song recommendations via Spotify and has his own playlist of over two-hundred songs (so tech-savvy!). 

My mum is also from a family of Classical musicians, so that was very much present in our household, which I appreciate so much. I love that I can now just about identify pieces of Classical music when I hear them without being able to Google the lyrics. Haha. 

Will there be more material next year?

 Oh, heck yeah! Try and stop me! 

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

To be honest, I feel like I’ve achieved what I set out to do this year. It’s been a year of development and discovering who I am as a solo artist and, five singles later, I finally think I’ve got there...things will sound and look a little different next year and I’m so excited to show everyone my new material! Also, just a practical aim this year was to have five music videos to go along with each single which we managed to achieve so I’m pleased with that! 

Do you already have plans for 2019?

Yes! An E.P. coming earlier in the year (I’ve enjoyed doing singles but I’m craving putting out a proper body of work that people can get their teeth into). And a couple of little tour and support tour ideas that are in the pipeline. Watch this space. 

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

Oh, gosh. I hope this doesn’t come across too braggy..but I mentioned earlier that I play for another artist, Jake Isaac, and last year we went on tour supporting Sir Elton John. Paha! Absolutely bonkers. 

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

Love this question. Basically, any of the Paramore albums but, if I had to pick, I’d go with the original, All We Know Is Falling. Paramore were my absolute teenage goals and I don’t think I’d be doing music today if it weren’t for my mild (major) obsession with Hayley Williams growing up. 

Shallow Bed by Dry the River is probably my favourite album of all time (BOLD statement). 

Then, finally...Sgt. Pepper’s Lonely Hearts Club Band by The Beatles. Great album and reminds me of my dad. 

As Christmas is coming up; if you had to ask for one present what would it be?

I feel like this is the moment when I’m meant to say world peace? But, aside from world peace, I’m genuinely not really into ‘stuff’. I like gift experiences, you know what I mean? Like, take me ice skating at Hyde Park’s Winter Wonderland and you’re golden. 

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

I’d LOVE to support Mumford & Sons. The dream. And puppies for my rider. Not to eat, to play with. They’re so calming. Yes; a green room full of puppies please.  

What advice would you give to new artists coming through?

Well. I’m a new artist myself so don’t have bucket loads of wisdom to impart. But, something I’m quite passionate about is people feeling they can be authentically themselves as an artist. Everyone on this earth is unique, so bringing your uniqueness into your music is so much more exciting than being a carbon copy of someone else.

 PHOTO CREDIT: Hollie Fernando Photography

Are there any new artists you recommend we check out? 

Fenne Lily. She’s a divine creature. 

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

I love a good Netflix binge, National Trusts; reading in coffee shops, hanging out with my family and walking along Brighton seafront listening to a good podcast. 

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).

Love that. Pop on Just Us by Cat Burns. It’s my JAAAM at the moment. She’s only sixteen. Mind-blowing

__________

Follow Lydia Evangeline

Official:

https://www.lydiaevangeline.com/

Facebook:

https://www.facebook.com/LydiaEvangelineMusic/

Twitter:

https://twitter.com/lydiaevangeline

Instagram:

https://www.instagram.com/lydiaevangeline/

Spotify:

https://open.spotify.com/artist/0QMNhrj5d6CkY4JJVL0eqU?si=3231jTEcRzy7jHbU61G3Bg

YouTube:

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

TRACK REVIEW: Beth Macari - Boy

TRACK REVIEW:

 

Beth Macari

PHOTO CREDIT: @montanalowery 

Boy

9.2/10

The track, Boy, is available via:

https://open.spotify.com/track/5mmpb2akzWdtvVsdC50oPo?si=Dq4tqiTHS3amqBU8xWbNgw

GENRES:

Soul; Funk; Pop

ORIGIN:

Newcastle, U.K.

RELEASE DATE:

2nd November, 2018

_________

IN the New Year…

PHOTO CREDIT: Lee Dobsob

I am going to move away from reviews and written interviews and focus more on the audio/radio side of things. I am rounding off the last of my submissions for this year and moving away from this type of review. It is not because of a lack of interest but I have found myself drawn more to older music and what came before in terms of fascination; something in the brain that is drawing me more to classic sounds rather than the new. Before I do step aside; I get to look at an artist that brings a few points to mind. Beth Macari is someone who makes me wonder whether there is an upturn and development in terms of Pop; artists who create some sense of mystery and intrigue; major festivals and gigs that can add so much to an artist’s work; varying work between releases and keeping things fresh – I will end by looking at Macari’s work and where she might head next year. I have complained because Pop has become too insular and inward and there is a lack of fun. One of the reasons why I feel older music holds more relevance and interest is because you get that emotional spectrum and strength. It is not the case that all popular artists are moody and write about their heartbreak but I am finding too many (artists) who are being too introspective and emotionally fraught. Beth Macari is someone who writes from the heart and is no stranger to being let down – that sounds bad but her experiences are the same as all of us. I know it is tempting to write from the soul and be honest but if you are sticking with the same thing all the time then it becomes rather boring. When the new breed came through – such as Sigrid and Billie Eilish – we were promised something fascinating, mature and exceptional but, largely, other artists and genres have taken more of a spotlight. I am more drawn to Hip-Hop and other genres at the moment but I feel something will change soon.

Macari is someone who is not reserved in terms of her sound and can switch between Pop, Soul and other sounds. One of the things I am noticing about modern Pop is the splicing of other genres. It is always impressive seeing artists who can switch and mix their sounds but, more often than not, these experimentations provide little longevity and memorability. It is hard making an impression when there are so many artists around all competing; all trying their own thing and trying to gain ground. Macari is someone who has been in the music business a little while and is keen to do something fresh with every song. What I hope, for 2019, is more follow Macari and what she is doing. You have the more emotional and revealing songs and the spirited, rousing sounds. Rather than do the same thing all the time, you have an artist who can adapt and alternate when the mood calls for it. One of the problems with the mainstream at the moment is you either get too much moodiness, depression and anxiety or there is the more uplifting sounds that have very little substance. If we are going to remember artists years and decades from now, we need to urge something more substantial and detailed. I am hearing a lot of empty songs and predictable moments; something rather ordinary that does not remain in the mind. When you listen to Beth Macari, you notice something more personal, deep and interesting working away. I am not sure whether we will be humming Boy decades from now but, paired against what is happening in the mainstream, there is a lot more colour and memorability. This is important because we are going to remember those who showed a bit more bravery and variation in their music. I have every hope that Macari will keep producing this kind of eclectic and bold music because, it seems, it is really striking a chord.

