INTERVIEW: In My Days

INTERVIEW:

PHOTO CREDIT: Matthew Halangk

In My Days

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I have time for one more interview before the day’s end...

 PHOTO CREDIT: Matthew Halangk

so I have been speaking with In My Days about their new single, Counting Up the Nights, and how it came together. They talk to me about their formation and the sort of music that influences them; which approaching artist they need to get behind and what is top of their Christmas wish-lists.

I ask the guys if there are any albums especially important to them and whether there are tour dates coming up; what advice they’d give to rising musicians and whether they get chance to relax away from music.

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

Hey, there. We’re really fine, thanks. This week has been great so far. We have spent lots of time in the studio composing new tracks. What about you?

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

We are In My Days; an Indie-Pop band from Magdeburg, Germany.

Counting Up the Nights is new. Is there a story behind it?

Counting Up the Nights describes an exciting journey into the unknown, combined with the feeling of coming home. Like being caught in a time loop with an unattainable destination but still holding onto dreams.

How did In My Days get together? Did you bond over similar musical tastes?

We have been friends since childhood and started playing in a band at school. That sound was horrible. Fortunately, we have improved ourselves a bit. Haha.

 PHOTO CREDIT: Matthew Halangk

In terms of music; which artists are you drawn to?

Bastille, Coldplay, Alt-J and many more. 

Might we see more material coming next year?

Yes, definitely. We are going to release a new single in spring 2019.

As Christmas is coming; what one present would you each like if you could have anything?

Dennis: It’s time for a new piano.

Charly: Cool boots for the stage.

Tino: Some friends.

PHOTO CREDIT: Christoph Eisenmenger

Do you already have plans for 2019?

Yeah, we are going to play a tour in several German cities in February. After that, we’re planning to release some new tracks. 

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

This summer, we really enjoyed playing on a huge stage in front of more than 10,000 people.

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

Dennis: Fenech-Soler – Zilla. Every track has its own story of wonderful moments. I have to thank these boys for those nice tracks.

Charly: In My Days – Dream Out Loud. Maybe it’s stupid to choose my own album but it has been a crazy experience composing and recording it.

Tino: There are too many tracks/albums that inspire me.

  PHOTO CREDIT: Matthew Halangk

What advice would you give to new artists coming through?

Compose some tracks (maybe four-five), record them; play some newcomer contests and never stop being ambitious.

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

We do. We are going on the Dream Out Loud Tour - February 7th in Berlin; 8th in Cologne; 9th in Brunswick and on 10th in Hamburg.

 IN THIS PHOTO: Arionce

Are there any new artists you recommend we check out?

Arionce is a pretty cool band from Berlin.

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

No, not really. At the moment, we don’t want to chill away because we have to do exciting university stuff.

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).

Dennis: Empire of the Sun – High and Low

Charly: Amber Run – I Found

Tino: Willie Nelson – On the Road Again

Thanks for having us,

Dennis, Charly & Tino.

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Follow In My Days

 PHOTO CREDIT: Matthew Halangk

Official:

https://www.inmydays.com/

Facebook:

https://www.facebook.com/inmydays

Spotify:

https://open.spotify.com/artist/4wiNbKLUkpCERlQvChYEXR?si=cgj5KPywTka4mbQJODFXUg

Instagram:

https://www.instagram.com/in_my_days/

Twitter:

https://twitter.com/inmydays

YouTube:

https://www.youtube.com/channel/UCt8kvXiSQ36HY2A9MuIlrYQ

FEATURE: A Change Will Do You Good: BBC Radio 6 Music: Changes, Progress and a Christmas Celebration to Remember

FEATURE:

 

 

A Change Will Do You Good

IN THIS IMAGE: BBC Radio 6 Music presenters united (Top Row: Iggy Pop and Huey Morgan; Middle Row: Chris Hawkins, Mary Anne Hobbs; Craig Charles, Marc Riley and Tom Ravenscroft; Bottom Row: Shaun Keaveny, Lauren Laverne; Mark Radcliffe, Stuart Maconie and Steve Lamacq)/IMAGE CREDIT: Kind permission granted by Steve Paul Myers (his work is also available through Paper Voice)

BBC Radio 6 Music: Changes, Progress and a Christmas Celebration to Remember

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I am trying to find the right phrase or words...

IN THIS PHOTO: Shaun Keaveny (who leaves the breakfast show on BBC Radio 6 Music after eleven years to take charge of the new early-to-mid-afternoon show in January)/PHOTO CREDIT: Getty Images/PBJ Management 

to describe BBC Radio 6 Music’s changes and what will happen in 2019! It might seem strange that we are going to see much-loved D.J.s in new slots but, at the end of the day, we are not losing anyone! It is almost like a family: having that bond and safe set of voices that guides you through life. If one/more of them has to move away or our comfortable routine is disturbed then that is hard to get the head around. I was a bit shocked when it was announced a few of the station’s D.J.s were going to new timeslots. I have written about it before but it is worth repeating. Shaun Keaveny  - who is currently doing the breakfast show and has been for eleven years – will be replaced by Lauren Laverne; Keaveny will take the afternoon slot currently occupied by Stuart Maconie and Mark Radcliffe (who is on sabbatical/medical leave as he is getting treatment for cancer). It is a simple change and, to be fair, lasting eleven years in a breakfast slot is impressive going! It is the oddity of not hearing familiar links and jokes that time of the morning. Laverne will bring a lot to the new show and it will be great but both D.J.s’ strong suits might have to be cut of revised. Is a more refreshed Keaveny going to be a lot less moany (if it is a word?!) and angered?

 IN THIS PHOTO: Lauren Laverne (who will move from her 10 A.M.-1 P.M. slot to the new 7:30-10:30 A.M. breakfast show as part of the station’s line-up change)/PHOTO CREDIT: Boden Diaries

There is something wonderful hearing him have a bit of a go in the morning and, whilst we might lose some of his links/beds; it will provide a chance for new features to come through and a different show. I always tune into Lauren Laverne’s show because of the audience-led segments: Desert Island Disco, Memory Tapes and Biorhythms are wonderful intriguing and it is good to be involved with the show. I guess that cannot continue on breakfast – as people would have to get up earlier and would the tone be suitable? – but I hope not too much is lost. I am interesting seeing what new changes come into the breakfast and afternoon shows and, with Laverne taking a bow and moving from the ten-one slot; it provides a chance for Mary Anne Hobbs to fill that position. Chris Hawkins (whose show I love), who is before Shaun Keaveny in the morning, gets an extra half an hour and, apart from that, there are not a lot of changes – Radcliffe and Maconie, in a controversial move, are on weekends during the morning (I was shocked such a decision was made by the BBC!). No radio station can last with the same format and line-up for so long and the fact there is such retention and loyalty at the station is testament to the dedication and love each D.J.s has for BBC Radio 6 Music.

 IN THIS PHOTO: Mary Anne Hobbs (who takes over Lauren Laverne’s mid-morning/early-afternoon time slot next year)/PHOTO CREDIT: Jessica van der Weert

A rested Keaveny can add something different to the afternoon slot and I think it is great to see two female D.J.s side by side. It is the first time the station has had a female breakfast host and, with BBC Radio 2 employing Zoë Ball to replace Chris Evans, it is a positive change that many did not see coming. Sara Cox is doing her own drivetime show – the first woman on the station to do that for I don’t know how long – and Jo Whiley will also get a chance to step out and present a show. It is good to see changes because, as much as anything, there is more gender equality and a chance for D.J.s to try new slots. If you have the same thing every day, yes, it is comfortable and familiar but there is never anything new and progressive. Maybe it will be a while before all at BBC Radio 6 Music (those affected) adjust to their new roles but, before you know it, it is like nothing has happened. I think Justin Moorhouse said it best when speaking with Shaun Keaveny earlier this morning. The personal shift is like moving furniture around the house. It looks new and fresh but, essentially, it allows for more room and benefits everyone.

There will be, however, a bit of a tear in the eye when we see the ‘final’ shows from Shaun Keaveny, Lauren Laverne and RadMac in a matter of days. I shall come onto the special celebration that is happening but how will we see the breakfast show bow out? Is Keaveny going to get emotional or will it go out with a bang?! (It sounds like I am pensioning them off!). I know Lauren Laverne will keep it strong and together (or maybe not?) but her faithful following are used to her delighting us before lunch and it seems strange that she will no longer be there. It is great, as I have said, Mary Anne Hobbs gets more airtime – she is currently in the position RadMac will occupy next year – and, whilst there are some small movements, it adds to a big change. Many BBC Radio 6 Music listeners have voiced their concern and sadness things will change but it is a positive move that will benefit the station. You only need to look at the listening figures to know BBC Radio 6 Music gets stronger by the year and, as we move towards 2019, that will continue without compromise. I feel, even though no new D.J.s are coming in, many new listeners will come through and discover the station. I feel 2019 is a year when BBC Radio 6 Music should draft in some new talent; either promoting smaller-league D.J.s who cover and do the odd show or scout like-minded stations and nab someone there (maybe a full-time slot for Huw Stevens at the weekend and a more regular run for the excellent Jon Hilcock!).

 IN THIS PHOTO: Mark Radcliffe and Stuart Maconie (RadMac) will leave their afternoon show and host the weekend breakfast show from next year/PHOTO CREDIT: Getty Images/BBC

It is sad to see the end of an era and a configuration alteration but this year has been a huge one for the station. I have failed to mention all the other people who have made it such a bumper year. From D.J.s like Steve Lamacq, Marc Riley; Craig Charles, Liz Kershaw, Nemone and Cerys Matthews through the music news presenters (Georgie Rogers, Matt Everitt; Claire Crane and Elizabeth Alker); to the producers and assistants that make every drop and note of the station’s output as strong and memorable as possible! I have left some people out but, in truth, every one there is essential and it is the variation of BBC Radio 6 Music that makes it what it is. So many radio stations are rigid or beholden to a very particular style of music. Whether mainstream Pop or the less adventurous and cool; there is nothing that comes up to the standard and eclecticism of BBC Radio 6 Music. There were fears and concerns, when the station launched in 2002, that they were too aimed towards blokes, guitar music and not a lot else. That position seems to be occupied by Radio X (or ‘Lads F.M.’, as it should be branded!) but you cannot accuse BBC Radio 6 Music of being only about Alternative sounds. So much of the music I have discovered this year is because of the station and it is impossible to switch over.

From the early morning uplift and humour through to the different tones of the later day; it is a pleasure to hear different voices provide endless pleasure and new music. That blend of classics sounds the best of the underground is what makes it such a strong station. I have featured so many artists who have been played by BBC Radio 6 Music and they always get such a boost and buzz from that. Special guests (from comedians and actors to public figures) offer something different and the live sessions and immense. So many of the bigger artists emerging have BBC Radio 6 Music to thank for getting them where they are! I have to thank every one of the people who works at the station for giving me such a boost and sense of guidance in a difficult year and, as ever, the ultimate ambition is to have my own show (or a one-off) playing some cool music and being sat in a very special and sought-after space. I am confident all the changes will lead to a refreshed and ever-moving station and it will be interesting to see what everything sounds like in 2019. There is not a lot more I can add to that side of things – I have written about the station a bit this year – but I know everything will be awesome and, whilst change is sad and strange, we will all love what is coming up.

PHOTO CREDIT: Getty Images/BBC

I am in two minds whether to apply for tickets to go to the station’s Christmas party on Friday 14th. It is the last shows of the year for D.J.s like Keaveny and Laverne and it is a handover show where all the D.J.s that are moving (not including Mark Radcliffe, I do not think) will be under the same roof and get to say working alongside one another. Rather than having a sad and teary goodbye (there will be some, I guess…) it is going to be like the last day in the office – everyone bringing food and having a laugh before heading off for Christmas. I would love to be there but not sure whether I can wangle the day off and where I will be. I shall make the pitch and see how things go but I know there is an awful lot of competition to be in (the legendary) Maida Vale – it will be one of the last time the iconic studios are going to be used before they are closed and no longer part of the modern tapestry. I know a few of the D.J.s have had a rather tricky time this year for personal reasons and it seems the entire BBC Radio 6 Music family have pulled together...and that includes the listeners. It is that shared love and support that not only makes the station such a tight-knit and compelling compulsion but it will mean, a week from Friday, the fans and D.J.s will be able to get together and celebrate the end of a wonderful year!

 IMAGE CREDIT: Getty Images/BBC

I am not sure what is planned regarding surprises and guests -but it will be great hearing everyone together and in such good spirit. There will be shows between 14th and next year but it will be the last time we will see the classic, established line-up in their familiar places. Head over to the BBC Radio 6 Music page and you can get a chance to attend the all-day party (I think you need to email each individual show for tickets). I know Mary Anne Hobbs is doing a live Desert Island Disco on Laverne’s show and Keaveny has some treats in store; Maconie will be there and it will be good to hear what he has to say. It will be a festival and great day that you will not want to miss out. Send an email in and state your claim to a couple of golden tickets – to a great party that ends a fabulous year for BBC Radio 6 Music! I will wrap things up…but there are loads of reasons to follow BBC Radio 6 Music into the New Year and discover what they have in store. It might be weird for someone to write so extensively about a radio station but, like many, radio is an essential portal that allows escape, connection and eye-opening discovery. Although I have only met Matt Everitt from the station; I feel like I know everyone there and it is like being part of this rather large and broad family! Let’s not be sad that there are changes and things will be different: celebrate the end of a big year for BBC Radio 6 Music and make sure you tune in and listen to the new shows next year. Things are changing but, y’know, staying the same. It will be odd to hear something familiar yet not quite as we remember and, soon enough, we will all get used to it. I know many people have to thank BBC Radio 6 Music for so many reasons – I am very much included in that. It is only left to say a big thanks, happy Christmas and here’s to...

PHOTO CREDIT: @rawpixel/Unsplash

A wonderful New Year!

FEATURE: The Very Best of The Superlatives: Eleven Incredible Greatest Hits Collections

FEATURE:

 

 

The Very Best of The Superlatives

PHOTO CREDIT: @all_who_wander/Unsplash 

Eleven Incredible Greatest Hits Collections

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IT is around this time of year...

PHOTO CREDIT: @dmitrybayer/Unsplash 

we are flooded with adverts that promise us particular products are the ‘perfect Christmas gifts’. It can be applied to anything from toiletries to music through to books. It is quite random and vague marketing and, alongside that, we have various albums that are billed as ideal Christmas stocking fillers – despite their being nothing Christmas-related about them. More often than not, these promoted albums are a bit cheesy and most people would not otherwise bother too much with them! It is inevitable that the greatest hits collections are dusted off, shone and put back onto screens as that must-have Christmas collection. One of my happiest Christmas memories was receiving The Beatles’ greatest hits collection, 1. It is all their number-one hits and, as a youngster who grew up around the band, it was/is a C.D. I have played to death! I actually think that the ‘best ofs’ and greatest hits collections are great gifts as it can introduce someone to an artist and is a good, accessible start. As there are a couple more weeks to get your get your Christmas shopping sorted; here are eleven must-own greatest hits collections that would make for superb listening. Maybe you might not be able to afford all – and this is quite a subjective list – but there is so much in the rundown that will delight and stay in the mind. Have a listen to the fantastic albums and, if you are short of a gift idea or two...

 PHOTO CREDIT: @karishea/Unsplash

I have some suggestions!