PHOTO CREDIT: Rhiannon Banks Photography

I will talk about acclaim and those backing her work but it seems like there is a bit of mystery regarding Macari. Maybe it is brevity in the social media age but there are few artists giving a lot away. I suppose interviews are the way of finding out more but it seems the music is there to do the talking. I have covered this before but it appears very few artists are putting out full biographies. It would be cool to know where they are heading and where they came from. I would like to know where Macari came from in a musical sense and which artists inspired her growing up. If I was going into music, I would have a bit about which musicians are my favourite and albums that compel me. I would add in details and facts; some rare insights and do a bit of a full-on piece. There are some who do this but, largely, social media pages have a few lines of basic information and that is all. Maybe the listener does not need to know too much but journalists need that information so they can get to grips with artists and what they are all about. Perhaps giving a lot of information directs how we view the music and what we take from it but I feel like there is little revelation given by artists. Macari is someone who appeals and has that incredible sound and I am interested to know how her career started. This lack of obvious reveal provides some mystery and, I guess, it focuses our mind on the music alone. Perhaps social media, and the way we use it, is a way of talking about ourselves. Macari reveals what she is up to and her latest news but what about her early life? The seed would have been planted early in life and I am curious which artist or album spiked that interest. I can tell you my story and when music came to me and, when you look at a new artist, it is always handy having a bit of background.

PHOTO CREDIT: Rhiannon Banks Photography

In the case of Macari; I feel we get a lot of information through the music and maybe holding something in reserve means there is enigma. I have interviewed her before and got a sense of who she is and where she has come from and there will be many out there who want to know more about her. Unless there is a radio or print interview; few of us will ever get a real sense of what an artist is about and what their history is. Maybe, in 2019, as more material comes to light, we will get something fleshed from Macari but it is nice, for now, having a bit of mystique – we need to fill gaps and use the music to paint pictures. It is a bit of a tough thing to call. On the one hand, you can give a lot of information and background and that will give us a distinct image. If you let the music guide our mind then we will get another impression. I am a fan of those who put some biography together but, what I can glean from Macari’s biography is that her music has struck a chord and been backed by Gaby Roslin. Championed on BBC London and BBC Radio 2; you sense a certain vibe and sound from Macari. There is that maturity and depth but that is not to say her music lacks youthfulness and the ‘cool’ that is required from stations like BBC Radio 1. I can get a view of how her music is being taken to heart but what of her influences and favourites? Which musicians compelled her to get into the industry and write her own music? I wonder if that revelation means we think of that artist too keenly and it distorts our viewpoint. Maybe the social media age means we are providing little detail but, given the fact Macari regularly updates her pages, you can forgive the lack of biography.

Macari has followed her debut single, Clone, with Boy and you can feel a change and evolution. The former was a more emotive and heartbreaking offering whilst Boy has that fizz and determination. Not only are the early offerings turning head and capturing ears; the fact Macari has appeared at major U.K. festivals alongside Melanie C, Jessie Ware and Noel Gallagher’s High Flying Birds means there is that experience and stage presence. She has learned a lot from the artists she has performed alongside and that will be brought to new music. It is hard getting big tours and prominent stage time so early in your career but Beth Macari has achieved this already. It might be a little while before she headlines but I can see that coming. You can tell from her music that she means business and has the confidence to take her sounds around the world. Right now, she is building her U.K. presence but the Newcastle-born star has accomplished a lot so far and made some impressive moves. I will end by looking at her movements and plans for next year but I am amazed she has had this big exposure already. Maybe that sounds insulting but I have heard of few artists who have supported and played alongside artists as big as Macari has so soon. This means the music is resonating and connecting with people – a guide for those who are coming into the industry. I know every artist wants to tour and attack the big stages but they have to wait a long while for that to be realised. Macari has already had this sort of acclaim and experience and this will work wonders for her future music. If you can get onto a big stage and play alongside some great artists then you can learn directly from them and get a chance to play your material to a large audience. The confidence that comes from those times means the mind will be opened and the songwriting ambitions grow.

 PHOTO CREDIT: Daniel Stark, Vicky Hedley

It is always vital to keep changing between releases and not keep rehashing things. I find modern artists, largely, do not have the mobility and eclectic nature one might hope for. Mainstream artists fall into this trap but the very best are able to have their own identity and be able to create a range of different songs and themes. I am one who likes artists who have colour and diversity but I can understand the importance of consistency and focus. Many feel getting too wayward and switching between genres means we will not get a sense of who they are and it is harder for the music to remain in the mind. If you have an artist who is changing and pushing things, is that going to be as memorable as something more consistent and familiar? One of my main issues with modern music is the rather downbeat and samey. There is nothing wrong with being emotional and true but there is a real danger of alienating listeners and bringing the mood down if you keep producing this. Macari is someone who understands this and does not follow a lot of her peers. Rather than accusation, blame and a lot of anxiety; we have a chance to see her in a more positive state and backed by a lot of energy. I am not sure where she will head next but I am excited regarding the possibilities. If you do have variation and a spread of sounds then it means you can appeal to a wider audience and grow a larger fanbase. Maybe the odd song will not engage you but, before you know it, there is one that will get into the mind. I will move on in a minute but I wanted to talk about location and artists who are exploring the North.