ALL ALBUM COVERS: Getty Images

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Madonna – The Immaculate Collection

Release Date: 9th November, 1990

Period Covered: 1983-1990

Number of Songs: 17 (Standard Edition)

Label: Sire

Length: 73:32

Download/Stream: Material Girl; Papa Don’t Preach; Express Yourself

Stream: https://open.spotify.com/album/5MzwGwnO9gkh0z6Nl4FF8h?si=V0yw9ZZRTYK4IGt8MVEYQA

Buy: https://www.amazon.co.uk/Immaculate-Collection-VINYL-Madonna/dp/B07CF6X8QT/ref=sr_1_2?ie=UTF8&qid=1543826263&sr=8-2&keywords=the+immaculate+collection

Alternative Madonna Greatest Hits: Celebration (two-disc version)

The Best of the Best: Vogue

The Beatles – 1

Release Date: 13th November, 2000

Period Covered: 1962-1970

Number of Songs: 27 (Original Release)

Labels: Apple/Parlophone; Capitol

Length: 78:39

Download/Stream: She Loves You; Day Tripper; Penny Lane

Stream: https://open.spotify.com/album/7vEJAtP3KgKSpOHVgwm3Eh?si=m-49akTESAKw3iBlQ4ZCZw

Buy: https://www.amazon.co.uk/1-VINYL-Beatles/dp/B015P76FM4/ref=tmm_vnl_swatch_0?_encoding=UTF8&qid=1543826827&sr=8-2

Alternative Beatles Greatest Hits: The Beatles/1962-1966 (The Red Album)

The Best of the Best: Hey Jude

 

ABBA – Gold: Greatest Hits

Release Date: 21st September, 1992 (Original Release Date)

Period Covered: 1973-1981

Number of Songs: 19 (Worldwide Edition)

Labels: Polygram; Universal

Length: 77:10

Download/Stream: Dancing Queen; Take a Chance on Me; Waterloo

Stream: https://open.spotify.com/album/2cKZfaz7GiGtZEeQNj1RyR?si=JKO-IbPmSsa6pOlrUlvaow

Buy: https://www.amazon.co.uk/Abba-Gold-Greatest-Hits-ABBA/dp/B001KEB1NU/ref=sr_1_1?ie=UTF8&qid=1543827029&sr=8-1&keywords=abba+gold

Alternative ABBA Greatest Hits: More ABBA Gold

The Best of the Best: Super Trouper

 

Michael Jackson – The Essential Michael Jackson

Release Date: 19th July, 2005

Period Covered: 1969-2001

Number of Songs: 38 (European and International Version)

Labels: Epic; Legacy; Sony BMG

Length: 145:06

Download/Stream: Rock with You; Off the Wall; Smooth Criminal

Stream: https://open.spotify.com/album/77dNyQA0z8dV33M4so4eRY?si=DklCG6H5T4673nz96oPPJQ

Buy: https://www.amazon.co.uk/Essential-Michael-Jackson/dp/B006I5O3M2/ref=sr_1_1?ie=UTF8&qid=1543827602&sr=8-1&keywords=the+essential+michael+jackson

Alternative Michael Jackson Greatest Hits: King of Pop

The Best of the Best: Billie Jean

 

Kate Bush – The Whole Story

Release Date: 10th November, 1986

Period Covered: 1975-1986

Number of Songs: 12

Label: EMI

Length: 48:53

Download/Stream: Wuthering Heights (New Vocal); Cloudbusting; Babooshka

Stream: https://open.spotify.com/album/0o7IgUEAoOGzsolQgLpnTK?si=DyXF80IkRm2IWAZuSk1Iew

Buy: https://www.amazon.co.uk/s/ref=nb_sb_ss_c_1_16?url=search-alias%3Daps&field-keywords=kate+bush+the+whole+story+cd&sprefix=kate+bush+the+wh%2Caps%2C-1&crid=15VK9JMES3HGN

The Best of the Best: Running Up That Hill (A Deal with God)

Radiohead – The Best Of

Release Date: 2nd June, 2008

Period Covered: 1993-2005

Number of Songs: 17

Labels: Parlophone; Capitol

Length: 75:30

Download/Stream: Paranoid Android; Creep; Street Spirit (Fade Out)

Buy: https://www.amazon.co.uk/Best-Radiohead/dp/B00172MANK/ref=sr_1_1?ie=UTF8&qid=1543828224&sr=8-1&keywords=radiohead+best+of

Alternative Radiohead Greatest Hits: The Best Of (two C.D.)

The Best of the Best: Just

Elton John – 1970-2002

Release Date: 11th November, 2002

Period Covered: 1970-2002

Number of Songs: 34 (European Release)

Label: UTV

Length: 156:46

Download/Stream: Your Song; Crocodile Rock; I’m Still Standing

Buy: https://www.amazon.co.uk/Greatest-Hits-1970-2002-Elton-John/dp/B000071WET/ref=sr_1_1?ie=UTF8&qid=1543828474&sr=8-1&keywords=elton+john+Greatest+Hits+1970%E2%80%932002

Alternative Elton John Greatest Hits: Diamonds

The Best of the Best: Tiny Dancer

 

Eagles – Their Greatest Hits (1971-1975)

Release Date: 17th February, 1976

Period Covered: 1971-1975

Number of Songs: 10

Label: Asylum

Length: 43:08

Download/Stream: Take It Easy; Desperado; One of These Nights

Stream: https://open.spotify.com/album/2Lgsa7jbu86SK5zJVFCh3S?si=EUxcnIvTRoWjhenyrHiVXQ

Buy: https://www.amazon.co.uk/Their-Greatest-Hits-1971-1975-Remastered/dp/B00DAP2D2A/ref=sr_1_2?ie=UTF8&qid=1543828791&sr=8-2&keywords=eagles+their+greatest+hits

Alternative Eagles Greatest Hits: The Complete Greatest Hits

The Best of the Best: Lyin’ Eyes

 

Blur – The Best Of

Release Date: 30th October, 2000

Period Covered: 1990-2000

Number of Songs: 18

Labels: Food; Virgin; Parlophone

Length: 77:08 (Original Release)

Download/Stream: Beetlebum; Coffee & TV; Charmless Man

Stream: https://open.spotify.com/album/1bgkxe4t0HNeLn9rhrx79x?si=DDqRDeQzSaeJKROLIDDZQA

Buy: https://www.amazon.co.uk/Blur-Best/dp/B001J5H4NG/ref=ice_ac_b_dpb?ie=UTF8&qid=1543829104&sr=8-1&keywords=blur+best+of

The Best of the Best: Parklife

 

Prince – The Hits/B-Sides

Release Date: 10th September, 1993

Period Covered: 1976-1993

Number of Songs: 56

Labels: Paisley Park; Warner Bros.

Length: 225:53

Download/Stream: When Doves Cry; 1999; 7

Stream: https://open.spotify.com/album/3o0o5WPnqfGOeyx3UMJgvO?si=vNpW9rPIQKWCP-s7SxsfgQ

Buy: https://www.amazon.co.uk/Hits-B-Sides-Explicit-Prince/dp/B002CAEYU8/ref=sr_1_1?ie=UTF8&qid=1543829370&sr=8-1&keywords=prince+the+hits

Alternative Prince Greatest Hits: The Very Best of Prince

The Best of the Best: Purple Rain

 

David Bowie – Best of Bowie

Release Date: 22nd October, 2002

Period Covered: 1969-2002

Number of Songs: 39

Labels: EMI; Virgin.

Length: 156:20 (U.K. Version)

Download/Stream: Changes; Starman; Rebel Rebel

Stream: https://open.spotify.com/album/2PEAajl89bIS4eWMk7zlbV?si=_Q4lvn2zT7uph0lUFx-tOw

Buy: https://www.amazon.co.uk/Best-Bowie-David/dp/B00006J3KT/ref=sr_1_1?ie=UTF8&qid=1543829672&sr=8-1&keywords=david+bowie+greatest+hits+cd

Alternative David Bowie Greatest Hits: Legacy (The Very Best of David Bowie)

The Best of the Best: Heroes

INTERVIEW: Hayes & Y

INTERVIEW:

Hayes & Y

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 THE chaps of Hayes & Y have been telling me...

about their single, BLUE, and what compelled it; whether there is anything more coming along and whether they have any favourite albums/artists; how the scene in Manchester has changed and what it is like now – they tell me when the band started life and look ahead.

I wanted to know whether they get time to chill away from music; which artists they’d support given the chance; what they want for Christmas and whether there are rising artists to look out for – they select some great songs to end things on.

____________

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

Blago: Pretty great. Our new track came a month ago and we’re still enjoying the amount of attention it’s getting.

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

Ivo: We’re an Indie-Pop/Rock four-piece. Blago (vocals and rhythm guitar) Rado (lead guitar and keys) and myself, Ivo (bass guitar) all hail from the distant lands of Bulgaria and along with our Finnish drummer Dennis we have moved to the U.K. to soak up the music culture, get inspired and create some fine tunes. Even though we are sometimes labelled as Yacht-Pop or Rock, we don’t own any yachts. Dennis has a small boat though, so we are slowly getting there.

What is the story behind your new single, BLUE?

Ivo: It’s the product of our continuing efforts to take control of as much of the production process as we possibly can. It’s also a testament to our evolution as music creators. All in all it’s sort of the ultimate D.I.Y. project for us. Everything apart from the drums was recorded at our apartment in Manchester. We even converted our attic into a vocal booth to track the vocals. The artwork, created by the talented Sofiya Dobreva, was inspired by our trip to the Bulgarian seaside earlier this summer.

Blago: BLUE is about loneliness and imaginary friends. It’s a very ambitious track composition-wise, with very different and distinct mood changes.

Do you recall when the band started life? What attracted you to one another?

Ivo: Wow…that was so far back. We actually started playing together in high-school as a sort of something to keep us out of trouble and to pass the time after school. I think it’s because we grew up together that we had such an easy time getting along and starting the band. Our current drummer Dennis came on board three years ago while we were in London and, being a beast behind the drums as well as a naturally awesome dude, he immediately fit right in with us.

If you were to select influences; which artists would be in the list?

Rado: We try to listen to as much music as possible and incorporate different concepts and ideas in our own songs. We can definitely list as inspirational and influential artists like The 1975, Fleetwood Mac; Blossoms, Parcels; Michael Jackson and many more.

Dennis: I find it funny how Ivo and I have very similar tastes in music, but they are very different from Rados and Blagos. But, this difference makes our approach to playing and coming up with parts and sounds for songs very interesting in my opinion. Ivo and I are very into Funk and Neo-Soul like Lettuce and Hiatus Kaiyote.

Manchester is where you are based. Is there a pretty good scene there at the moment? How has it changed the past few years?

Ivo: We’ve only been here for two years so far, so I can’t really say I’ve noticed any drastic changes. That being said, it is an awesome scene. We actually started off in London for a year and didn’t really take to the scene there, whereas Manchester is so much more personal, intimate and welcoming that we immediately felt at home. Not only that, but there’s so much amazing stuff happening here almost every night.

Blago: It’s a very cool place to be for a young band. There are so much other great bands here and we try to keep track of them all. We are pretty competitive and ambitious and think we can leave a mark in Manchester.

As Christmas is coming; what one present would you each like if you could have anything?

Rado: I think we would all agree that we always need to improve on our gear, so anything coming that way would be great.

Blago: Musicians always want new toys to play with; the list is too long to even get started. I’m in the process of considering if keytars are cool or uncool.

Dennis: I wish to have enough money to go on vacation with my girlfriend, no snow in Finland during Christmas and world peace.

Do you already have plans for 2019?

Ivo: We have a couple of shows lined up already: a trip to Bulgaria to play on 23rd March and also a gig at The Castle in N.Q., Manchester on 5th April. Not only that, but we’re also planning on visiting London, Leeds; York and Liverpool around that time as well. Then, after this sort of micro tour, we’ll be buckling down at our home studio to finish up and record at least two new songs.

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

Ivo: I’d have to say when we first found out that our song Always So Simple, Always So Cold was featured on BBC Introducing Manchester and then we promptly celebrated with one too many drinks at home.

Rado: I would have to mention our support slot for Kasabian at the biggest Bulgarian music festival in the summer of 2015. Definitely a milestone for us, which came a bit too early maybe - but it was a day to remember, amazing memories from there.

Blago: For me, it’d have to be one of our sold out gigs. There’s nothing like playing to a crowd of hundreds who have come just to watch you.

Dennis: For me, it is the same as Blagos. To play a gig full of fans that are there for you and them telling you after the gig how much it meant to them or how much they enjoyed it. Hearing that makes me super happy.

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

Rado: My first childhood memory from listening to music is The Wall by Pink Floyd and that baby crying in the beginning of The Thin Ice - it always made me think that someone is actually crying from the neighbours’ apartment. My parents got me into Pink Floyd when I was very little, so they remain my favourite band up to date and that album especially.

Blago: The 1975’s debut album opened my eyes and ears a lot. I haven’t listened to it in a few years, but back then it was really a game-changer. One of the best debuts of all time.

Dennis: Toxicity by System of a Down. This album really shaped my taste in music from the first time I heard at an early age. John Dolmayan used to be my favourite drummer and really influenced me as a kid. This album made me want to pick up my drumsticks and has contributed a lot to the drummer I am today.

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

Rado: Maybe The 1975. Their show is amazing. Here in the U.K., we’ve been to a lot of concerts and the support bands have been always well prepared and carefully selected to fit the main acts’ style.  

Blago: We’d love to support a local band like Blossoms. They are one of our faves and it would be a great occasion. As for the rider, if we could support someone like that, we’d be perfectly fine to not even have one.

What advice would you give to new artists coming through?

Rado: We’ve been a band for a while now and I think the most important thing is to be focused and have a goal that you strive to achieve. What has kept us as a band, apart from being friends for a long time, is that we always set targets and little milestones that constantly keep us moving and improve us as a group of musicians.

Dennis: Practice, network and just don’t be an asshole (smiles).

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

Ivo: As mentioned above, we have some tour dates lined up for 2019 already. But, for the more curious and impatient you can catch us at the Night & Day Café in Manchester on 4th December.

 IN THIS PHOTO: Parcels

Are there any new artists you recommend we check out?

Ivo: I’m a huge fan of Parcels. Even got the chance to watch them live here at the Academy a couple of weeks back. Phenomenally funky!

Rado: Yeah. We were all at this concert; it was a great one! I recently got into No Vacation. Chilled vibe and really nice guitar melodies there. Yam Yam is my favourite of theirs.

IN THIS PHOTO: No Vacation/PHOTO CREDIT: Christine Ting

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

Ivo: Personally, I like to read fantasy novels and play video games even though I sometimes get carried away a tad with the latter.

Rado: I am into sports, so I enjoy watching football games or even play it myself if I have to chance to.

Dennis: Being from Finland, and always being surrounded by nature, I love unwinding by going fishing and being in the forest; picking berries and mushrooms. Unfortunately, you can’t really do that in London - so here I mostly watch movies and do a lot of practice on drums.

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).

Ivo: Tom Misch (ft. De La Soul) – It Runs Through Me

Rado: The Neighbourhood - R.I.P. 2 My Youth

Blago: Parcels – Gamesofluck

Dennis: Hidden Orchestra – Dust

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FEATURE: 1520 Sedgwick Avenue (...or Something Less Iconic): Making Room for an All-for-One Music Haven in Britain

FEATURE:

 

 

1520 Sedgwick Avenue (...or Something Less Iconic)

PHOTO CREDIT: @heftiba/Unsplash 

Making Room for an All-for-One Music Haven in Britain

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IN case you were wondering the relevance of ‘1520 Sedgwick Avenue’...

IMAGE CREDIT: Andreas Luchini 

it has been accepted as the birthplace of Hip-Hop (a ‘Back to School Jam’ was held on 11th August, 1973 by DJ Kool Herc) – it is now the site of a one-hundred-and-two-apartment block in The Bronx, New York. I have been thinking about musical origins and birthplaces like this and wondering whether we give enough thanks and attention these iconic spaces. I have also been thinking about sociability in the music industry and whether we all spend enough time interacting and relaxing. I have pitched the idea before but I wonder whether we have an all-for-one, café/bar that is dedicated to music. We have venues and music-themed locations but what about a café/bar that is committed to music through the years? There is the Hard Rock Cafe and that has been around a long time – maybe it is seen as old-fashioned and not that cool. It would take a large, vacant space and I think a city like London, Manchester or Bristol could house it. The idea is to have a cool café that houses small live gigs but is a one-stop shop for music-lovers; where you can go in and enjoy the traditional pleasures of a café – coffees and foods – with a specialised menu. It would be similar to a themed restaurant and have special drinks/foods names after musicians/albums.

 PHOTO CREDIT: @kellysikkema/Unsplash

Rather than just being a café; one could go into the location – I am not sure of the name yet – and experience the full spectrum of music. There would be jukeboxes (either electronic or traditional) where you could access pretty much any song. It would be an eclectic and democratic way for people to hear music but there would be a chance for new music and artists to get their sounds heard. The jukeboxes would act like Spotify and streaming services where you could have access to new music from around the world but, if you wanted specific older sounds, then that would be catered for. There would be menu systems where you could locate a specific track/sound – if you wanted some 1980s U.S. Pop, for example – and people would be allocated one song pre order/coffee (so that someone could not monopolise the jukeboxes). There would be a live stage so there could be special gigs in the evenings – from upcoming artists and bigger acts – and a lot of music history would sit alongside. I would like there to be an educational aspect where screens would be set up (with headphones) where documentaries and clips would be played; showing everything from a look at the start of Hip-Hop to playing the best music videos ever. You would have book shelves and magazine racks where they’d be stocked music books/annuals and magazines (from today and years past) so that you could get a real clash of the modern and classic.