So many artists locate to London because that is where all the business is and a lot of the bigger venues are down here. I find this saturation and busy build-up can make it tough for any new artist that is moving to London. How do they manage to make an impact if there are so many others going for the same prize?! It is a tough industry and I can see the appeal of moving to London. Apart from the expense and crowded streets, there are those venues you can play at and plenty of stations that can play your music. It is understandable artists are attracted to this gold and shine but many are ignoring the pull and appeal of the North. Macari was raised in Newcastle and she plays a lot in that part of the world. Many assume radio and the media will overlook them if they are based in the North but I feel social media allows that connection regardless of where you are based. Maybe a lot of the mainstream press outlets are London-focused and big music awards are given, mostly, to artists down South but that will change. What is great about the North is the growth and stability. A lot of the best-loved venues are remaining open and the streets are less crowded. The friendliness is there and you have a different vibe. I have spent time in Manchester and know how strong the music scene is up there. There is a solid media scene and it is possible to get noticed and have your work shared. The same is true of Liverpool and Newcastle and I do not feel you need to move to London. Social media, as I said, is a way of getting your music to the masses and directly connecting with the world. Beth Macari is someone who does not need to spend a load of time in London and can play in the North and get acclaim down here. I know 2019 will be a big year for her and she will continue to grow.

PHOTO CREDIT: Rhiannon Banks Photography

Rousing and skipping strings open Boy. There is something almost Classic about the introduction that suggests we might see something symphonic and grand arriving. A lot of modern Pop/Soul tracks tend to have electronics or a predictable start but Beth Macari subverts that and gives us an elegant and spirited start. When she comes to the microphone, there is something romantic and tender in her heart. She wants the hero to hold her closely and whisper in her ear. You get a picture of the two embracing and that need for togetherness. Maybe the bond has broken or they are coming back – or maybe this is an existing and strong relationship that is being celebrated. Before further explanation is given; you lean into this vocal and the musical combination and get drawn in. There are little aspects of singers like Hannah Reid (London Grammar) in Macari and you have that same grand and tremulous sound. It seems the hero has a secret and Macari wants to share it. Rather than push away a sweetheart and be depressed about a broken relationship; you have this more positive and upward-looking song that seems to revel in the purity of a relationship and what it provides. Syncopation replaces something more linear and slowed and the compositional tone transforms from Classical and romantic to more Pop/Electro-based and intense. Few songwriters shift pace and tone in a song but Boy has a definite sense of movement and progression. It seems like we have moved from the night-time and that sensuality to the light and heat of the new day. The heroine is talking about this faith and belief the boy is the one and this could be something solid. When we get to the chorus, there are bubbling beats and chorusing electronics that have this flame and kick. It goes, again, to another plain and there is something club-focused or beach-based. You can definitely feel something more intense coming through – it is a summer-themes and sounding single released in the autumn.

You cannot accuse Beth Macari or lacking invention and mobility and she is always keen to keep her songs moving and bring the listener along with her. I am not sure who the eponymous hero is but it seems like there has been regret in the past. Perhaps Macari has been let down and disappointed by boyfriends but this seems to be something more special and sustainable. I am one of those people who feels artists get too caught up in romance and something they think is pure and will last. The nature of love songs has changed through the decades and there is less romance and personality. That is not a shot at artists but you get nameless lovers and rushed sentiments rather than something sweeping and focused. Maybe grabbing attention and getting something simple across is what is required but, while you are drawn to the positive vibe and uplift, you are never sure of who the boy is and whether they are serious. The heroine feels like this bond will last but who is this character and is he someone she wants to settle down with? Maybe it is a case of a youthful heart and lust disguising attraction for love but you cannot argue against the belief she has and she is willing to give things a try. Maybe the lyrics are not as deep as you’d imagine but perhaps that anonymity gives the listener the chance to interpret how they feel and get what they need. You are captured by the energy of the song and how it kicks. Our heroine has that passion inside her heart and she wants the hero to stay another night. I am not sure how things ended up and what the outcomes was but these imploring notes and sentiments come from a very real place. Rather than rush or do waste this chance; she wants the man to come over and watch the stars.

I am not certain whether the two ended up together and if they were happy but this initial stage and seduction catches the eye. Boy is a song that seems primed for the mainstream and could easily sit alongside what is out there at the moment. It might take a few listens for the song to be fully absorbed and settle in the brain but it is exciting hearing the song come to life and explode. By the end, you come back to the beginning and investigate the song again. I am interested to see where Macari heads next and whether her next single will have the same sound and energy as Boy. Even though the weather is chillier and the days are shorter; Macari has summoned something that has a summer-time swing and fizzes from the speakers. Even though the hero of Boy is nameless, I get the sense something real will develop and things can last. Macari is an artist who had made some big strides and is not comfortable repeating the same thing time and time again. This is good to see in a modern artist and it means her next release will have many curious ears trained its way. Boy is a song that can lift you when needed but also score and guide any number of situations. It is not often you discover a song that has that nimbleness and can stick in the head.

I have spent a lot of time talking about aspects of her work and her new single, Boy. I have heard her two tracks (so far) and it is interesting seeing where she might head. Given the difference between Clone and Boy; where might see step next and what will another single contain? I can imagine Macari stepping into a more Soul-based territory or doing something similar to Amy Winehouse. Perhaps she will provide something inward-looking and emotional but I feel, as the weather will start to warm up, I guess there is going to be that energy and need to provide something hot. I guess there will be an E.P. but I am not sure when that will arrive. Touring is an important thing and Macari has played some big gigs already. Many artists start on humble foundations and have to wait a long time for their shot and it can be frustrating waiting so long to get a break. Something about Beth Macari has led to this popularity and growth. I think next year will be a big one for her and we will see more material. So far, there have been great reviews and praise from big names in radio. I am hearing a lot of new music and different stuff but finding, more and more, artists are not really as eclectic and bold as they could be. It is difficult stepping out of your comfort zone but the only way you will remain in the memory and remain is doing different things and changing it up when needed. I shall leave things be in a minute but I like what Boy says and how it sounds. It can easily fit into the charts or on radio but it is distinctly the work of Beth Macari. It is not a replication of what everyone else is doing and something rather predictable.