 IN THIS PHOTO: Jack White’s Third Man Records in Detroit/PHOTO CREDIT: Kelley ONeill

There would be aspects of a place like Hard Rock Cafe but the idea is to have scenic paintings/depictions on the wall – like iconic Hip-Hop scenes and classic images – and a chance to really experience music’s brilliant past and vast future. The sociable and communicative aspect is key and there would be comfy seating areas but the design would be key as to allow the sound to not drown conversation (or the other way around). That would all happen on the ground level and it would be a great space to hear fantastic music and see music videos but there would be that educational and informative side – where you could learn about music’s past and get a real interactive mixture. There would be an upper level that I am keen to explore. I am not sure whether it would be best to have a small studio/radio stations (where records and podcasts can be made alike) or so something similar to Third Man Records. In Jack White enterprise; there is a Third Man Records store that has the company’s colours (lots of yellow) and black and records from the label’s artist. It is a great space in Nashville (there is another in Detroit) and we have nothing like that here. I mooted the possibility of having a place like that here and the big attraction of Jack White’s business is there is a record-making plant where you can record a track, live, and see it pressed and then have it sent to you. It is really the life-cycle of a song and the physical; process of making music.

 PHOTO CREDIT: @natanaelvieir/Unsplash

It would be cool to have something like that in Britain or a reduced version at the very least. I think having this attractive and unique space in a big city here would create a harmonious and busy environment and help people discover new music – from new artists and older alike. It may take a bit of planning but I feel there is nothing like this in the U.K. aside from music venues. They can be noisy and there is not a lot of chance to relax. Bars and pubs that put up artists are not the same and it makes me wonder whether there would be a great demand. I think there is too much separation and loneliness when it comes to music listening. Most of us do it in the comfort of our homes or on the go and we rarely unite and talk about music. It would be cool for the café to have a cassette vending machine or there, on the upper tier, to be an old-school music shop where you could get vinyl but also make your own mix-tapes; get cassettes of classic albums and great merchandise – in addition to classic memorabilia etc. London or Manchester would be a good spot for the venture and I feel, yeah, it would take off. It would expensive to do but, after a bit, more and more people would come. As much as anything; it is a space for stranger and friends to meet and hear some fantastic music. An affordable and all-inclusive location where you could get your music fix and learn a lot at the same time; that, to me, seems to be a perfect blend. The only question revolves around the name but, the more I think of it, I quite like...

 PHOTO CREDIT: @anthonydelanoix/Unsplash

1520 Sedgwick Avenue.

FEATURE: New Musical Education: Why Music’s Rich Lessons and Perspectives Deserve Assimilation into the Curriculum

FEATURE:

 

 

New Musical Education

IN THIS PHOTO: Jay-Z in New York City, 2003/PHOTO CREDIT: Armen Djerrahian 

Why Music’s Rich Lessons and Perspectives Deserve Assimilation into the Curriculum

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AN interesting article caught my eye...

PHOTO CREDIT: @danielcgold/Unsplash 

that made me think about music and the many ways in which it can teach and enrich (I will mention it later in the piece). Think about music as a means of therapy and rehabilitation. It can be used to simply lift the mood or, for those with neurological disorders and memory problems, it is a way of unlocking something hidden. Many patients with dementia and other disorders use music to help uncover memories and access parts of the brain traditional therapy cannot. We know music’s potency when it comes to tackling depression and the capacity of its healing powers cannot be underestimated. I wonder whether we pay enough attention to the words and what lessons are imparted through music. Whereas parts of the national curriculum seem dated and generic; is there new wisdom and revelation to be found in music? We all take certain lyrics to heart and have our favourite lines – how often do we use entire albums and artists to, essentially, act as scripture? It might sound preposterous to think artists can imbue the same education and importance as philosophers and teachers but I feel music, more and more is eroding from the curriculum. The standard music lessons most of us experienced at school seems to be a thing of the past and most people who get an education in music do so at college/university and special schools. That often involves money and it seems ridiculous music has to be paid for!

 PHOTO CREDIT: @element5digital/Unsplash

I do wonder whether there should be a reintroduction of music onto the syllabus. It does not have to involve playing or practicing an instrument; it can be as simple as listening to music and discussing it. I feel there are entire periods of music that document society with great clarity and controversy than politicians and public figures. Even listening to music as a form of decompression and anxiety balm would be a wise thing considering the growing epidemic regarding poor mental-health. I feel music listening is becoming more private and that there is an opportunity to bring it back more comprehensively. Maybe there is subjectivity regarding music’s wisdom but I find a lot of what is taught in school is rigid and generic. It is, of course, essential to learn basic maths and science; to discuss classic literature and have talks around sexual education but in terms of general life skills and guidance; where are the musicians? I think, actually, there is great philosophy and poetry that can form and mould young minds. Consider lessons of love and relationships that have been revealed in music since the dawn of time. A lot of children and teens rely on their peers and parents when it comes to heartache and how relationships go but, thinking deeply, can we use music? Think about lyrics and lines that have wise shoulders and how powerful that can be.

Fewer young people are listening back to older music and there is a lot of anxiety and sameness in mainstream music. Maybe they get some guidance from modern Pop and the mainstream but I think a wider study and appreciation could help them immensely. From The Beatles and Carole King through Prefab Sprout and Tori Amos; do we see songs as throwaway and for a specific occasion when there are everyday lessons and important goldmines that are not being explored? Consider that as ‘life lessons’ and there are messages regarding sex – safe or otherwise – that provides a more accessible and less embarrassing form of education. Many might say it is rather controversial and dangerous using music as a firm of sex education but, so long as educators are sensible and employ some censorship, I do not see why music cannot be used to accompany traditional lessons. Maybe there is less wisdom to be found regarding science and maths but, in some ways, there are things that can be extrapolated. I think, in terms of the subjects that naturally fit into music, we’d have English and history. From the English side of things, I do not think enough contemporary or ‘classic’ music is incorporated. Think about the poetry and gems of Bob Dylan and Joni Mitchell as a form of education. Not only is the language beautiful and intelligent – there are so many important lessons and ideas young students can take to heart.

I can understand why classic literature and poetry needs to be studied but how can one be snobbish when it comes to popular music? The world has moved on in terms of technology and the way many of us interact but, in many ways, education has not really stepped on in decades! Music stores are parlours of discussion and connection and, years ago, music used to be a very physical and sociable thing. As the years go by, we are becoming distant and music enjoyment is singular and lonely – unless we are bonding at gigs and talking there. Think about another school subject and music’s biggest draw: history. From the plight of black lives being narrated through classic Hip-Hop albums and how international politics has been portrayed in Folk. Pop music, at every stage, portrays modern life but think about the way songwriters talk about life and how that differs from rather dry and stoic texts. British Hip-Hop and Grime give you an understanding of estates and the lives of a certain sector of society. We can listen to classic albums of the 1960s and, not only get a thrilling blast of sonic gold, but get a real and direct sense of what was happening in the world and how the world differs to how it is today. Hip-Hop, especially, provides perceptive regarding tensions and divisions in America in the 1980s and 1990s. Classic albums from the likes of Public Enemy, I feel, are more potent and tangible than huge text books and rather boring lessons.

 PHOTO CREDIT: @timothypaulsmith/Unsplash

In fact, you can listen to any period of music and get a very deep and vibrant sense of how things used to be. Apply music to subjects like art and fashion and you can see how things have changed. From the Punk and Goth ages through to fashion icons like Madonna and David Bowie; why not use music as a form of education? I feel every subject on the curriculum could be heightened and expanded by using music. Perhaps you feel there is little ‘wisdom’ to be found in songs by Rock artists and it would be folly to replace a more structured and academic foundation. I am not saying that we replace what is being taught...simply understand how music can inspire and influence an individual and apply that to an entire generation. This article in The Guardian sees Ted Kessler discuss music as a form of education – how artists have taught him lessons and made an impact. Kessler’s book, The Ten Commandments: the Rock Star’s Guide to Life, uses lessons and words from big artists as a form of religion and education. Here are some snippets from the feature:

 “Noel Gallagher famously sang that listeners of Oasis should not put their life in the hands of a rock’n’roll band. I fundamentally disagree. Everything good in my life has been recommended to me by my musical heroes. My moral compass has been set almost entirely by pop stars. No teacher, no institution, no writer (OK, maybe some writers, actually) has had the same impact upon me as rock stars....

Who forged your direction in life? Your parents? School? Your peers? Maybe it was a religious calling, or even a political party. If so, it’s not too late to rethink your choice and invest in musicians instead.

I drew everything I believe in, initially, from Paul Weller, lead singer with the Jam. He changed my life, forever. The London I grew up in the late 1970s was grim: the rubbish piled up, the National Front daubed their initials upon school walls, Thatcher snatched our milk. But Weller rocked up with visions of social utopia attached to the kind of chorus that any idiot 11-year-old could remember. His clothes were fantastic. He was pictured reading Alan Sillitoe and George Orwell. He proclaimed that his fans should investigate an array of soul, reggae, funk and 60s beat records.

School failed me, marriage failed me – or rather, I failed them – and no job is for life. I am a strong advocate of therapy in moments of crises, but have found it frustratingly opaque as a navigational tool when not negotiating emotional emergency: tell me what to do! The wisdom in song, though, the insights of musicians… that light never goes out. As mind-expanding as books, film and art can be, as tightly as you can hold those to you, they have not shaped my tastes, my politics, my worldview, my wardrobe as consistently as watching the Specials on Top of The Pops in 1979. I remain lost in music, and glad to be in that trap”. 

IN THIS PHOTO: A shot of Dumbo, Brooklyn (U.S.A.)/PHOTO CREDIT: @bantersnaps/Unsplash 

There are a lot of reasons to learn an instrument and get involved with music from an early age. It opens up parts of the mind and can take your life in fascinating directions. There is the social side of things but, when we look at the wider curriculum; are we making the most of the beautiful and endless words from iconic names? I have only scratched the surface but feel musicians, as they are normal people, are not biased and lying. They have lived lives similar to us and experienced the same things. Their knowledge and words can help motivate students and there are so many lessons to be learned. From Hip-Hop’s chronicling of the racial tensions felt in America; that can be applied to the here and now and how many textbooks are as current as popular songs?! Look at fashions and genres as a documentation of specific periods and how the world has changed. Of course, the music itself is as important as the lyrics. I have spoken about the multifaceted and therapeutic side of music and how it can aid a person in so many ways. Learning an instrument can bond people and tech so much and merely playing music can help lift the mood and soothe depression. Some claim that form of ‘education’ is rather lazy and random but few schools are harnessing music in any real or significant sense.

 IN THIS PHOTO: Lorde (one of modern Pop’s stars whose songs could act as guidance for young pupils)/PHOTO CREDIT: Getty Images

I have learned so much from music and feel, as the years have progressed, I am still picking up new lessons and insights from my favourite acts. Maybe (these lessons) have not been as substantial and evocative as classes I took at school but I feel music holds so much potential. Even if every school around the country introduced a class such as Music Education as standard and integrated that alongside regular lessons then it would make a huge difference. Children and teens would learn about new cultures and countries; they would get a more interesting and eye-opening tributary into a new world and I think music would stick in the mind more quickly than a lot of what teachers are saying. That is not a slight against them but it can be rather challenging taking it all in and music would provide a great education but is a different way of learning. As much as anything, music as an art needs to come back into schools and, as we push it out to the colleges and special schools; so many children are being denied fundamental pleasures and lessons. Maybe the sermons from New York Hip-Hop artists seem reserved to a time, place and location but, open your ears and there is actual history and reality being laid down. You might think many loves songs are too personal and lack substance but there is so much you can take from them and teach to your young students. Open music up to its fullest and do not keep it in record crates and private collections. Introduce it into the national curriculum and I feel music, in so many ways, can enrich, guide and nurture...

 PHOTO CREDIT: @pistos/Unsplash

SCHOOLS throughout the land.

FEATURE: Sweet Harmony: Was There a Moment When Music ‘Peaked’?

FEATURE:

 

 

Sweet Harmony

IN THIS IMAGE: A rendition of the cover of Oasis’ 1994 album, Definitely Maybe/IMAGE CREDIT: Danu Labda

Was There a Moment When Music ‘Peaked’?

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THIS is something I always talk about...

PHOTO CREDIT: @_rxshxxd/Unsplash 

but it is one of the most relevant and interesting aspects of music. It would seem strange to urge people to abandon the music they grew up around and the stuff that resonates purely. Those tested and familiar songs are ones we hold dear and they provide comfort and memory. This is not a matter of nostalgia and harking back to the past. What I am suggesting is that most of us tend to get into a groove and we sort of get comfortable with our tastes. If you were given the choice of never hearing any new music and only listening to what has come or doing the reverse; which option would be the most appealing? Shockingly, a lot of us would rather stick with the older stuff and sacrifice what is coming up. I have explored years like 1991 and 1967 as titanic and historic times for music. These years created movements and incredible albums; peerless quality and recordings that we hold dear to this very day. I wonder whether music has yet to reach its absolute peak or whether it is an always-evolving process. Can we objectively look at music and say that there is still a long way to go? Do we all have our favourite times and eras and feel nothing can come close? It is an interesting argument and it is not as easy as saying older music is best or the new era is where it’s at.

PHOTO CREDIT: @adigold1/Unsplash

Music is a complex and ever-changing industry and we have definitely seen some big changes. Technology is always growing and allowing us to experience music in different ways; access anything we want and communicate with people around the world. There is a school of thought that suggests things can only get better and, given the technology and access we have, artists can produce better material and albums that will be preserved forever. Given the rate of growth and all of the sounds that have come before; we are in a great position where there is limitless choice and a chance to break new ground. People claim the best albums ever are still to come and we will see something revolutionary happen. In recent weeks, I have talked about the fun coming from music and I have focused on certain years when music was absolutely golden. Maybe we are all too subjective and there is no definitive answer. I respect those who say music is growing and we could see the very best it has to offer in the future but I wonder, given what has come before; can we ever equal the absolute best years?! I have mentioned years like 1967 and 1991 because, as I said, there seemed to be this movement and cohesion. Now, in 2018, I do not feel like there is the same sort of excitement and evolution as there was years ago.

 IN THIS PHOTO: The Beatles in 1967/PHOTO CREDIT: Getty Images

When we look at those who say music has not yet experienced its best days, I wonder how far we can go and what can arrive. I do not feel like we will see entirely new genres form because it is so hard to find that new mobility. Artists are creating sub-genres and ideas but can you start from scratch and find a completely new sound? I do not feel this is possible so, when it comes to something to rival a Summer of Love or Grunge explosion; where is that explosion going to come from? In terms of technology; there is the capacity to take music to new heights and splice anything together but is that going to take away the naturalness and realness of music? I have also mentioned how sampling is harder and it is a lot more tricky getting clearance to fuse older songs into new work. It is ironic that, in a modern and developed age, we are stepping back in many ways. A further obstacle arises when considering the established albums and these years we all hold in such regard. The climate is different now and the music landscape is very different. Whilst it is possible we have seen a peak, there is that optimism that suggests a revolution can take place. We have all this material out there and there is an endless reservoir to choose from.

 PHOTO CREDIT: @dchuck/Unsplash

I think the biggest hindrance regarding musical development is the division, size of the market and the emotions being put into songs. Given the choice and mass of artists out there, it is getting harder and harder to focus and zone in on bubbling movements and the best artists. Big and influential genres have run their course and the mainstream is not quite as legendary and respected as it was in years past. Fewer of us are relying on charts and magazines when it comes to music and self-discovery means we all are pulling in different directions. This may sound gloomy and lost but I still think there is a chance for brilliance. Maybe it will not be a profound shift and anything to rival the past but music is always changing and who knows what will come along. I asked whether music has peaked and, as a result, we are sloping downhill and everyone will have their say. Many say that peak has yet to come whilst others feel it is impossible to make that call given the fact music is a subjective medium. Who is to say the sounds of 1967 are better than today? Does generational bias cloud things or is there some definite truth? Whilst it might not be possible to identify a distinct year/time when things were best; I do feel like there was a golden moment that many artists are still taking from.