PHOTO CREDIT: Rhiannon Banks Photography

She is an artist that has potential to endure for years and succeed and I am compelled to see where she steps next year. This year has been a busy and successful one and she will bring that into 2019. I have seen many promising artists come out and sound like they could remain but then they lose momentum. Beth Macari is someone who has that spark and strength and I feel she has the width of talent to be able to keep going and stay in the public consciousness. I am not sure how long it will be until she hits the mainstream but we need more of her energy and talent there. I am finding too many rather languid and sad artists making music that is dragged down and easy. There are others who provide something upbeat but it does not linger and there are relatively few that manage to strike a great balance and have genuine class. Macari seems like someone who can join the biggest artists and craft herself as a modern star. Ensure you listen to Boy and get involved with it. It is the end of 2018 now so Macari will wind down and get time to relax but, before then, she has some gigs and is keeping busy. Check out her social media and follow where she heads. She is making a name for herself in the North but there are plenty in London who are backing her work and playing her. It has been an eventful and interesting time for Macari and I am pleased she is providing such quality to the music world. I will keep an eye out for her next year and what she comes out with next. Boy is a sign that suggests Beth Macari is a name you will be reading about...

PHOTO CREDIT: Rhiannon Banks Photography

YEARS from now.  

___________

Follow Beth Macari

Twitter:

https://twitter.com/BethMacari

Facebook:

https://www.facebook.com/bethmacarimusic/

Spotify:

https://open.spotify.com/artist/4Ed1Lbt202UlmZRX7KQL75

Instagram:

https://www.instagram.com/bethmacariofficial/

SoundCloud:

https://soundcloud.com/beth-macari

INTERVIEW: Missyou

INTERVIEW:

Missyou

___________

I am ending the day...

by speaking with Missyou and what the story is behind their new single, Timid & Timbuktu. The E.P., YourBody, is out soon so I ask what themes inspired that; how they all found one another and the sort of music that influences them.

The guys pick albums that mean a lot to them and recommend some rising artists; how they spend time away from music and what they want to achieve next year – they each pick a song to end the interview on.

__________

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

Long, but alive. Hope yours was productive.

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

We are Missyou: Blaise – vocals, Pete – bass; Vin – drums and Omer – guitar.

Timid & Timbuktu is your new single. Can you reveal the story behind it?

The title was inspired by Kurt Vonnegut’s short story of a similar name. It’s about time and all the torments it can create.

It is from the upcoming E.P., YourBody. What sort of themes inspired the E.P.?

Life, death; love, sex; intimacy and betrayal. And obsession. 

How did Missyou get together? When did you start playing together?

We all knew each other from other projects. We came together three years ago and started this with the intent of common ideas. 

Do you share similar tastes? Who are you inspired by?

Yes, very much so. The 1975, The NBHD; Lund, LANY; Nin, Elliott Smith and Brand New.

Is New York an inspiring and vibrant place to record music in? Do you draw a lot of guidance from the sounds and scents of the streets?

Not really.

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

To put out the E.P. Prep another E.P. Make more videos.

 Do you already have plans for 2019?

Coming together.

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

Hopefully, still to come.

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

I’m Wide Awake, It’s Morning by Bright Eyes

Because the lyrics made me want to write.

Synchronicity by The Police

Because it changed everything for me.

Purple by Stone Temple Pilots

Because that song made me want to play.

The Devil and God by Brand New

Because it created atmosphere I had not heard before.

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

Too hard.

What advice would you give to new artists coming through?

Be yourself; be true.

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

Not as of yet.

Are there any new artists you recommend we check out?

6LACK, Chase Atlantic; Milky Chance and Barns Courtney.

 IN THIS PHOTO: Chase Atlantic

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

Edit, make films; create, cook.

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).

Love It If We Made It – The 1975

Free – 6LACK

Glitter & Gold – Barns Courtney

Sleeping on the Blacktop – Colter Wall

__________

Follow Missyou

Facebook:

https://www.facebook.com/missyoumusic/

Twitter:

https://twitter.com/missyou_music

Instagram:

https://www.instagram.com/missyou_music/

Spotify:

https://open.spotify.com/artist/4yOXdm7tRLOGo58R8VxyPn?si=DOz0RUYCSju-Nxe329As3A

FEATURE: Starting the Decade in Style: Part I/V: The Finest Albums of 1990

FEATURE:

 

 

Starting the Decade in Style

 PHOTO CREDIT: @annietheby/Unsplash 

Part I/V: The Finest Albums of 1990

__________

THE reason I am putting together this feature…

 PHOTO CREDIT: @dmitrybayer/Unsplash

is to shine a light on the albums that started a decade with a huge deceleration. I feel it is hard to define what a decade is about and how it evolves but the first and last years are crucial – I have already looked at decade-ending albums. I am bringing to life this feature that celebrates albums that opened a decade with a mighty amount of quality and gave inspiration to those who followed - I will cover 1970, 1980; 1990, 2000 and 2010. In this first part, I am focusing on 1990 and the best ten records from the year. The 1990s was a truly biblical decade and some of the very best records from the decade were released right at the start! Have a look at these ten 1990-released albums and I am sure you will agree that the 1990s was a hugely....

 PHOTO CREDIT: @priscilladupreez/Unsplash

EXCITING time.

ALL ALBUM COVERS: Getty Images

______________

Sinéad O'Connor – I Do Not Want What I Haven’t Got

Release Date: 20th March, 1990

Labels: Ensign/Chrysalis

Review:

“But the album plays like a tour de force in its demonstration of everything O'Connor can do: dramatic orchestral ballads, intimate confessionals, catchy pop/rock, driving guitar rock, and protest folk, not to mention the nearly six-minute a cappella title track. What's consistent throughout is the frighteningly strong emotion O'Connor brings to bear on the material, while remaining sensitive to each piece's individual demands. Aside from being a brilliant album in its own right, I Do Not Want What I Haven't Got foreshadowed the rise of deeply introspective female singer/songwriters like Tori Amos and Sarah McLachlan, who were more traditionally feminine and connected with a wider audience. Which takes nothing away from anyone; if anything, it's evidence that, when on top of her game, O'Connor was a singular talent” – AllMusic

Standout Track: Nothing Compares 2 U

Pixies – Bossanova

Release Date: 13th August, 1990

Labels: 4AD/Elektra

Review:

“By now most of us have heard 'Velouria'. Not as immediate as 'Gigantic' or 'Monkey Gone To Heaven' as far as singles go, but still a delightfully wiggy window to the world of Black Francis and the maddest thing to have been seen on Top Of the Pops since The Wombles wee Top Ten regulars.

'Ana' and 'All Over The World' would not be out of place on 'Aladdin Sane', with Black Francis doing his best Bowie impersonaton. 'Ana' is a brief repetitive piece, just six lines long. The lyric book shows us the firs letter o each line spells out S-U-R-F-E-R, while on 'All Over The World' Black Francis claims "I am a derangement." And we believe him.

'Stormy weather' flirts with the kind of omnious doom The Jesus and Mary Chain use” – NME

Standout Track: Velouria

Cocteau Twins – Heaven or Las Vegas

Release Date: 17th September, 1990

Label: 4AD

Review:

“Yet, a few words do stand out, primarily that title phrase: “Heaven or Las Vegas.” The Cocteau Twins’ music has always sounded otherworldly, and their many fans would certainly describe it—and rightly so—as heavenly.

But Las Vegas? It stands out as an odd, jarring reference. Their fantastical music would seem to brook nothing quite so earthly, so garish, so thisworldly as Sin City, which hauls unlikely baggage into “Heaven or Las Vegas”: gambling, corruption, tacky tourism, and cheesy crooning. But if we forget everything we know about the city and reduce Las Vegas to its atomic elements—millions upon billions of lights—perhaps we might see heaven in the radiance. This is essentially how the Cocteau Twins’ music works: Fraser’s voice doesn’t behave the way a pop singer’s voice typically behaves, nor does Guthrie’s guitar deliver the usual melody or rhythm. Along with bass player/keyboardist Simon Raymonde, whose contributions shouldn’t be discounted, they found new ways to use old instruments in the 1980s, in the process devising a unique and wholly beguiling sound” – Pitchfork

Standout Track: Pitch the Baby                    

Paul Simon – The Rhythm of the Saints

Release Date: 16th October, 1990

Label: Warner Bros.

Review:

“Each new cut comes as a surprise. The first song, ”The Obvious Child,” begins with confident drums that resound with special exuberant zing because they were recorded outdoors in a resonant city square in Salvador, Brazil. Then, at the start of the second song, ”Can’t Run But,” there’s a change of emotional weather; the drumming yields to a nervous patter of marimba and percussion. Later tracks are suffused with the liquid melody of African guitar or explode with bursts of soul-music horns, vividly etched against a prancing African beat. One buoyant song, ”Proof,” also has an introspective side, and dissolves into an interlude so high and timid it seems barely able to stand on its own. Yet somehow it does.

Simon’s voice, meanwhile, floats over everything, sounding both calm and earnest, eager and detached. It’s the voice of a man who endures the workaday world of achievement and suffering but longs in his heart for perfect peace” – Entertainment Weekly

Standout Track: The Obvious Child

Sonic Youth – Goo

Release Date: 26th June, 1990 

Label: DGC 

Review:

“The answer, of course, is to make the record an elaborate joke on the idea of making a commercial record, a hermetic, album-length parody that's the equivalent of putting those waggling-finger quotation marks around the whole thing.

The songs revolve around catchy, nonsensical choruses--things like "My friend Goo / Just says, 'P.U.' " or "I don't wanna / I don't think so"--that stick with you as insistently as anything ABBA ever came up with. Great swaths of dissonant guitar noise move the way radio hooks are supposed to, and they become radio hooks themselves. There's always a beat to grab on to, sometimes tribal, sometimes poppy, but always danceable, and "Goo" rocks as hard as Mudhoney, while working on about half a dozen more levels. Call "Goo" the "Exile on Main Street" of the snide generation” – Los Angeles Times

Standout Track: Kool Thing

Deee-Lite – World Clique

Release Date: 7th August, 1990

Label: Elektra

Review:

“Groove Is in the Heart" defined the summer of 1990 on radio and MTV with its delicious combination of funk, modern dance sheen, and Lady Miss Kier's smart, sharp diva ways. Add in guest vocals and bass from Bootsy Collins (a pity his hilarious video cameo wasn't represented here), brass from the original Horny Horns duo of Fred Wesley and Maceo Parker, and a smooth mid-song rap from A Tribe Called Quest's Q-Tip, and the results sounded good then and now. The rest of World Clique offers variations on the song's theme, with Kier's sweet, light vocals and DJs Dimitri and Towa Tei making it work in various ways. It's still a bit surprising that Kier didn't go on to greater fame on her own, because she definitely has not merely the pipes but the personality to carry something on her own -- compared to the dog-whistle vocal calisthenics of someone like Mariah Carey, there's no contest. Check out her work on songs like "Good Beat" and the amusing sass of such numbers as "Try Me on, I'm Very You." The two musicians come up with a seamless, adept flow throughout, merrily raiding whatever they so choose in the past for their own purposes. Disco is the heart of it all, with everything from hip-hop breaks to bubble-salsa piano -- even early Depeche Mode! -- taking a bow; hints of the future genre-mashing Towa Tei would make his own trademark are already plentiful. Bootsy and the Horny Horns crop up at other points as well, adding just enough classic funk to blend with the crisper electronic pulses and arrangements” – AllMusic

Standout Track: Groove Is in the Heart

Public Enemy – Fear of a Black Planet

Release Date: 10th April, 1990

Labels: Def Jam/Columbia

Review:

“Fear of a Black Planet from 1990 made kindling of the previous summer’s anti-Public Enemy sentiment, quoting the group’s biggest critics in interludes and ribbing them in the songs. “Contract on the World Love Jam” weaves negative news reports into a scene-setting intro; later “Incident at 66.6 FM” sets outraged calls from a Chuck D squareoff with New York political radio host Alan Colmes over sedate keys and drums, playing the grumps for squares without even responding to their charges. A late album Terminator X showcase snarkily titled “Leave This Off Your Fuckin Charts” is a tenacious dare. Elsewhere, Fear pulls the camera off P.E. to speak to community issues. “Anti-Nigger Machine” and “Who Stole the Soul?” levied heavy accusations of censorship while “911 Is a Joke” explored black community police mistrust and “Fear of a Black Planet” tackled apprehension about interracial dating. Sourcing Public Enemy’s media struggles back to age-old racial strife was a brash, heavy-handed play, but Fear’s genius trick was coating its righteous rage in music that aimed to groove where earlier songs seemed to want to maim” – Pitchfork

Standout Track: 911 Is a Joke

Eric B. & Rakim – Let the Rhythm Hit ’Em

Release Date: 19th June, 1990

Label: MCA Records

Review:

“Eric B. mixes beats and snatches of melody with a be-bop drummer’s sure, steadily swinging hand; he’s the Max Roach of the twin turntables. Listen to how he echoes and comments on Rakim’s lines throughout “Keep ‘Em Eager to Listen” without ever stopping the groove. And on “Untouchables” these two take hip-hop straight to the astral plane. Whether scratching up the late-Sixties sound of freedom jazz or matching a walking acoustic bass and a wailing trumpet to the call of the funky drummer, this bold attempt at cross-generational fusion says more about the Afro-American cultural continuum than a truckload of medallions and dashikis. A lot of rappers talk about “dropping science” these days; Eric B. and Rakim just do it” – Rolling Stone  

Standout Track: Run for Cover

The Breeders – Pod

Release Date: 29th May, 1990

Labels: 4AD, Elektra Records

Review:

“Though the album doesn't feature as many of Donelly's contributions as was originally planned -- which was part of the reason she formed Belly a few years later -- songs like "Iris" and "Lime House" blend the best of the Pixies' elliptical punk and the Muses' angular pop. Pod reaffirms what a distinctive songwriter Deal is, and how much the Pixies missed out on by not including more of her material on their albums. With their unusual subjects -- "Hellbound" is about a living abortion -- and quirky-but-direct sound, songs like "Opened" and "When I Was a Painter" could have easily fit on Doolittle or Bossanova. But the spare, sensual "Doe," "Fortunately Gone," and "Only in Threes" are more lighthearted and good-natured than the work of Deal's other band, pointing the way to the sexy, clever alternative pop she'd craft on Last Splash. A vibrantly creative debut, Pod remains the Breeders' most genuine moment” – AllMusic   

Standout Track: Glorious

Depeche Mode – Violator

Release Date: 19th March, 1990

Label: Mute

Review:

“Then "Enjoy the Silence," a nothing-else-remains-but-us ballad pumped up into a huge, dramatic romance/dance number, commanding in its mock orchestral/choir scope. Follow-up single "Policy of Truth" did just fine as well, a low-key Motown funk number for the modern day with a sharp love/hate lyric to boot. To top it all off, the album itself scored on song after song, from the shuffling beat of "Sweetest Perfection" (well sung by Gore) and the ethereal "Waiting for the Night" to the guilt-ridden-and-loving-it "Halo" building into a string-swept pounder. "Clean" wraps up Violator on an eerie note, all ominous bass notes and odd atmospherics carrying the song. Goth without ever being stupidly hammy, synth without sounding like the clinical stereotype of synth music, rock without ever sounding like a "rock" band, Depeche here reach astounding heights indeed” – AllMusic

Standout Track: Enjoy the Silence

FEATURE: Quiet Is the New Loud: The ‘Fan’ Who Wasn’t There: Why the Strange Case of Threatin Is Not So Unusual

FEATURE:

 

 

Quiet Is the New Loud

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

The ‘Fan’ Who Wasn’t There: Why the Strange Case of Threatin Is Not So Unusual

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IT is not often you get something lighthearted to report in music…

where you can all get together with the same reaction: This is just plain weird, right?! Maybe it is not such a joke for those who have been scammed and mislead but many might be familiar with the rather odd case of Threatin and the fact they – or ‘he’ – has been touring and promising all these fans, sales and big shows. It was, in fact, an illusion and something that makes one wonder why he went to such lengths. Here are the details regarding the story:

“With hundreds of ticket sales, legions of social media followers and adoring messages posted online from teenage fans, Californian metal band Threatin appeared more than ready to conquer the UK music scene.

Venue managers liaised with an apparent booking agent and record label, gladly signing them up in the hope of sell-out crowds.

The reality was a rather different story. This band was unknown, they had no fans and no management.

They toured the country playing to completely empty gig venues and as they did so last week,  their story began to unravel.

The band, and in particular the sole permanent member Jered Threatin, has been accused of creating a fake legion of fans in order to land the UK tour.

Rob Moore, singer and guitarist in hardcore punk band Dogsflesh, which supported Threatin in Newcastle to an audience of four people, said: “The effort that he's gone to to portray himself as a big star is quite phenomenal...

"In all the years I've been involved in music I've never known anything like this.”

The band Kamino, which supported Threatin in Bristol, said they began to do their own digging and allege that the entire tour was based on fabrications stemming from paid social media “likes” for each show.

“Having delved deeper we realised the same practices were in place on his YouTube channel, his Facebook page, even on previous US tour dates listed on his website,” they wrote online.

“And when looking more closely at his website - all the industry contacts listed don't exist. Essentially, the entire history of Threatin is a lie”.

It seems Threatin’s figurehead enjoyed playing to near-empty venues and seemed to get some strange kick off of promulgating this ruse and having barely anyone turn up. Looking at the cover designs for his music and the aesthetics and there is something a bit Spinal Tap about it! If it were a fake Popstar or Folk artist, someone who looked the real deal, then it would be more baffling but, looking at the whole Threatin project, and it does seem like this rather comical and weird conceit.  There are tweets and videos going around of this band playing to empty venues and seemingly enjoying themselves. Whilst the saga is over and they cancelled their last couple of dates, one wonders what the impact is on venues.