 IN THIS PHOTO: David Bowie in the 1970s/PHOTO CREDIT: Masayoshi Sukita

I have mentioned the 1960s and, in every decade, there has been true genius put forward. When one speaks of peaks and a definite high; you have to consider a time when things crystallised and there was this strong and enduring whole. 1967 is a fantastic year and I feel the 1970s cannot be overlooked. I have also talked about icons and how we do not see them anymore. Consider the greats like David Bowie and legends like Aretha Franklin and I wonder whether it is possible to have these sort of figures today. There are Pop leaders and big figures but it would be impossible to create someone like Bowie who evolves and goes through these creative shifts. The market and landscape is not the same as it was and the days of the icon are definitely in the past. Modern artists are fascinated by all periods but, more than anything, there is a period of five or six years where I can see are more popular than anything. Maybe it is my bias but was there a stronger and more staggering time than 1989-1995? Those slightly older say that their days were best whereas plenty argue music is at its strongest right now. I have talked about icons and their decline – many might note that all the legends of music, largely, peaked before this time period. I think this was the last time we had Pop icons truly reigning and inspiring the masses.

Kate Bush created The Sensual World in 1989 and it was a definite golden period in her career. She put out Hounds of Love four years before and many assumed she would not be able to equal that record. Rather than feel the pressure and suffer a decline, she created a brilliant album that many say is her finest. Michael Jackson left Bad and Thriller behind (by this time) but Dangerous (1991), to me, is his best record. It is his most daring and eclectic and demonstrated a tougher and angrier artist. Whereas legendary artists like Kate Bush and David Bowie were putting out exceptional work during 1989-1995; I feel Jacko really hit his peak during this time. Some of Prince’s best albums came out at this time – Diamonds and Pearls (1991), Love Symbol Album (1992) and The Black Album (1994) – and one Pop megastar, Madonna, was reaching her peak. Think about her career-defining album, Like a Prayer (1989) and how that changed music. It would be quite a few years before we saw the end of chart-busting, MTV-owning icons but Madonna was unstoppable by 1989. She produced Erotica in 1992 and Bedtime Stories two years later and some consider these records to be among the best ever. Between 1989 and 1995, we saw some of the very best Pop and the music landscape was a lot more powerful and popular. We had great music T.V. stations like MTV and magazines like NME were guiding our tastes.

Pop would continue to produce huge artists and albums for years to come but I feel there was a definite drop/slowing by around about 2004. Artists who peaked during my favoured period were inspired by the previous generation and, as we can hear now, have impacted modern artists. I interview a load of artists, ranging in age, and it is the music of the late-1980s and early/mid-1990s that compels them hardest. I think popular culture as a whole was creating an optimism and wonderful spirit. We had great comedy shows and T.V. series; there were political shifts and all of this helped contribute to the music. Not only was the Pop mainstream strong and varied but other genres, from Britpop, Grunge and Dance were majestic. Dance was huge in the 1980s but it strengthened and changed by the next decade. The influence of European acts on the Dance scene gave us this brilliant variety and, whether you like the mainstream tracks that had a giddiness and fluffiness or preferred the darker tones of The Prodigy and The Chemical Brothers; there was variety for all. The start of the period (1989-1991) saw a giddiness and delight that married the accessibility of Pop with something a little bit more physical and club-based. The middle of the 1990s would see harder-hitting acts like The Chemical Brothers and Orbital transform the genre by adding more chemicals and pummel to the agenda.

 IN THIS PHOTO: Nirvana/PHOTO CREDIT: Getty Images

I feel Dance music and Electronic sounds had their last real rise by the end of the 1990s – we have never seen music the scene as strong since. I love the memorable and big Dance songs throughout the 1990s and, even though there was plenty of cheese, it has remained to this day and many of us still gravitate in that direction. If that wasn’t enough, we had the peak and death of Grunge (1991-1994/1995) and Britpop. The optimism of Dance was infusing British artists who made Britpop a success and, whilst Grunge was a darker alternative; it has impacted and inspired so many Rock/Alternative artists we hear now. Alongside Grunge titans like Nirvana and Soundgarden, there was fantastic Rock from the U.S. Even the ‘outsiders’ of Britpop were making waves – such as Radiohead and Supergrass (I feel they were on the fringes) – and there was so much going on. Maybe Pop music was not producing the same sort of icons like The Beatles; Rock’s Led Zeppelin and The Rolling Stones had already peaked long before this period but I feel the scene was a lot more challenging and eclectic between 1989 and 1995. Many might argue there is a greater spread of genres now – and music is a lot broader – but was there a better time in living memory where we saw such quality and influence? The reason I have selected this period for special attention is the way the artists/albums have inspired the modern generation.

Many are taking from the 1960s and 1970s greats; the 1980s has always stirred and compelled by there is something about the spirit and grandeur of the late-1980s to the mid-1990s that is hard to shake off. I have talked about nostalgia and bias but one cannot ignore the sheer quality and importance of this period. I feel the 1960s is a bit overrated – take away a few huge acts and it is weaker than you’d think – and the 1970s, to be fair, gave us a hell of a lot of genius. When I consider quality and peaking; I am not only considering the slew of wonderful albums and how new genres/movements came together. I feel an emotional shift occurred in the late-1990s and first part of the last decade that has negatively impacted today’s music. The European Dance masters and the Britpop greats provided an intense fizz and smile that continued for a while. I feel the most optimistic and spirited music of today owes more to this time period than anywhere else. Have we seen a more joyous and time for music as we did back then? Maybe the 1960s can rival it but think of all the ‘classic anthems’ of the 1980s and 1990s (the years I am interested in) and it is hard to argue. From Pop queens and kings kicking ass to the Dance purveyors striking gold; I feel it was a wonderful time when music was at its strongest.

 IN THIS PHOTO: De La Soul (pictured in 1990)/PHOTO CREDIT: Michael Ochs Archives/Getty Images

Articles like this show when certain genres hit their peak but think about a time when so many genres hit a rare vein and I am drawn back to that period. Maybe I should stretch back to 1988 because, thinking about the Rap and Hip-Hop classics from that time (when De La Soul, N.W.A. and Beastie Boys ruled) and can you think of a time when so many different and disparate styles of music coalesced and peaked?! Even if you consider that seven/eight-year period (1988-1995); so much happened that moved music forward and inspired music today. Many argue that Rock reached its peak long before the late-1980s seeing as giants like Pink Floyd, Led Zeppelin and The Rolling Stones were long past their best. I do not agree it is impossible to hone down to a narrow period when music was at its peak. It is obvious that certain periods are finer – because of critical acclaim and huge movements – and I can agree with other viewpoints. I do feel that the optimism and bombast that ruled the British charts by the mid-1990s was an absolute peak. Artists like Oasis were taking from acts like Led Zeppelin, T. Rex and The Beatles and updating them for a new audience. Legendary Pop from The Beach Boys were being utilised by new artists and it seemed modern greats were bridging the golden days of the past with what was happening at the time.

 IN THIS PHOTO: Madonna in 1992/PHOTO CREDIT: Getty Images

Look at music now and, when we think of artists bridging the old and new; it seems most are still looking pre-2000 for their guidance. It is impossible to say what music will do in years to come: we might have an explosion of innovation and something that rivals the glory years. I think things will get better but I feel safe in saying nothing will rival the sheer variation and inventiveness that we saw back then. There was a delight in the mainstream and, even when music got moody and dark; it had a spark and something exceptional. I am not suggesting we have peaked and everything is downhill from here but I do think there are certain periods of music that are great and need to be examined. To me, that insatiable and heady time from 1989 (let’s say 1988 instead) to the mid-1990s is impossible to top. Rather than wallow in nostalgia; I am accepting of music’s changes but I can see how many artists are taking from that time and find something in there that appeals. It is interesting looking at certain times and what was happening in music then. There must have been something in the air or a particular catalyst but, to me, the scene was at its strongest...

IN that busy and electric time.

INTERVIEW: Nominjin

INTERVIEW:

Nominjin

___________

I have been speaking with Nominjin...

about her career and how she came into music. She has been telling me about her latest track, Kiss Me at Midnight, and how it came together; what sort of sounds/influences have affected her and whether we might see some more material coming along.

She reveals a few albums that are important to her and talks about her heritage; whether there are plans in place for next year and when she knew music was the career path for her – Nominjin picks a classic track to end things with.

____________

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

I’m doing wonderful. Thank you for asking. I’ve had a fantastic week recording at the studio and we also wrapped up production of my upcoming music video for my single, Kiss Me at Midnight. The single drops on Nov 30th worldwide and the music video will be released in the middle of December this year.

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

Hi, everyone. My name is Nominjin. I’m a Soul, Pop and R&B singer-songwriter based in Los Angeles. I started my career at age twelve and since then I’ve performed in more than fifteen countries. I was born in Mongolia and raised by an American father and Mongolian mother. Growing up, I was exposed to many different cultures and learned at an early age to recognize myself as a global citizen. I lived in countries such as Russia, Caribbean; India and the United States. I am in awe of the inherent beauty in all the people and cultures that I had the privilege of spending the formative years of my childhood.

Some of the highlights of my music career are being in a John Lennon tribute album by EMI at age sixteen and also being in an EMI love song compilation album alongside multi-platinum selling artists such as Norah Jones, Christina Aguilera and Toni Braxton. Also, thanks to my ability to sing in many languages and genres; I had solo performances in five-ten languages at Carnegie Hall’s Stern Auditorium and Lincoln Center’s David Geffen Hall.

It was also a great honor to be invited to perform at the Gala Concert at Llangollen with the Welsh National Opera Orchestra where legendary vocalists such as Pavarotti previously performed at. I was also appointed by South Korea’s Foreign Minister Yun Byung-se as a Public Diplomacy Envoy and worked with the Korean government for two years.

 

Kiss Me at Midnight is your latest single. How did the song start life?

It all started with a melody. I said to myself: “Hmmm...this has a little bit of a Latin influence”. Not sure where it came from but I like letting the songs flow out of me instead of setting out to write a specific song. So, I roped in my father who speaks fluent Spanish to help me come up with the line “La vida nos inspira”. Then, I wrote the English lyrics and turned it into a song about dancing all night with the love of your life.

As the producer; I had to challenge myself and figure out a vocal and musical arrangement that would build upon the melody to create a sound that is Soul/R&B with a dash of Latin. So, I sat down with my arranger/co-producer and told him that I wanted a production that is musically rich and super-old-school.

Are you thinking ahead to an E.P. or album? Is Kiss Me at Midnight the start of a new project?

Kiss Me at Midnight is a start of a new project. My upcoming E.P., Free Soul, is a tribute to the classic American Soul/R&B and traditional Pop music that I grew up listening to because of my American father. I’m the creative director of the entire project overseeing every aspect of the music production and vocal production. I’m so blessed to have complete creative freedom in this project and to have collaborated with a great team of co-writers and arrangers.

Can you give me an idea of the artists, older and new, who inspire you and compel your own sound?

Growing up, I loved listening to and learning from artists such as Sam Cooke, Stevie Wonder; Etta James, Aretha Franklin; Mariah Carey and Whitney Houston. I love contemporary household names such as Alicia Keys and Bruno Mars. My writing is mostly influenced by the classic Soul and Pop sounds of America. When you listen to Free Soul you might hear that my songwriting style is inspired by the love songs of The Great American Songbook and I add a twist of Soul/R&B to that.

You found music early and have been performing since you were a child. Was there a moment you knew music was for you?

I started singing when I was a year and a half. I remember, when I was eleven-years-old, I declared to my parents that I’m going become a professional singer. I saw that being an entertainer is a wonderful way to make the world a brighter place. So, I’ve been working hard ever since and haven’t had a summer break since I was eleven.

I became really popular in Mongolia during my teen years and learned to use my celebrity as a tool to give back to the community. I wasn’t driven by the urge to become famous but was motivated by the desire to be in a position that allows me to give everything I have, including my talents.

Do you already have plans for 2019?

Well. I’m very excited to be releasing my new songs to the world. Free Soul is coming early-2019. I’m also working on writing and producing more songs to be shared with everyone. Besides promoting my original content, I’ll also be more active on YouTube and will be covering songs for my fans.

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

Wow. There are too many to choose from. I’d say the most memorable moments are the times when you perform live in front of an audience. Seeing smiles on people’s faces or tears in their eyes when they are touched is what make me want to keep up my training and put on a better performance than the last.

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

That’s a tricky question because there are countless masterpieces that I’ve enjoyed over the years. I’d say the following three albums had a deep influence on my upcoming E.P. At the Close of a Century by Stevie Wonder has all the collection of mind-blowing songs by him you can’t miss. I’m in so much awe of Stevie Wonder’s songwriting and singing. Bodyguard (soundtrack) by Whitney Houston was a huge influence for me as a singer as well. Frank Sinatra’s Greatest Hits. Because it awakened the romantic songwriter in me.

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

I would like to keep developing my ability to be content in any situation. I really believe that peace of mind is the key to true and lasting happiness. I would also like to include everyone else in this Christmas wish of mine. May all beings live in everlasting joy and love.

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

Oh. It would be a dream to open for Bruno Mars who is bringing back and re-introducing old-school music to the younger generation.

What advice would you give to new artists coming through?

Be fearless and authentic in your art. Be unapologetically yourself. Then, go find the audience that resonates with the sound that comes from your soul. I have written Rumi-style lyrics and music when I was nineteen-years-old because that is what came out of me at that time. Don’t be afraid to evolve and change and grow - and never allow yourself to be defined by one thing. Art is about freedom and being completely creative. There is no right or wrong.

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

There aren’t any tour dates set at the moment. I’m currently putting together a live show and I hope to get on the road soon.

 IN THIS PHOTO: Ella Mai

Are there any new artists you recommend we check out?

I’ve been so busy writing and recording so I haven’t had the chance to discover many new artists. But, I am enjoying Ella Mai’s voice these days.

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

When I was a little girl, a fellow musician and singer told me that, if I think of music as work I will never enjoy being an artist. So, I try to create music from a space of upliftment and joy; which means I don’t necessarily feel like I need to chill away from music. I also don’t listen or follow musical trends but focus mostly on going inward and bringing forth the melodies that comes out of my heart.

Most of my musical ideas are born when I’m unwinding and alone in my creative space. I love hanging out in nature, meditating and doing yoga. Last year, I had a two-month creative retreat in the mountains of Taiwan.

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).

Please play Spanish Harlem by the incomparable Aretha Franklin. Forever the Queen of Soul

__________

Follow Nominjin

Official:

https://www.nominjin.com/

Facebook:

https://www.facebook.com/iamnominjin/

Spotify:

https://open.spotify.com/artist/0ll3q3dmlopCjddSb99aZZ?si=BeKjBP1TQBSBztbjFqaYqQ

Instagram:

https://www.instagram.com/iamnominjin/

Twitter:

https://twitter.com/iamnominjin

SoundCloud:

https://soundcloud.com/nominjin

YouTube:

https://www.youtube.com/channel/UCworbeXelhIcDVBSIH8SfWg

TRACK REVIEW: Naomi Banks - Enough

TRACK REVIEW:

 

Naomi Banks

Enough

9.4/10

The track, Enough, is available via:

https://www.youtube.com/watch?v=edt0oRrw3T8

GENRES:

Neo-Soul; Future-Soul; Jazz

ORIGIN:

London, U.K.

The E.P., Deja Vu, is available via:

https://open.spotify.com/album/5zmf883zGFlcWKrb5XGd3e?si=eHOGMLE9Ty2b7I9pJ5Fd0g

RELEASE DATE:

30th November, 2018

_________

THIS time around...

I am looking at an artist who is making music that is true to her and soothing for the soul. I will talk about a track from Naomi Banks that has struck my ear but, with the release of the Deja Vu E.P., it has provided an opportunity to look at someone who is making waves and creating stunning sounds. I will look at the song in a minute but I want to look at Neo-Soul and Jazz and why they are genres we need to see more of; female artists who are standing out for the familiar and why we need to change our views; writing with different musicians and recording processes that bring something new to music; originality and finding those stars of tomorrow – I will end by seeing where Banks will head next year. To start with, I am minded to investigate Neo-Soul and Jazz. These are genres we do not hear a lot of and I guess the last great star from these areas was Amy Winehouse. She brought in other sounds but her fusion of Soul and Jazz exhilarated and excited the world. The reason why I am excited to see Naomi Banks bringing some of Winehouse’s magic back is because of the elements and emotions you get. I get to hear so much Pop and Alternative and it does not provide me the chance to get away and look at something different. Another reason why I am excited is to hear something different from the music. So much of today’s music is stuffed with electronics and there is something unnatural coming from the speakers. It is okay to add the odd electronic element here and there but so many artists overload their music with this and it can be a bit annoying. There is some electronics in Naomi Banks’ music but you get much more grace and natural sounds. I think a lot of artists assume Soul and Jazz are redundant and they are not worth exploring.