This is one of those weird-as-crap situations that, like a nuclear disaster, one hopes they do not have to see again! The fact that Threatin successfully managed to dupe venues and purport this rather elaborate hoodwink makes me wonder whether it will start a trend. Maybe the goal was for this grand hoax to generate more publicity and curiosity than the music ever would – which is rather sh*t to be honest – and get some sort of odd ‘curiosity fame’. Like hostages being drawn into this odd and rather interesting situation; one does not hope the band is given any record deals and undue publicity after this. The venues that have been misled have shown anger and relief and, aside from a bit of humour here and there, it has been a bit embarrassing. In cases where the band played in the U.K. and Europe, it seemed like the venues were paid but the fact they reserved an entire evening to this band and had no bar sales and any other revenue means a lot of money has been lost. It seems amusing and bizarre from the outside but it makes me curious as to whether, going forward, venues will need some way of corroborating bands/artists’ stories of fanbases/ticket sales. The vast majority of artists out there are legitimate and do not go to such ridiculous lengths to get gigs but, if there are benefits and profits to be made by Threatin – maybe people will buy their music out of sheer curiosity – then struggling and anonymous bands might try the same thing.

I hope we do not see anything like this again because it looks bad for the venues and they have to lose a night that could have gone to a genuine act. It is embarrassing for the support artists who were hoping for exposure and new fans and the whole charade is a bit mystifying and strange. There was no situation where the band would have got money and positive media attention. They faked ticket sales and fan numbers on social media and there is no way they can come back from it. Threatin are not going to suddenly see those fake numbers replaced by real fans and get gigs off the back of this. Although there has been nothing quite as stupefying and film-worthy as this – maybe that was the plan?! – it is not unusual for artists to exaggerate their worth and popularity. It has been happening for a few years but I wonder why any artist would buy online followers and go to these kinds of lengths. It seems, in the modern market, Facebook and Twitter numbers are more important than the quality of the music. Whereas genuine artists can create great music and get fans that way; there is this whole other world where people are buying followers to boost their numbers; it makes them seem more attractive and huge and, for sites like Spotify that have a bare-minimum membership in terms of followers – this has recently changed – it is a duplicitous and scurvy way of going about things.

It is not just buying followers and that side that bands employ. Some artists publicise hoaxes and use them to gain traction:

“Most people only learned of L.A. band Yacht when its members claimed to be revenge porn victims in May 2016. In a fake effort to get ahead of a leaked sex tape (which later turned out to be a dull music video posted on PornHub), Yacht announced it would be selling copies of it for $5. But Jezebel then revealed the hoax for what it was and the band issued an apology”.

Some say buying followers and taking a rather nasty route in is okay. This article argues some positive aspects:

“When explaining why I believe purchasing social media followers is a good thing, I always use the analogy of a party.

Nobody wants to go to a party until there are plenty of people there and it’s in full force, right? But if that’s the case, how is one supposed to get a party started? The same can be said for your Twitter or Instagram page. Why would anybody want to click the follow button on an account with 25 followers, even if the content seems to be great upon first glance?

Feel free to invite all of your friends and pre-existing fans to join you in these places, and then do a quick Google search to see about upping those numbers. You don’t need many, and in fact, why purchasing, you should do so intelligently. If you are an artist with only a few songs out and yet you have 50,000 followers on Twitter—we’ve all seen these people—nobody is going to believe you, and your efforts will end up backfiring, making you look like a fool in the process...

PHOTO CREDIT: @sharonmccutcheon/Unsplash 

Think before you buy.

Will 500 followers make you look appear to be on your way? 1,000? Maybe start with one and eventually spend your way to that second figure? There are many different ways to go about this, but you need to be aware that people are going to quickly glance at your follower counts and judge you instinctively based on them.

Now, you may be thinking that this is all an exercise in vanity, and I’d say you’re right, but only partially. Having a respectable follower count on popular platforms shows that some people have invested in you, if even in some small way (and even if they aren’t real, but that’s just between you and I). It tells those that might be potentially interested in booking you to play a venue, a festival, or even to sign to a label that there are people out there that are interested, and that there might actually be something to the artist in front of them”.

 There is this argument – for those who buy followers – that promoters, venues and streaming sites have a minimum number when it comes to followers and fans. It can lead artists to buy these followers and create fake profiles. This article from 2016 brought together Music Consultant and Internet marketing veteran Tony Harris regarding whether musicians should buy followers:

“As Twitter’s dominance as a platform reaches its apex, the phenomenon of fake profiles have emerged, and the tens of millions of bot accounts created by marketers are flooding Twitter with spam and noise. Thousands of fake accounts are created weekly, diluting and distorting the effect of this large community. As auditing tools allow more transparency into the authenticity of accounts, it becomes more and more crucial not just to build numbers, but quality followers – the ones that have true value as influencers, brand ambassadors and people who engage and spread awareness of the brand. The illusion of a massive following is often just that, with the reality being that only a fraction of the perceived audience ever sees content tweeted from the account. There’s usually an even larger number of inactive or low-quality followers, that are real users but not likely to see or share or engage in the content. I was quoted in this Associated Press article about the Fake Follower Industry. (You can find that article here)...

PHOTO CREDIT: @freestocks/Unsplash 

It seems like everywhere you turn these days, you need to have a lot of followers on social media in order to get noticed. It’s not just talent scouts who are looking. If you want to get press coverage, there’s no story unless you have a big following. It’s democratized eyeballs. A periodical will not necessarily even write about an artist unless they know the artist retweeting or sharing that interview will bring them a certain number of eyeballs. Press people and journalists, booking agents, A&R people, talent scouts – all these people now need to see a huge following on social media in order to take interest in an artist”.

There are plenty of articles that argue against paying for followers because, in a tough and competitive market, it is unfair for talented artists who cannot afford to buy fans be overtaken by people who take a quicker route:

“To the untrained eye, social media numbers are important. However, if you delve, you'll notice inconsistencies. For example, a band may have a ton of "followers," but few likes on their photos. Alternately, a band may have lots of Soundcloud plays on a particular song, but few comments.