The assumption physicality and soulfulness will not come through is wrong. I will not keep mentioning Amy Winehouse but look at the way she managed to provide such deep and memorable music and I am surprised the mainstream is not encouraging more of what she was about. Perhaps it is hard to find artists like her but, in Naomi Banks, you have someone who has a little of her but brings her own colours to the party. Think of the classic Neo-Soul artists like Erykah Badu and Lauryn Hill; what D’Angelo was doing and you have legendary, enduring music. Unlike mainstream Pop and so many other genres, you have this seduction and enticing beauty that gets under the skin. One gets a real flavour of old-school Jazz and Soul with some modern production and genuine fizz. If you put all of that together and I think music needs to adopt and embrace those artists who play in these genres – rather than the usual Pop fare. It is hard to decide which artists are worth sticking with and who will make breaks but I hear Naomi Banks and there is something special and exciting. Her music has a nice modern and accessible flavour but you get a sense of history and classic with what she is doing. I am not sure what she has planned going forward but, right now, we have this artist who is taking from her life and providing these rounded, stunning and alluring stories. I think 2019 will be a big year for her and I am excited to see where she heads next. Let’s have a look at female artists and why, yet again, I am focusing on this subject in a review. It might seem a bit predictable and samey that I go to this well but it needs to be brought up and I have to highlight something.

I have talked about the festival announcements and how female artists are being shunted. Look at the headliners already announced and they are all men. I am not holding my breath regarding the remaining headliners and whether there will be gender parity. We have not come a long way regarding equality and I do struggle to fathom why festival organisers keep on ignoring female talent. Look at the depth and variety of artists, legendary and new, and you have plenty to choose from. I would like to see a couple of female artists headline Glastonbury next year but, with the likes of IDLES and The 1975 trending; how likely are we to see that happen? It is alarming seeing the same issues occur time and time again and I am worried it will continue for years. What bothers me most is the sheer ignorance of those charged with making decisions. I am seeing so many great female artists emerge who could easily headline the biggest festivals. This year has been disappointing and I think next year might go down the same road. I am not saying Naomi Banks is ready to headline yet but, in years to come, I know there will be many clambering to get someone like her on the headline stage. If we are to see progress in music then we need to stop overlooking female artists and assuming they cannot carry the weight of a headline set. Naomi Banks’ music is stunning and there is so much to love about it. I know she will grow and her music will spread around the world and I wonder, when she does make it big, how likely she is to get that headline call? Her sounds have such a sense of physicality and passion and they would be perfect for a headline occasion. At the moment, we are spoiled for choice when it comes to female artists who can create sensational headline shows at the biggest festivals.

I will move onto a new subject soon but it angers me we have to raise these arguments and talk about things like this. I would love to think things will improve in the next couple of years and we will see balance but I am not so sure. Naomi Banks is part of the new breed and making music her own way. You get an artist that can get into the heart and soul and the music remains in the memory. I have heard her E.P., Deja Vu, and the tracks and incredible. It is one of those works that you can listen to over and over and discover new things. Going forward and there will be more material and she will continue to make strides. I feel she will be ready to headline in a few years and, if the mainstream allows her exposure and opportunity, then there is no stopping her. If she does get to that stage then will the festivals open their eyes and realise there is a great artist read to strike?! Maybe I am looking at a lost cause – female headliners very soon – but I hold hope there will be a change at some point. For now, we have to encourage the newcomers and promising female artists and ensure people are aware of them. That sounds patronising but there are so many great artists around and they are not getting the acclaim they deserve. Maybe I should move on and cover something else but it angers me we have this wonderful industry with so much choice and strength and, in one area, it is so one-sided. If we keep on booking male headliners and denying female artists then we are sending out a very bad message. With incredible artists like Naomi Banks taking strides and showing she has something different; I feel she will turn more heads next year and move her way towards the mainstream. I am compelled to see what happens when she gets there – one can see an artist with promise who can inspire many others.

A lot of people assume modern music is about technology and there is no real soul about it. Many assume artists write very lazily or they put everything on their phone. The old image of musicians penning at a desk or swapping lines has died for the most part but that is not to say the modern creative process lacks process and romance. I have been reading about Naomi Banks and how she put together her E.P. She wrote the bulk of the E.P. on her house boat in Essex and that alone brings to mind something very romantic and touching. Rather than writing songs in a studio or exchanging ideas via email; there is this solemn yet imaginative vision of an artist alone with her thoughts and able to create these great songs backed by incredible views. I can imagine her on the boat and the quiet and stillness of the world passing her by. The fact the songs are so electric and memorable, in part, is because of that very different and scenic setting. I wonder whether there is a correlation between creative setting and the overall sound. Maybe it is not practical to have every artist write somewhere like a house boat or somewhere like that but I think getting away from laptops and rooms is advisable. Too many of us hunker somewhere a little closed-off and we are not embracing the creative promise of the world around us. A lot of what Naomi Banks has written about concerns events from the past few years and there is definite emotion in there. I feel, if she was writing in a house or somewhere a little lonely, then the music would be more tense and gloomy. The fact she has this sense of openness and freedom means the songs pop and have a definite sense of drive. I feel all musicians need to get out of routine and predictable spaces and open the creative mind. The house boat is a natural environment for Banks and it seems like her surroundings compel beautiful and evocative music.

Not only has Naomi Banks recorded and written in some great spaces but she has worked with some fantastic musicians. Producer Dieter Gickel produced Deja Vu and Banks wrote and worked on the songs between her house boat and Essex. In her past, she has worked with Laura Mvula, ELO and Gareth Malone. I listen to the songs on her E.P. and can hear those eclectic artists in her own work. I know she has other influences but the fact she has had the chance to work with a variety of artists has made a positive impact on her sounds. I think, going forward, all of that past experience will drive her forward and get her looking at other artists. Her E.P. has a singular quality but I know Banks has a curiosity and determination and I would not be shocked to see her move on and collaborate with some big names. I will not labour the point too much but I love how she has worked alongside some big names and I wonder why she is not more popular. The fact she isn’t bigger is not her fault and it brings me back to the way music seems to favour male artists. Deja Vu will make an impact in regards her future success but the experience she already has should be acknowledged. I have talked about where she writes and creating something homely and unique. Pair this together with a rich experience of varied artists and some impressive experiences and you have this star-in-the-making. I know these are early day for Naomi Banks but I think many can take guidance from her. I still think too many artists have a very limited outlook or they write in a very stilted way. Every aspect of Naomi Banks’ music shines and bursts with adventure. Maybe it is because of how she writes and where she lives but I think her background and influences play a part. I have already covered a few Neo-Soul artists but, as Naomi Banks says herself, the music she creates is its own genre: ‘Neon Soul’.

I have been listening to some good music this year but there are so many similar and tired sounds; they never really get into the head and it can be very dull. I have encountered a few other artists who will resonate and remain for years to come and they seem to be in a minority. I am not suggesting most of what is out there today lacks imagination and potential but too many musicians are doing what everyone else is doing. It seems like the songs on her current E.P. are inspired by someone close to her. I am not sure whether romance and passion are at the heart of what the songs say but maybe there is a more familial connection and something rooted closer to home. In any case, you have this artist who is making original and impressive music. I have tipped my hat in the direction of a potential headline spot and I know Banks could fulfil that potential. What strikes me is the way she can mix a powerful yet intimate voice with sounds that say so much. You have this rich and sumptuous bouquet that gets into the senses and lingers in the brain. Maybe it will be a lot longer before she can get headline slots but there is something about her music that differs from what is around and I know people will love to hear it on the bigger stages. I wonder whether the Deja Vu E.P. is about circumstances of love or whether there is something about family embedded in the roots. I have listened to all the tracks on the E.P. and get a real sense of the exhilarating and personal. It is a candid and extraordinary mix that a lot of artists cannot pull off. I think Naomi Banks can go a long way in the industry and she is already avoiding pitfalls others are not. She has forged her own sound and identity and one gets blasts of Neo-Soul and Jazz wrapped around something fresh and modern. Banks has taken a long time to make sure her material is as strong and potent as can be and, because of that, you have an E.P. that stands out from most of what has been produced this year.

The opening moments of Enough get right into the heart and provoke all manner of images. There are casual and delayed beats together with an electronic fizz. It is a smooth and sumptuous blend that has a definite acidity and tang. One feels the soul of Neo-Soul and the layers of Jazz sensuality but you have a fresh and modern production style that updates those sounds and crosses barriers. Before a word is spoken, I was thinking about what the song is about and, before you get to the vocal, there is so much to digest. The sounds are never too busy or full-on and you can sink it all into the mind. It is a perfect fusion of the old and new. The heroine steps to the microphone and you get little elements of classic Neo-Soul artists like Erykah Badu. Not quite as intense as Badu; Banks has a smoothness and whisper that blends with caramel tones to investigate a strange affair. It seems like there has been cheating or something duplicitous taking place. I was wondering whether a man has cheated with another and the consequences of that. There is a girl at home, upstairs, and she has given enough. Perhaps there is this aspect of a relationship where a girl has been let down but I get an impression of a broken family and the younger child being let down and overlooked. Maybe I am looking at this from the wrong angle but there is tension in the air; a man who needs to watch his step and has been given a second chance. Banks is laying down the lay and telling it like it is – she does not want the same things to happen again. The composition has a nice sensuality and flow to it and, apart from a trope that gets into a lot of music – chipmunk-like vocals have been used for years and they always sound jarring and too grating – it is a satisfying and flavoursome blend.

Banks is commanding and strong and is telling a story that makes you think and gets into the imagination. The more Enough goes on, the more I get behind it and start to imagine how it started life. The more things unwind, the more the truth comes to mind. The processed and high-pitched backing vocals do get in the way a bit and could have been substituted by something that conveys the same impact – it is not a big drawback and problem given the strength of the music. There is a heroine who has been overlooked and ignored; the man is not paying attention and, when she comes through, he is not doing his part. The song gets into a groove and you are carried away by the beats. Banks is a singer who can mix it up and change pace without losing her integrity and focus. Instead of anger and accusation, there is a sense of calm and patience and she just wants the right thing to be done. I wonder whether the song is taken from her own life and experiences or whether she has seen a friend being let down. I have heard the song a few times and, with every visit, there is something new that comes to mind. The man needs to watch what he says and she has given enough. It seems like a tense situation but Banks does not deal with clichés and ordinary terms. Her story is different and there is a lot more detail and life than you get from most songwriters. The chorus is the most satisfying part of the song as it has a more pleasing musical tones with few sharp edges but carries plenty of panache.

One senses some soulful slink and funkiness but that does not get in the way of the song’s message. Banks is keen for the villain to hear her words and make sure he does not keep screwing up. Everyone will have a different take on Enough and what it is all about. It is a song that hits you first time around and makes its mark but new elements come to mind when you play it again. I have not heard too many songs like it this year and it definitely stands out. What is most astonishing is how natural and easy it sounds. Banks is an artist who can produce these deep and complex tales that have an easy-going vibe and do not weigh you down. So much of modern music is about stress and anxiety and you do not get this with her. Enough is a fantastic song that is part of a wonderful E.P. Ensure you listen to everything on there but, to me, nothing shouts quite as long as Enough. It is proof Naomi Banks is a great and unexpected talent who has a lot of ammunition and has a lot more to say. I expect her to explode and grow over the next year or so and there are many others who are excited about what she is producing. Ensure you follow her and keep an eye out regarding what she is doing. I cannot find much fault with Enough – aside from the vocal processing and effect that drains some of the naturalness – and it is a fantastic offering.

I have talked a lot about Naomi Banks and what makes her special. There are plans afoot and she will be keeping busy but make sure you keep abreast of her social media pages and follow what she is doing right now. People are talking about her E.P. and paying tribute to her fantastic sounds. I have read reviews and people are wondering why she is not bigger. Banks has done everything she can and worked hard but I feel the industry needs to pay more attention and give her more credit. It might take a few years before she hits the bigger leagues but the progression is impressive. She has shown she is a talented and incredible songwriter and the songs throughout Deja Vu will stay in the head for a long time. I shall wrap things up pretty soon but I wanted to explore every aspect of Naomi Banks’ music and what she is all about. Here is an artist that has such a fantastic style and background and she brings all of this into the music. I am compelled to see what her E.P. documents and whether relationships are a big part of it. You can sense some personal loss and pains in some of the tracks but maybe I am being too literal. Most songwriters pen songs about life and love in a very ordinary way but Banks has a different take and provides something fresh. I started by mentioning genres like Neo-Soul and Jazz and how rare they are.

Maybe artists like Jorja Smith are bringing it back but there are very few like her. Listen to what she is putting out into the world and it makes me wonder why people are not following suit. Rather than the rather empty and predictable Pop; one gets something a lot deeper and more mature. Perhaps that will put people off but, with Neo-Soul, you get something familiar that has a definite spark and nuance. I can argue all I want but the music is proof of everything I say. You only need to listen to the notes unfold and the words to connect and know here is an artist who can go a very long way. Let’s hope the industry provides her with the accommodation and platform to do her best work and allow her magic to spread. I am thrilled seeing what comes next and know she is a very special artist. I shall leave things here but (I would) advise people to check out Deja Vu. It is a fantastic work that gets right into the brain and will leave impressions long after you have listened. I wanted to focus on Enough because it made the biggest impact on me but Daydream, Anything; Smile and Hourglass are all terrific tracks. Check out Naomi Banks and, if you can, go and see her live. She is one of the strongest voices coming through right now and a great British talent. If you do not believe me then spin her music and let it...

TAKE you away.   

___________

Follow Naomi Banks

Official:

https://naomibanksmusic.com/

Twitter:

https://twitter.com/naomib203

Facebook:

https://www.facebook.com/naomibanksofficial/

Spotify:

https://open.spotify.com/artist/0Xqny1HXPGaxHIasTndWeS?si=1C4qTpeXRD-X3_lSMnVpOw

Instagram:

https://www.instagram.com/naomibankss/

YouTube:

https://www.youtube.com/channel/UCuUEXOoGybhPIr186jMyYEQ

FEATURE: All We Want for Christmas: The Ten Best Christmas Tracks

FEATURE:

 

 

All We Want for Christmas

PHOTO CREDIT: @anniespratt/Unsplash  

The Ten Best Christmas Tracks

__________

AS it is the first of December...

PHOTO CREDIT: @brunus/Unsplash 

it seems only right to break the seal from the Christmas song ban and let a few of them through! I realise we will be subjected to several weeks of those old and familiar tracks; there are a selection of fresh and modern Christmas songs that are offering variety. It might take a few more years before they get into the heart the same way as the tested and cherished Christmas song and, whilst it can irritating walking into shops and hearing Christmas music endlessly, there is something warming and pleasant hearing these familiar tracks. A great Christmas track can evoke all the sides and familiar elements of the time and create something that sticks in the head and stands alongside any traditional track. There are plenty of bad and grating Christmas tracks but it is the classics we all love. Here, in my view, are the ten finest Christmas songs that I’m guessing you’ll be hearing...

  PHOTO CREDIT: @jakobowens1/Unsplash

QUITE a lot in the next few weeks!

ALL SINGLE COVERS: Getty Images

____________

Mariah Carey – All I Want for Christmas Is You

Release Date: 1st November, 1994

Label: Columbia

Songwriters: Mariah Carey/Walter Afansieff

Producers: Mariah Carey/Walter Afansieff

Original Highest Chart Position: 9 (U.S.)

Slade – Merry Christmas Everybody

Release Date: 7th December, 1973

Label: Columbia

Songwriters: Noddy Holder/Jim Lea

Producer: Chris Chandler

Original Chart Position: 1 (U.K.)

Wham! – Last Christmas

Release Date: 3rd December, 1984

Labels: Columbia/Epic

Songwriter: George Michael

Producer: George Michael

Original Chart Position: 2 (U.K.)

Bing Crosby - White Christmas

Release Date: 30th July, 1942

Label: Decca

Songwriter: Irving Berlin

Original Chart Position: 1 (U.S.)

Wizzard – I Wish It Could Be Christmas Everyday

Release Date: December 1973

Labels: Harvest/Warner Bros. Records

Songwriter: Roy Wood

Producer: Roy Wood

Original Chart Position: 4 (U.K.)

Brenda Lee – Rockin’ Around the Christmas Tree

Release Date: 1958 (U.S.)/December 1962 (U.K.)

Label: Decca

Songwriter: Johnny Marks

Producer: Owen Bradley

Original Chart Position: 14 (U.S.)

Chris Rea – Driving Home for Christmas

Release Date: 10th December, 1988

Label: Magnet

Songwriter: Chris Rea

Producers: Chris Rea/Stuart Eales

Original Chart Position: 53 (U.K.)

Paul McCartney – Wonderful Christmastime

Release Date: 16th November, 1979

Labels: Parlophone/Columbia

Songwriter: Paul McCartney

Producer: Paul McCartney

Original Chart Position: 6 (U.K.)

The Pogues (ft. Kirsty MacColl) – Fairytale of New York

Release Date: 23rd November, 1987

Label: Pogue Mahone

Songwriters: Jem Finer/Shane MacGowan

Producer: Steve Lillywhite

Original Chart Position: 2 (U.K.)

John & Yoko/The Plastic Ono Band (with The Harlem Community Choir) – Happy Xmas (War Is Over)

Release Date: 1st December, 1971 (U.S.)/24th November, 1972 (U.K.)

Label: Apple

Songwriters: John Lennon/Yoko Ono

Producers: Phil Spector/John Lennon/Yoko Ono

Original Chart Position: 4 (U.K.)

FEATURE: The Best Glastonbury Headliner Ever?! Golden Years: Is David Bowie’s Legendary 2000 Set the Absolute Finest?

FEATURE:

 

 

The Best Glastonbury Headliner Ever?!

IN THIS IMAGE: David Bowie’s iconic Glastonbury 2000 headline performance is available for the very first time on C.D., DVD; streaming and on vinyl/IMAGE CREDIT: Getty Images/Parlophone 

Golden Years: Is David Bowie’s Legendary 2000 Set the Absolute Finest?  

__________

THAT question might provoke some...

IMAGE CREDIT: Andrew Spear for WaxPoetics

backlash and fevered arguments – or nothing at all – but we all have our views regarding the best Glastonbury headliners! In terms of those festival headline sets, there are only two that I would love to have been at – turn the clock back and make sure I was there. When Nirvana played Reading in 1992…that would have been something epic and awesome. I would have killed to be there but, as I was nine at the time, maybe it wouldn’t have been the best idea! I was seventeen when David Bowie headlined Glastonbury in 2000 and, thinking about it; it seems like an opportunity missed. In 1999, Bowie brought us his Hours album and, to be fair, it was not one of his best. The 1990s was not a great period for Bowie in terms of standout albums and memorable tracks so it is forgivable to overlook his 2000 set. One might have thought he’d sprinkle some new material in with a few classics but what actually happened was something else! Up until now, we have only been able to see a portion of his famous headline set. Bowie only wanted a bit to go out on T.V. and, as other artists have demanded since; it was those in the audience that actually got to see everything. The paying punters at Glastonbury were seeing this mindblowing set and, as it was 2000, it was not streamed over the Internet!

This was whilst the Internet was around but it was pre-YouTube. All people, largely, had to go by was what was portrayed on T.V. and, because of that; there has been a huge clambering for the full set on some format or other. We have been quite lucky when it comes to pre-Christmas releases. Kate Bush has remastered and released her back catalogue and will bring us a lyrics book. There have been great music books elsewhere and there is plenty more to come. If you have already ordered socks and chocolates as last-minute – or rather inexpensive – Christmas ideas then you can hold the phone! Finally, for the first time, the full headline set is available across a couple of formats. Here are the details of the songs and magic that one can get their hands on:

 “Not only the greatest Glastonbury headline performance but the best headline slot at any festival ever” NME

All formats feature Life On Mars?, Changes, Let's Dance, Under Pressure, “Heroes”, Fame, China Girl, Ashes To Ashes, Ziggy Stardust, Rebel Rebel, Station To Station, Golden Years, Absolute Beginners and many more.

2nd October 2018 London: Parlophone Records in association with BBC Studios and Glastonbury Festivals Ltd. are proud to announce DAVID BOWIE ‘GLASTONBURY 2000’ on 2CD/DVD, 3LP, 2CD and standard and high resolution digital formats documenting Bowie’s legendary Sunday night headline performance on 25th June at the most famous festival on earth...

 

The package includes the full 21 song greatest hits set and for the first time, a DVD of the entire show (only 37 minutes of which has ever been broadcast on TV) including the Glastonbury performance of ‘Heroes’, a highlight of the record breaking ‘David Bowie Is…’ exhibition and the only track that has been previously released.

All formats feature David’s diary, originally written for Time Out, which documents him preparing for the show in his own inimitable manner:

“As of 1990 I got through the rest of the 20th century without having to do a big hits show. Yes, yes, I know I did four or five hits on the later shows but I held out pretty well I thought…big, well known songs will litter the field at Glastonbury this year. Well, with a couple of quirks of course”.

In addition to newly mastered audio and upgraded video DAVID BOWIE ‘GLASTONBURY 2000’ features new artwork from Jonathan Barnbrook (who worked with Bowie on the sleeves for Heathen, The Next Day & ★) and notes from the renowned author and Bowie fan Caitlin Moran who reviewed the show for The Times.

The package features photos of Bowie resplendently dressed in a 3/4 length one-of-a-kind Alexander McQueen frock coat, the pattern of which was made to echo the hat (the famous ‘bipperty-bopperty hat’ mentioned in the song Queen Bitch) and worn by David at his Glastonbury Fayre debut in 1971...

 

Glastonbury co-organiser Emily Eavis commented “I often get asked what the best set I've seen here at Glastonbury is, and Bowie's 2000 performance is always one which I think of first. It was spellbinding; he had an absolutely enormous crowd transfixed. I think Bowie had a very deep relationship with Worthy Farm and he told some wonderful stories about his first time at the Festival in 1971, when he stayed at the farmhouse and performed at 6am as the sun was rising. And he just played the perfect headline set. It really was a very special and emotional show”.

Emily’s father Michael, the founder of the festival who first met David at Glastonbury in 1971 said “He’s one of the three greatest of all-time: Frank Sinatra, Elvis Presley and David Bowie”.

We get to behold this great package where we get fan notes from Caitlin Moran and some beautiful artwork. When you have the time – and I suggest getting the vinyl version of Bowie’s 2000 masterpiece – you get to hear all his classics belted to an adoring audience. China Girl and Changes rubs shoulders with Ashes to Ashes and Little Wonder; Fame and Starman are in there too! In fact, it is a bonanza of Bowie classics and great interaction with the crowd. Bowie tells how it (2000) is the first time he has played Glastonbury since the 1970s and a true moment, at a rather interesting stage of his career, where he gets to play all the hits.

I have mentioned how 2000 was not his richest period and one would imagine, if he were still alive, he would be a sure-fire bet for next year’s Glastonbury. It is a tragedy we will not get to hear Bowie play songs from Blackstar (2016) alongside all those monster gems. The great man died in January of 2016 and, in a matter of weeks, we mark three years since his passing. It is with mixed emotions and a slight tear that one listens to Bowie having a ball; on the biggest musical stage and vibing from the incredible energy that evening. I would any forking over forty-four quid – as priced by Amazon.co.uk – is the bargain of the decade when it comes to a priceless bit of history. Years from now, you will be listening to the album and hearing this incredible, spine-tingling set! We all know how majestic David Bowie was as a performer and I am not surprised his 2000 headline set has made the history books. There is debate and conversation when one thinks about the ‘best’ Glastonbury headline set. To me, it comes down to Bowie’s 2000 set and Radiohead’s legendary 1997 appearance. Radiohead had released OK Computer and it was a pivotal time in their career. The sheer energy, mood and magic that was created is hard to top. I think Michael Eavis says it is his favourite-ever Glastonbury headliners and many fans agree.

This article collates the very best and puts David Bowie’s headline set at number-three:

“Here’s a great yarn, reported by Music Week: according to promoter John Giddins, who worked on David Bowie’s Glass Spider tour, Michael Eavis originally didn’t want the star to perform at Glastonbury, having described his recent drum 'n' bass tour as “the most boring thing he had ever seen”. In a cunning ruse, Gidding ‘leaked’ information to the press that Glastonbury was desperate to book Bowie and Eavis’s phone exploded with excitable phone calls. He swiftly did an about-turn and the resulting show – Bowie’s first at the festival since a low-key appearance in 1971 – was a greatest hits stomper that packed in the likes of Rebel Rebel, Starman, Changes and, of course, Heroes”.

This piece/publication included Bowie in their top-twenty and another, here,  gives another angle behind Bowie’s 2000 appearance:

“He did everything. From ‘Wild Is The Wind’ to ‘Changes’ to ‘Ashes To Ashes’ to ‘Rebel Rebel’ to ‘The Man Who Sold The World’, one by one they came – leisurely dispatched by a grinning 53-year-old man with a gorgeous blond mane and an only slightly ridiculous long coat, a nod to the outfit he wore on his previous performance at the bash in 1971. “I got struck down by laryngitis earlier this week,” he noted casually over a tinkling piano intro, “so if I give out, and if any of you know the words, then for gawd’s sake join in. I’m counting on you!”

Showmanship, songs, the element of surprise, the good-natured vibes… it’s hard to see what more one could ask from a headline set. Even as he closed with the comparative low of ‘I’m Afraid Of Americans’, the crowd went with him. They belonged to him. Glastonbury was his”.

Pulp owned the Pyramid Stage in 1995 and 1994 saw Oasis, Blur and Pulp take to the NME Stage. Look back at 1981 and New Order’s set and it is hard to match the spirited and epic tones that were produced. Ever since the 1970s, we have seen some biblical Glastonbury headliners and I guess Beyoncé’s headline slot in 2011 is the last really epic occasion – let’s hope she is invited back for next year! I doubt we will see the sort of histrionics and drama of previous years next year but you never can say. I feel the main battle of the headliners is between Radiohead in 1997 and David Bowie in 2000. It was a golden time and, if you were at either/both years, you will argue and have your own view. I attended neither (go figure) but I have heard and watched both Glastonbury sets. When it comes to Radiohead’s set; you have the charged and emotive performance that sees a band at the peak of their powers. It was a perfect moment for them to shine and, whilst big albums like Kid A (2000) would follow; the band had a huge following and the pressure was on them. At a moody and damp Glastonbury in 1997, they performed a truly sensational headline set.

If you think Radiohead were nerve-free for a relaxing and inspires set then, as the band has said, things were a little different. NME reported on their 1997 headline set – as they embarked on their second last year – and the band told the tale:

“Speaking to Jo Whiley on BBC Radio 2, O’Brien recalled: “It was like a form of hell. We were doing something that was like a dream, to play the Pyramid Stage on a Saturday night, it doesn’t get better than that. [But] to find yourself in a situation whereby it felt like we were in crisis mode – the equipment failure was happening, [we were] trying to keep all members onstage, people not walking off – it was like ‘this should be a heaven but was like a kind of hell’.”

O’Brien added that their experience may have helped “galvanise” the group. Listen to the clip here.

Frontman Thom Yorke recently discussed how he came close to walking off stage during the set. Yorke spoke about how he nearly abandoned the performance during the encore because “all the speakers have been blowing up and stuff.”

“At one point I just went over to Ed [O’Brien, guitarist]. I tapped him on the shoulder and said, ‘I’m off mate, see you later,'” said Yorke. “He turned around and went, ‘If you do, you’ll probably live the rest of your life regretting it’. I went, ‘Good point'”.

IN THIS PHOTO: Radiohead in 1997/PHOTO CREDIT: Getty Images

However they were feeling whilst on stage; the results speak for themselves. Many (fairly) argue none come better than that 1997 set. I adore Radiohead but I think Bowie sneaks them. Think about the gap he left between Glastonbury appearances (nearly thirty years) and he was seamless and seemed to have no fear. The difference between the sweaty and charged Radiohead set and the old master seducing and enthralling the fans three years later is quite radical. I love how relaxed Bowie seems and how he chats with the huge crowd. Not only is the interplay and tone just so but you get decades of iconic hits. He has an embarrassment of riches to supply people with and nobody could have been disappointed. It was the perfect mix of the greatest hits and some newer material. The delivery and showmanship from Bowie is extraordinary and you only need to listen to the set – on the new release – to feel shivers and feel like you are there! It is a truly wondrous display of control, emotion and providing the absolute pinnacle headline experience. Maybe we will see a set that rivals Bowie’s 2000 one but I am not going to hold my breath! Eighteen years after he delivered this near-sermon of a performance; have we seen anything as epochal and truly unbeatable?!

 IMAGE CREDIT: Getty Images

I admire anyone’s viewpoint and why they love a certain Glastonbury headliners - but can you get better than Bowie gracing a lucky selection with some of the finest tracks ever written?! Radiohead might have been riding a wave and coming through at a crucial moment but the sheer breadth and quality of the material Bowie spooned to the masses in 2000, to me, makes it the defining headline slot. It is heartbreaking listening and realising we will never again see a David Bowie performance. I have been following him for years and look back at his gigs in the 1970s and compare them to the changed and different-looking man in 2000! Whether he was Ziggy Stardust or Aladdin Sane; underneath everything, he was simple David Bowie (or David Robert Jones, to be precise!). I would have loved to have been there but having the chance to witness the full set in all its glory is a great thing. He has been gone almost three years but we are still being treated to rare material and ‘new’ offerings from David Bowie. His staggering Glastonbury set is out in the world and it makes for a perfect Christmas present. Not only that but we get to experience one of the/the best Glastonbury headline set of all-time, delivered by one of music’s true heroes. Make sure you grab a copy, block everything else away and, with a slight tear in the eye, witness a genius of music...

TRULY in his element.

FEATURE: Music Sounds Better with You: Ones to Watch 2019: Part III

FEATURE:

 

 

Music Sounds Better with You

IN THIS PHOTO: Kara Marni

Ones to Watch 2019: Part III

__________

HERE is the third part of my...

IN THIS PHOTO: Yizzy

rundown of artists to watch next year. I doubt I will be able to include all of the names that are worth keeping your eyes out for and there will be omissions but, as there are a few more editions to come; let’s hope I have not forgotten anyone big! I have loved seeing the artists coming through this year and how they will shape up next year. Have a listen and look at the names and there is variation to be found. I am excited to see what 2019 holds for all of these artists and whether they have any new material bubbling up. Have a listen to this fine selection because I am sure you will be hearing more from them...

IN THIS PHOTO: The Regrettes

NEXT year.