The music market is a brutal one. Any advantage, even an inflated or false one, could result in an opportunity not otherwise had. However, at some point, if you cheat, it will all fall apart for you. Potentially, in a very embarrassing way, like at a gig. Not only is cheating unfair to other bands, but funding endeavours that enable you to cheat causes a complex problem in the music market...

 

I am an advocate of any media that attempts to create a new stream of income for musicians, especially after the destruction of the CD market. Radio-like streaming services such as Spotify, Rdio and so on, hold a lot of promise; they compensate artists per song play. Some argue that they don't compensate artists enough. However, these services represent the promise of a new way for musicians to make money.

My fear is: will schemes that allow people to buy popularity proliferated into other areas of the market? Could they destroy promise of new income streams for musicians?”.

Whilst this is not quite the same as Threatin and what they did; there is all manner of fakery and exaggerated numbers online. You are never too sure whether the Facebook and Twitter numbers are real and whether we are too dependent on numbers. When all is said and done; campaigns, gigs and promotion should be based around genuinely great music that does not need misleading social media numbers and any sort of paid marketing. I often feel like streaming figures and follower numbers is the exact opposite of truth and appeal. The artists with fairly moderate and realistic follower numbers tend to be the best. These mainstream artists with millions of followers seem, on the surface, to be the best and top of music but their actual sounds are average and overly-commercial. It might be naïve of me but I wonder whether music has become too numbers-driven and business-minded. Given the number of people coming into music; is it possible to have a purely talent-based system where quality gets you where you need to be? The case of Threatin seems weird and a one-off but there are plenty of artists buying their fanbase and paying to make themselves more popular than they really are. I think it all needs to stop and there needs to be some system where bands/artists buying followers needs to be stamped out. Let’s hope the pantomime of Threatin does not lead to impersonators and repeat performances but, if you look close enough, there are plenty of other artists out there who are...

 PHOTO CREDIT: @rawpixel/Unsplash

NOT all they seem.

INTERVIEW: Jana & The Lanterns

INTERVIEW:

Jana & The Lanterns

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THANKS to Jana of Jana & The Lanterns...

for telling me the story behind the debut single, Birdhouse, and what its story is. I was keen to know if there is more material coming and which artists Jana got involved with at a young age – she tells me what she wants to achieve going forward.

The songwriter selects some albums important to her and reveals whether there are gigs coming; which rising artists we need to get behind and whether she gets time to unwind away from music – Jana selects a great track to end the interview with.

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

Hi, Sam. I’m ok, thanks. This week has been busy, but good.

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

Sure. My name is Jana. I live in London and I’m a musician and singer-songwriter. I started playing with my band about two years ago and named the project ‘Jana & The Lanterns’. It’s essentially Folk-Rock with hints of Pop, Country; maybe a hint of Jazz. I’m having a hard time putting it in the box, actually (smiles).

What is the story behind your new single, Birdhouse?

It started as a poem. I was just lying on a sunbed, writing a poem about birds. There was a birdhouse in the tree nearby and I realised that they only stay there for a while before flying away. It was like a temporary home. Hence, the lyric “Even a wanderer needs a piece of home every now and then…”.

Do you think there will be more material coming next year?

Definitely. We recorded five songs for an E.P. which will be released in 2019.

Which artists did you discover young and become involved with?

Sting was probably my first big influence when it comes to ‘popular’ music.  

Do you listen to a lot of modern music or do you find you gravitate towards classic artists?

I love listening to time-proven classics but from the newer people I prefer Father John Misty, Chris Stapleton; Lianne La Havas, Florence & the Machine...there is good music around.

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

I’d love to spread our band’s name around; introduce our music to as many people as possible. Releasing of the second single is planned too.

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

Well…there are a few. Playing at a Progressive Rock festival in Miami and meeting Mike Portnoy and Jon Anderson was pretty spectacular.

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

Mercury Falling by Sting

I found it in my dad’s C.D. collection and was amazed by the impeccable musicianship of the band, imaginative songwriting and arrangements. Never heard anything like it before. You know there’s a direct link between hearing that album and me coming to England (smiles).

Nat King Cole (compilation)

My interest in Jazz started with this.

Blue by Joni Mitchell

It showed me how much of an impact you can make with just a voice and a guitar/piano and that it’s possible to get abstract in expression while remaining very direct to the listener. I suspect it’s only possible with Joni.

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

Oh; I don’t know. There are so many great people around. It would be cool to support Father John Misty cause he’s one of a few singer songwriters that is REALLY honest and doesn’t make compromises. Good music is obviously the first priority for him.

What advice would you give to new artists coming through?                   

Well. I am a new artist myself. That doesn’t mean I haven’t been making music before - I was fortunate to have a lot of amazing Classical music teachers that taught me discipline, dedication and refining musical taste. So, passing on their advice; listen to a wide spectrum of genres and practice, practice, practice.

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

At the moment, I am playing some solo/duo gigs with my guitarist. A proper tour will follow after the E.P. release. There’s an amazing Folk club in London called The Lantern Society that I play at quite often. Wonderful people and the performers are always great.

 IN THIS PHOTO: Aksel Undset/PHOTO CREDIT: Annika Derksen

Are there any new artists you recommend we check out?

I’ve seen this Norwegian guy recently, Aksel Undset. Beautiful landscape-like harmonies and melodies; incredible guitar playing too.

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

Haha. I never really chill away from music: it’s just in me. I’m always writing or just humming or thinking about swapping the melody of the new chorus for the old one as it was better in the end…otherwise I just watch a movie or go out for a walk (smiles).

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).

Joni Mitchell – Help Me

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Follow Jana & the Lanterns

Official:

https://lanterns.band/

Facebook:

https://www.facebook.com/lanternz/

Instagram:

https://www.instagram.com/lanternsmusic/

Spotify:

https://open.spotify.com/artist/1ctoLjeMAYy8ICTwnnBC23?si=sV1go8XCSbi8FWD7Hzx5NQ

SoundCloud:

https://soundcloud.com/janaandthelanterns

YouTube:

https://www.youtube.com/channel/UCIuydgE2KkAIPgHj3UqkA3g