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

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Maria Kelly

PHOTO CREDIT: Roughcast 

Follow: https://www.facebook.com/mariakelly.mk/

Twitter: https://twitter.com/mariakellymusic

Spotify: https://open.spotify.com/artist/15MkO1zSQcHtjObfkiEUaV?si=wNNor1u-RgSAhyie33IpfQ

Basement Revolver

PHOTO CREDIT: @ro.creative  

Follow: https://www.facebook.com/basementrevolver/

Twitter: https://twitter.com/BASEREVOLVmusic

Spotify: https://open.spotify.com/artist/2xaBaFw60ET6GJVxFLOc4s?si=IXPN7APCRbO5tWNbkuygPg

Yizzy

Follow: https://www.facebook.com/OfficialYizzy/

Twitter: https://twitter.com/Official_Yizzy

Spotify: https://open.spotify.com/artist/4uCUBeUgVSrYFwLDeklA7g?si=sz0_G_MnTP-6xTO81ot_TA

ARK

Follow: https://www.facebook.com/hernameisark/

Twitter: https://twitter.com/hernameisark

Spotify: https://open.spotify.com/artist/2mp1tlha2UQUPY00PZZhI2?si=jk08UmhbTXaAlWhuRXKrwg

Æ MAK

PHOTO CREDIT: Bríd O'Donovan Photography  

Follow: https://www.facebook.com/AEMAKofficial/

Twitter: https://twitter.com/AEMAKofficial

Spotify: https://open.spotify.com/artist/2VQ0jNisT4VhPs41VGvvTX?si=u_kXtF-jQwGDdUcwD1MnaA

Matilda Eyre

PHOTO CREDIT: Birgit Henne 

Follow: https://www.facebook.com/matildaeyre/

Twitter: https://twitter.com/MatildaEyre

Spotify: https://open.spotify.com/artist/3Bgz9eoEPhI1UWF43hs0bS?si=pG11SD4-RfK1IUoTKJuglA

Annabel Allum

PHOTO CREDIT: Context Films  

Follow: https://www.facebook.com/AnnabelAllumOfficial/

Twitter: https://twitter.com/AnnabelAllum

Spotify: https://open.spotify.com/artist/5vkZbKJdzVGMguwXljppOz?si=cZN2Bbo-T-KTtV8FqkwIoA

Robinson

Follow: https://www.facebook.com/robinsonxmusic/

Twitter: https://twitter.com/robinsonxmusic

Spotify: https://open.spotify.com/artist/38CvLGTsjtoloDgv3OKQp8?si=Yhlea6guRaCR4U39IFwarA

Hands Off Gretel

Follow: https://www.facebook.com/handsoffgretel

Twitter: https://twitter.com/HandsOffGretel

Spotify: https://open.spotify.com/artist/48GgebpHGBikfDXg0o592i?si=2nxXNq74Rk-LUS0I69Q4yg

Starling

Follow: https://www.facebook.com/starlingsworld/

Twitter: https://twitter.com/starlingsworld

Spotify: https://open.spotify.com/artist/2J6DqodvesSK7lcpH7gzul?si=rXPrTW6xQmile3nHz1qP0w

Kara Marni

Follow: https://www.facebook.com/KaraMarni/

Twitter: https://twitter.com/KaraMarni

Spotify: https://open.spotify.com/artist/2lfOu2DjnvR4Xpolt3OPfv?si=20xoqGaxQkS995HV0NTYVQ

Chlöe Howl

Follow: https://www.facebook.com/chloehowlofficial/

Twitter: https://twitter.com/ChloeHowl

Spotify: https://open.spotify.com/artist/1hvPdvTeY6McdTvN4DyKGe?si=9kubejaQTMuYD6lzrPagzg

Michael Jablonka

Follow: https://www.facebook.com/michaeljablonkaofficial/

Twitter: https://twitter.com/jablonka01

Spotify: https://open.spotify.com/artist/1IzziurNysvd1Rn66CKZMl?si=nNlYr3RDRzShdfee0ytCUQ

Loski

Follow: https://www.facebook.com/LoskiOfficial/

Twitter: https://twitter.com/loski_hs

Spotify: https://open.spotify.com/artist/5VNMclLseLzRnVhvkrqdpn?si=8VJtBTFZRrSzEu8k5Fs5aA

Elena Ramona

Follow: https://www.facebook.com/elenaramonamusic

Twitter: https://twitter.com/elenaramona90

Spotify: https://open.spotify.com/artist/5bUE6ronjsaGdIoeVGfFoj?si=w1Vmx8NiQuSvzWmuchuv3A

James Holt

PHOTO CREDIT: Asupremeshot  

Follow: https://www.facebook.com/jamesholtmusic/

Twitter: https://twitter.com/jamesholtmusic

Spotify: https://open.spotify.com/artist/5RU4BAi19LHkaPFcE1USkb?si=ck-DdQxzRJmzpM1wPdxb0Q

Yxng Bane

Follow: https://www.facebook.com/yxngbanemusic/

Twitter: https://twitter.com/yxngbane

Spotify: https://open.spotify.com/artist/5AbLpsnTQVNB3OEadYiVrK?si=iRhlfYE1RyGK4Klvz_T8ww

Tallies

PHOTO CREDIT: Alex Gray  

Follow: https://www.facebook.com/talliesband/

Twitter: https://twitter.com/TALLIESband

Spotify: https://open.spotify.com/artist/0TqfIpfq65gBiU4m7BCe0O?si=pujPLn8JROSf21tZQeS8WA

The Tuts

PHOTO CREDIT: Francesca Tirpak Photography

Follow: https://www.facebook.com/thetutsband/

Twitter: https://twitter.com/TheTutsBand

Spotify: https://open.spotify.com/artist/034JSYadRJsXRgY61c7HSq?si=a-IdquvbSuONrVPQA6YX0g

Hatchie

Follow: https://www.facebook.com/hatchiemusic/

Twitter: https://twitter.com/hihatchie

Spotify: https://open.spotify.com/artist/3d7MqowTZa2bC5iy1JXLLt?si=PQdfIalWT0mM_eogOv2Vbg

Wyvern Lingo

Follow: https://www.facebook.com/wyvernlingo/

Twitter: https://twitter.com/WyvernLingo

Spotify: https://open.spotify.com/artist/7etzKNDxaZ1LefgbGrexsN?si=bdjOV7isSFSCYrIPUmn3pQ

VC Pines

Follow: https://www.facebook.com/vcpines/

Twitter: https://twitter.com/vcpines

Spotify: https://open.spotify.com/artist/4LQgArm1pO5Q7GuDu2qXfC?si=W5TbjxOdR_a9OZW1B91Ebw

The Regrettes

Follow: https://www.facebook.com/regrettes/

Twitter: https://twitter.com/regrettesband

Spotify: https://open.spotify.com/artist/67WNUxmM7y4WzHPAVzBu3E?si=EtYmAaLvSpC71yv5AuMBEA

Just Like Fruit

Follow: https://www.facebook.com/Justlikefruit/

Twitter: https://twitter.com/justlikefruit

Spotify: https://open.spotify.com/artist/25q5Kb1Zwq5KTP6TQ2K4yM?si=-FV6WgcJTb-qVXpJHSVvtw

FiFi Rong

Follow: https://www.facebook.com/fifirongmusic/

Twitter: https://twitter.com/fifirong

Spotify: https://open.spotify.com/artist/64yPy2kBAhOJSRxOEtL3Qk?si=yHeXiCyyTrqENEhJ3qtMFQ

Taylor Janzen

Follow: https://www.facebook.com/taylorjanzenn/

Twitter: https://twitter.com/taylorjanzenn

Spotify: https://open.spotify.com/artist/3rTVTBOBT7NPgXtI5oWyxc?si=-D3sJQsoTYSU-QCAIV9WkQ

INTERVIEW: Moderate Rebels

INTERVIEW:

Moderate Rebels

___________

MY one and only interview of the day...

is with Moderate Rebels who have been talking about their new track, The Value of Shares, and the album, Shared Values; the artists and sounds that inspire them and how the band found one another – they recommend some rising artists.

I ask what they have planned going forward and whether there are any gigs coming up; the advice they’d give to emerging acts and whether they get chance to chill away from music – the group select some great music to end the interview with.

____________

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

Hello. We're well. We're doing a couple of gigs and the album is coming out - it's a good week. 

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

We’re a bunch of friends who get together (whoever is available at that moment - so the line-up can up to nine or ten people in different combinations) to make noise we like. We intend to think, or try, as little as possible about it so it feels very natural.

The Value of Shares is your new track. Can you explain the story behind it?

Like a lot of things so far, we just did it…then we tried to find out what it meant. That’s a fun exercise. We have theories but it’s much more fun to hear what anyone else thinks it’s about.

Shared Values is the album. Are there particular themes that inspired it?

We think we’re living in an era when lots of people feel they have lots of questions (perhaps  that’s every era?) and we seem to touch upon that. Doubt, uncertainty; vague language, conflicting information and opinions are all inspirations. 

Do you recall when Moderate Rebels got together? What is the secret of the band’s solidity and longevity?

We did one song and did one gig and then things took on a life of their own. By not being solid (flexible line up) and having no long-term plan, apart from making some music we like, perhaps that helps us work quickly and have fun with it. I’m sure it’s different for everyone.

In terms of music; which artists are you drawn to?

You can imagine, across ten people who like music, that there is no easy answer to this question. We could give some names but they would be true for some people and not for others. It’s a big mix up and we don’t really worry about it.

As Christmas is coming; what one present would you each like if you could have anything? 

Surprises are always good, generally. We like people using their imagination.

Do you already have plans for 2019?

Next Moderate Rebels album is well under way and it could well be a double-album. Ideas don’t seem to be a problem just now.

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

It’s always a good feeling when you hear a song you did on the radio next to people whose records you buy. Live shows have all been fun, too. The first gig, especially, when we played the only song we had at the time (God Sent Us) for twenty-eight minutes continuously could have gone really badly, but the crowd really went with it.  

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

Blood Orange has been pretty popular with some of us this year. Great, modern Soul record. Again, though, this is a big question for ten people and, honestly, we’ve never really talked about it. We just do stuff; we don’t really discuss the reasons why or the influences we have.

We’d spend most of our time talking if we did.

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

St. Vincent would be fun. We’d ask for a quick guitar lesson from her. She makes it look very easy.

What advice would you give to new artists coming through?

Don’t take anyone’s advice about anything: make your own way and see how you feel about it.

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

5th Dec: Aces and Eights Saloon Bar, London 

Are there any new artists you recommend we check out?

Gelatine (in Glasgow) we liked recently. Uncle Tesco are great as well.

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

If we are playing music, in the right way for us, then it should be relaxing to play (doesn’t have to be necessarily relaxing in sound). If we feel we need to unwind from playing music then something is going wrong somewhere.

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).

Gorgeous Bully - I’ll be True

Planningtorock - Beulah Loves Dancing

Death in Vegas – Dirge

Little Simz - Boss

Uncle Tesco - Meal Deal

Spacemen 3 - Dreamweapon

Sophie Hunger - I Opened a Bar

Crass - Merry Crassmas

__________

Follow Moderate Rebels

Facebook:

https://www.facebook.com/Moderate-Rebels-970984503065462/

Spotify:

https://open.spotify.com/artist/7ChD547kXZjzJijuMfUzbn?si=JRfcTNE2R7anqtMHyfmuEg

Instagram:

https://www.instagram.com/moderaterebels/

Twitter:

https://twitter.com/ModRebels

SoundCloud:

https://soundcloud.com/modrebs

PHOTOS OF MODERATE REBELS:

Colin Williams

FEATURE: The December Playlist: Vol. 1: With Power Comes Great Responsibility

FEATURE:

 

The December Playlist

IN THIS PHOTO: Grimes/PHOTO CREDIT: Eli Russell Linnetz  

Vol. 1: With Power Comes Great Responsibility

__________

IT is great to kick off a new month…

IN THIS PHOTO: Kelly Rowland/PHOTO CREDIT: Jeffrey Mayer/Getty Images

with a track from Grimes. I was not sure whether she’d be releasing material this year and she has left it right until the death. Alongside her are offerings from The 1975, Ex:Re (Elena Torna); Arctic Monkeys, Jade Bird and Kelly Rowland. It is a great week for music and, alongside some Christmas tracks (including one from Phoebe Bridgers); there are plenty of conventional sounds to keep people happy. Have a listen through this crop of songs and I know there will be something in there that turns the head and gets inside the heart. If you thought artists were cooling it before 2019 and not willing to put out new material then you’d be wrong! This eclectic selection of tracks shows that there is plenty of brilliance…

IN THIS PHOTO: Arctic Monkeys/PHOTO CREDIT: Zackery Michael

TO go around.

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

___________

 PHOTO CREDIT: Ben Grieme for FADER

Grimes (ft. HANA) – We Appreciate Power

IMAGE CREDIT: Marika Kochiashvili

Ex:Re – Romance

IN THIS PHOTO: Arctic Monkeys/PHOTO CREDIT: Zackery Michael

Arctic Monkeys – Anyways

Iceage – Broken Hours

PHOTO CREDIT: Gabriel Green

Julia Holter – Whether

Kelly Rowland – Kelly

PHOTO CREDIT: Ines Ziouane

Black Honey – Crowded City

PHOTO CREDIT: Ryan Pfluger

Sharon Van Etten – Jupiter 4

Jade Bird – Love Has All Been Done Before

Chris Sails – Love Language

PHOTO CREDIT: Brick Howze

Alessia Cara – Not Today

Circa Waves – Movies

Emily Burns – Damn Good Liar

Four of Diamonds – Blind

graves (ft. EZI) – I’m Fine

Alec Benjamin – Boy in the Bubble

ISLAND - Just That Time of Night

Nicki Minaj (ft. Lil Wayne) – Good Form

Nina Nesbitt – Colder

Saweetie - Pissed

Tom Speight – Strangers Now

Wavves – So Glad It’s Christmas

The 1975 – Inside Your Mind

Clean Bandit (ft. ALMA) – In Us I Believe

Jeff Tweedy – Some Birds

Alice Merton – Funny Business

Mark Ronson (ft. Miley Cyrus) – Nothing Breaks Like a Heart

Shame – Dust on Trial

PHOTO CREDIT: HipHopDX/Mike Lavin (@thehomelesspimp)

Chance the Rapper (ft. Joey Purp) – My Own Thing

Sasha Sloan – Again

Phoebe Bridgers – Christmas Song

PHOTO CREDIT: Zain Ayub

Kwame – CLOUDS.

Tessa Violet – Bad Ideas

Lucy Grimble – Keeper

Men I Trust – Say, Can You Hear

TRACK REVIEW: Cocoa Futures - Recovery

TRACK REVIEW:

 

Cocoa Futures

Recovery

9.4/10

The track, Recovery, is available via:

https://soundcloud.com/cocoafutures/recovery

GENRE:

Pop

ORIGIN:

London, U.K.

The E.P., Recovery, is available via:

https://open.spotify.com/album/4XOmhqv3uOD65cLc7jrN2b?si=BMZ98YsuTX2cTFP4zgaxDw

RELEASE DATE:

23rd November, 2018

_________

WHEN thinking about Cocoa Futures...

I get to turn my mind to a few different things. I will look at his track, Recovery, and the E.P. of the same name but I want to investigate this year’s offerings and whether mainstream acts/albums have taken too much attention away from the newcomers; songs that have a sense of humour and a big of swagger to them; how artists develop and ways to keep fresh in the industry; looking ahead to 2019 and the sounds that could take acclaim; a bit about influences and artists who we need to hear more of – I will end by speaking about Cocoa Futures’ future and what we might see going forward. I will start out by talking about albums this year and whether rising artists have been given enough acclaim. It might sound like an odd place to start but I have just read the reviews for the album, A Brief Inquiry into Online Relationships, and what people are saying. Many are comparing it to Radiohead’s 1997 work, OK Computer, and I wonder whether that is an unrealistic comparison. I guess there are similarities in regards the sort of themes that are explored and the fact that, on one song, there is an equivalent to Fitter Happier – instead of a computerised voice; The 1975 use a more modern computerised voice that will be familiar to us all. I have listening to the record and there are some great songs; a terrific spread of sounds and barely a wasted note. It is a terrific achievement, no doubt, but many are calling it a generation-defining album and one that will stand the test of time. I know it would be ignorant to say no album from today could ever match the classics but I am not affected by The 1975’s latest the same way as I am by Radiohead’s masterpiece. Maybe time will change that but I think some critics get carried away and we need to calm a bit.

I think a lot of albums this year have got the right amount of praise and one cannot fault the likes of IDLES and Christine and the Queens when it comes to those big marks. I think there have been so many interesting offerings from the underground, in terms of E.P.s and albums, that are not been given the same leverage. It is great bands like The 1975 are being given props but I think many critics ignore the strength of artists emerging and the fact, in many cases, they are producing material that is more daring and engaging. That might sound like a bold claim but I am hearing so many great works and artists that will take years to get big acclaim. Do we often put too much focus on the hyped bands/albums and ignore what is being made by the newcomers – through a sense of ignorance or assumption they cannot scale the same heights?! I do not know but I think there is a case of some artists being overrated and too much spotlight coming their way. This means, a lot of the time, we are not really looking at artists who warrant more praise. There are a tonne of artists who are worthy of a bigger hand but Cocoa Futures is someone I have been following for a while. It would be rash to say that the band are worthy of as much speculation and scrutiny as The 1975 but I feel there is this division between the mainstream and the underground. Do we instantly feel, unless an artist is visible at the forefront, they cannot produce something that sticks in the mind? Even though I am changing things around next year and focusing on bigger artists for my site – not mainstream as such but those a lot closer than artists I am featuring now – I still think more time needs to be dedicated to reviewing and spotlighting those who are a bit further down the rung. I do wonder whether albums as lauded and pressured as A Brief Inquiry into Online Relationships will stand the test of time – I feel we will not be talking about the record in twenty-one years’ time the same way we do as Radiohead’s OK Computer. That might sound like an excuse to put the boot into The 1975 a bit but I do wonder whether we are too obsessed and beholden to the so-called big guns and ignore the next generation of artists who are making genuinely big steps.

I do not have the time of the finger strength to review every song on Cocoa Futures’ E.P., Recovery, but I did want to feature the eponymous cut. One of the reasons I have selected it is because of the sense of humour and fun. One of my biggest gripes about modern music is the fact the fun has evaporated. I have written about this area recently but I do look around and, when it comes to the best and best-reviewed albums, one thing is common: they seriously lack fun and a sense of uplift! Look at the hottest records this year and, whilst there is a a bit of flair here and there, most are very serious and do not have the same bounce and infectiousness as music past. As I type this, I am listening to Madonna from back in 1985. It is amazing how far music has come in an ironic sense. The mainstream Pop market could never challenge those heady days when we had icons and anthems that stick in the mind. Fun and memorability has been replaced by something quite plastic and samey. Look at most popular music and anxiety has replaced any sort of positive spirit. There are many new artists who are capable of bringing back a sense of smile but their numbers are starting to shrink. It is worrying that the likes of Cocoa Futures is in a minority. I say his music is humorous but there is a serious message that underlines songs like Recovery. It is about drink and the perils of excess but there is a lighter side to it. He can put together an E.P. that deals with both sides of alcoholic excess. That might sound like a pretty weighty subject to explore through music and many might say there is no difference to what we are hearing now – too many artists forgetting how to bring light into music and being far too serious. In the case of Cocoa Futures, you get a nice blend of the concerned and ribald.

 PHOTO CREDIT: Sara Amroussi-Gilisse

I listen to a track like Recovery and, although the title has been done a million times – including Eminem – there is something distinct about it. You get something a little muscular and seductive; there is a blend of emotions but, as much as anything, you are involved in the song and come away feeling better. It is always hard when you write about something like alcohol. Greg Sanderson (the lead of Cocoa Futures) knows that alcohol is a messy and complicated thing that can produce some wonderful times but it can also lead you down a dark road. He has felt the sting of a hangover and all the regrets that carries but has witnessed genuine freedom, a lack of inhibitions and something pure. I look out at music now and, for the most part, artists are not really being that inventive and letting something funny into the mix. Maybe I am a bit rash when it comes to the fun-killing vibes and accusations but compare the mainstream/underground of today with the music of the 1980s and 1990s and you have to wonder what happened to us. Have we all become paralysed by stress and fear that music has to be this monument to gloom and our own personal concerns?! In order for sounds of today to resonate and remain through the years, there needs to be something that catches you and, yes, makes you feel better. The reason we remember and gravitate towards older music, by and large, is the way it makes us feel and the fact it can make us feel better. I sound like an old man ranting against modern music and how, in my day, it was much better (it’s true but enough of that!). I am glad an act like Cocoa Futures can take a seemingly complex subject like alcohol ‘enjoyment’ and cut away most of the expected gloom. It is a song that will get into the mind and, as I shall investigate later, one that is a lot brighter than most of the stuff out there right now.

PHOTO CREDIT: Rou Gilissen

I have heard previous Cocoa Futures singles like Sink in the Water and Circus and those tracks are great. It would be easy for a repeat or something that walks along the same lines but that is not what you get with Cocoa Futures. In every movement, there is this development and sense of the fresh. I have heard too many acts stay on the same path and they never feel the need to break into new ground. It is nice hearing artists that can keep moving and do not have that stale quality. In terms of songwriting, it can be hard distancing from the personal and relationship-based. I think that is one reason why modern music has that appearance of gloom and doom. You have too many that are speaking about their torment or looking out at the modern world and saying it like it is – which is needed and honest but is awfully depressing! In many ways, an E.P./song like Recovery is the antidote to that malaise. Booze is what we head to when we want to forget the stress; it is what we bond over and it is that social lubricant. It can elevate the darkest days to something manageable and, if we are too full-on and lack wisdom; it can be that regret we wake up to! It is part of modern fabric and something we can all identify with. I have not heard anything like this from Cocoa Futures and it proves there is that need to keep the topic areas fresh and not get bogged down like so many. It makes me wonder what might come next year and the sort of things that will be covered. I urge people to investigate the E.P., Recovery, because there is a lot of wonder to behold. Previous singles like Sink in the Water and Circus are in there and they nestle with lesser-heard offerings. I will move onto a new area but, before I do, I wonder why more artists do not follow the lead of Cocoa Futures.

 PHOTO CREDIT: Sara Amroussi-Gilisse

There are a few areas for improvement in the camp. One of my biggest groans and sources of annoyance comes with photos. There are some fine snaps in this review but I have had to mix older shots with the new ones. So many artists limit themselves to specific photos and do a few for each new campaign. That is okay if you want to write a few lines about a song/E.P. but, if you want to go deeper, your options are limited. There is a lot of potential, photographically, for Cocoa Futures and it would be good to see some more shots for 2019 – a couple of new shoots that are done not for a campaign or release but are a nice visual accompaniment to the music. That might be my problem but, as there is such a great force from the audio side of things, matching that with more photos would attract new listeners and journalists. I have wandered from my point regarding development and evolution and I think it is great there is freshness about Cocoa Futures. I am pumped to see what arrives next year and I think more musicians should think about broadening their scope and not writing about the same things. The listener might be able to relate to what is being said but, once you have heard it a few times, do you want to keep hearing it?! I feel there is that stubbornness to try something new and widen the horizon. It is important to have a look into next year and think about the sort of sounds the mainstream might demand. I will come back to sounds and developments when I review Recovery but I am interested looking into next year and what we might all witness. This is the time of year that many journalists, myself included, predict who will make a big break in 2019 and what sort of sounds will define the year.

I think it is going to be a little while longer before Cocoa Futures courts the same sort of press as the biggest acts of today but I think they have taken big steps. Look at what is being put out and the sounds hit you instantly. I think this year has been defined by more openness in the mainstream and variation. Grime and other genres have played a bigger role and the Pop ‘elite’ are broader and more mature than years past. I still think there has been too much personal revelations and not enough fun. Maybe that is a sign of our times and we have come too far – will we ever see a return to those glory days?! What I have noticed is the relevance of lyrics and a general move away from cliché themes. Maybe this does not apply to most Pop but look at this year’s biggest records and they have talked about areas like online relationships, sexual inequality and gender; toxic masculinity and the state of the nation. That might sound a bit heavy and serious but most have managed to sprinkle something accessible and light among those tough subjects. I think we will continue to look for artists that can assess what is happening and the things we are concerned with but bring different genres into the pot. I think we will see Grime make a bigger stride towards the centre but I feel Dance and sounds inspired by the 1990s will come back in a bolder way. This is not to say we will see a return to that decade – the modern crop is not nearly strong enough – but there will be a slight break from the gloom and a bit more colour coming through. This is my prediction and I hope I am not proven wrong! I have spoken about Cocoa Futures and how the song I am going to review imbues some fun. At its heart, mind, Recovery weighs up the consequences of drinking and asks how we can look forward and rebuild if we are always recovering. Maybe that is a metaphor for politics and the state of the country but there is a personal aspect – a need for more calm and control. There is lightness in the song but, again, it follows alongside the biggest artists who are taking a serious approach. I do respect that stance but I hope, sincerely, people are able to lighten up and bring genuine joy back into music!

You want to talk about joy in music – it is almost extinct these days! – and you look back at those great icons. David Bowie is in my mind because his legendary Glastonbury performance from 2000 will be shown very soon. Until now, we have only seen a fraction of what went down but now, very soon, the full thing will come out. It is amazing to think he has been gone almost three years and there is that definite vacuum. I mention Bowie because I know Cocoa Futures source guidance from the legends like David Bowie and Roxy Music. You get – with Cocoa Futures – a swagger and that 1970s sound; a blend of the strict and fun and something that takes its sonic cues from that golden time. What one experiences – with Sanderson as the lead and guide – is a trance and beguiling mixture. You are captured in this world like a butterfly in a jar. The material – recorded in Manchester’s Low Four Studios – tends to take my mind back to the Low-era David Bowie and what he was throwing out. Cocoa Futures will be the first to say their Speed of Life and Sound and Vision (from Low) are years away but you can detect a flavour of the album! This might seem like a bold claim but Cocoa Futures’ sound brings in bits of David Bowie and Roxy; there is a sprinkle of St. Vincent and modern innovators. The reason why the E.P., Recovery, strikes a chord is because you get whimsy and something light alongside a more serious side. The lyrics are broad and the music has such depth and detail. So many artists get stuck in one gear and they do not often expend too much effort when it comes to the sonics. Pure and rounded musicians can tackle every angle and make sure their music is as thorough, impressive and impactful as it can be.

Perhaps it would be rash to insinuate and suggest Cocoa Futures have Bowie in the blood but you know what I mean when it comes to endeavour. They are mixing in funky sides and catchy kicks with some electronics and darker tones. It is an appealing and arresting brew that will get under the skin and stays in the mind. I think that issue of memorability is a big problem. It might be to do with the sheer volume of music or the way we digest it but how many artists and moments from today will we recall and mention alongside the classic albums? I think many of us, in decades to come, will still talk about classics albums and very few modern offerings will be mentioned. That might sound cruel but there are aspects from older music that are not being taken to heart. We do not necessarily laud the big albums from decades ago because they hold fond memories: to many, there is that thrill, depth and positivity you do not get from modern music. Even if the music is more emotive and unhappy; something about it hits us and stays in the soul. 2019 will be a big year and I feel artists will start to change things up. Whether we get those generations-lasting records I am not sure but I think there will be some fine moments. Cocoa Futures will be among the best of the rising pack and I think many can learn a lesson from the London-based outfit. I love the way the music and lyrics have such variation and there is that desire to come back and get that satisfying hit. Let me move on and look at Recovery’s title-track as I have been keen to get to grips and learn a bit more about it. It is my favourite offering from the E.P. and a song that, as you’d expect, seems to define what Cocoa Futures are trying to say.

One might think something rambunctious and stirring would open Recovery – given that it is about excess and the consequences of it. I was buckling myself for something a bit spiky and intense but, instead, you get electronic noodling and something a bit cosmic. I have already mentioned Low-era David Bowie and that is not far off of the mark. It is a spacey and head-spinning introduction that opens the mind and you wonder where the song is heading. Although the composition bubbles and has a colourful flow; the lyrics have an air of the oblique. I know alcohol and addiction are part of the song and the hero is looking at its two sides. We hear about tears in the sea and a distance between his door and hers. Maybe there is a relationship that is being squandered because of drinking or it might be the case life in general is a bit blurred and murky. The delivery from Sanderson has a lightness and flexibility that reminds me of David Byrne (Talking Heads) and David Bowie. There is a bit of Bryan Ferry (Roxy Music) and other artists and I like the way he makes his voice skip and strut without compromising the seriousness of what is being sung. The backdrop burbles and pops as the hero talks about being further away from the good times. One feels the need for recovery and things have taken a rather bleak turn. You know there have been mistakes made but you never feel like the song is too dour and black. Every second seems to skip and dance and you have that great blend of the uplifted and grounded. The chorus has a nice rush to it that reminds me of Pop of the old – not as intoxicating and strong – and you get something instantly memorable. I detected elements of Field Music, too – sorry to keep comparing! – and there is a nice mixture of elements. The next stage of the song looks at Friday drinking and the need to blow off steam.

We have talked about relationships and darker sides of drinking and now a more common and lighter side emerges. The hero is drinking with those close to him – whether that means friends or people physically closer to him – and there is a cycle of discovery and recovery. That is almost like a mantra. As soon as we drink and find out new things (or let ourselves go) then we are thinking about recovery and rebuilding. I am not sure whether the song is inspired by real-life excess and making mistakes but many will be able to relate that what is being said. Rather than make the song too pained and po-faced; there is that endless sense of energy and momentum from the vocals and composition. I think the chorus is the most memorable aspect of the song and it definitely burrows in the head. It is short and sharp and has a distinct punch. By the time you get to the end of Recovery, one wonders whether there is a lot of personal background in there. I know many will be able to engage with something that affects many and think more deeply about the way they use alcohol and what it is doing to them. I have mentioned artists like David Bowie and possible inspirations but one experiences something modern and original with the song. It has a great mix of the classic and now and that will allow it to stay in the heart for longer than most songs. It is a fresh and bright offering that perfectly defines and explains the Recovery E.P. The production is polished and slick but does not drain the emotion and physicality from the song. Every aspect has been considered and, as such, one gets a heady and nuanced song. I hope there will be more material from Cocoa Futures in 2019 because there is a definite hot streak emerging in the ranks.

It is almost the end of the year now so we will not see too much more from Cocoa Futures. There is that need for promotion and exposure but that is going to take the form of social media posts and some low-level bits. I think next year will be a big one and it will see some great gigs for Cocoa Futures. I feel 2019 is when we will see Recovery brought to a bigger stage and more material come. I am not sure what is planned but I know there will be fresh inspiration. I have loved featuring Cocoa Futures and it is a nice way to start the weekend. In as much as anything, I have been able to make predictions about next year and highlight a great act. It is wonderful hearing all the diversity and surprise you get from underground music.  I am not sure what we will get in 2019 with great confidence but I know critics needs to start focusing more on the newer artists. Perhaps they are right regarding the stature and longevity of The 1975’s latest album but there is this rather worrying thing where certain albums are given these unrealistic tags and proclamations. Look at what is coming from the underground and there are artists there who have a hell of a lot to say. I do wonder how easy it is for the rising acts to get a shout and whether they will have to campaign for many years so they can get the same sort of attention as the biggest artists around. Anyway. It is an exciting time for   Cocoa Futures and make sure you listen to Recovery and set some time aside! It is a brilliant chapter from someone I have been following for a long time now. Get involved with everything coming out of their camp and, in a short time, I think we will see a lot of love and big acclaim come the way of Cocoa Futures. If you have not heard Recovery then you are missing out on...

 PHOTO CREDIT: Sara Amroussi-Gilisse

SOMETHING wonderful.   

___________

Follow Cocoa Futures

 PHOTO CREDIT: Rou Gilissen

Official:

https://www.cocoafuturesband.com/

Twitter:

https://twitter.com/cocoafuture

Facebook:

https://www.facebook.com/cocoafutures

Spotify:

https://open.spotify.com/artist/06wSoowaQECM5FhKiLIXeJ?si=uDvOTbhjQWu_f79qW2i1Bw

Instagram:

https://www.instagram.com/cocoafutures/

SoundCloud:

https://soundcloud.com/cocoafutures

YouTube:

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

FEATURE: Music Sounds Better with You: Ones to Watch 2019: Part II

FEATURE:

 

 

Music Sounds Better with You

IN THIS PHOTO: Jason of allusinlove 

Ones to Watch 2019: Part II

__________

HERE is the second part of my...

IN THIS PHOTO: IDER/PHOTO CREDIT: Lottie Turner

rundown of artists to watch next year. I doubt I will be able to include all of the names that are worth keeping your eyes out for and there will be omissions but, as there are a few more editions to come; let’s hope I have not forgotten anyone big! I have loved seeing the artists coming through this year and how they will shape up next year. Have a listen and look at the names and there is variation to be found. I am excited to see what 2019 holds for all of these artists and whether they have any new material bubbling up. Have a listen to this fine selection because I am sure you will be hearing more from them...

IN THIS PHOTO: Becky of MAYPINE

NEXT year.

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

______________

allusinlove

PHOTO CREDIT: Haris Nukem

Follow: https://www.facebook.com/allusinlove.x/

Twitter: https://twitter.com/allusinlove

Spotify: https://open.spotify.com/artist/30f8y3JNhI5bOis0Sb2kdx?si=yg0oSaM2TOKz8qT9Qzom_Q

Chess Galea

Follow: https://www.facebook.com/chessofficial/

Twitter: https://twitter.com/chess_galea

Spotify: https://open.spotify.com/artist/3jWkQeMOWTBkIdq1uxHkZX?si=a-pW3e7pSfCRNoq611EWWA

L.A.D

Follow: https://www.facebook.com/LADbandofficial/

Twitter: https://twitter.com/LADbandofficial

Spotify: https://open.spotify.com/artist/1LZqYi3VZhZUhcSSq566T1?si=I3WPBg2HSQWEF7Ca2v45sw

MAYPINE

Follow: https://www.facebook.com/MAYPINEUK/

Twitter: https://twitter.com/MAYPINEuk

Spotify: https://open.spotify.com/artist/5AwwX1P1Saf9dw2nq3oclb?si=YmXW1bI9TKGkeyF0p5lMpA

BLACK HONEY

Follow: https://www.facebook.com/BlackHoneyUK/

Twitter: https://twitter.com/BLACKHONEYUK

Spotify: https://open.spotify.com/artist/2oVmQT6s29pVIKpqJkyxBS?si=MFUFs3xhRxmQ8JlluKncdw

Matt Perriment

Follow: https://www.facebook.com/MattPerrimentMusic/

Twitter: https://twitter.com/MPerriment

Spotify: https://open.spotify.com/artist/6sZDpE6FObUEWdKLJxv5IZ?si=QxDCh4ntRme9AxQUzBABcA

Megan O’Neill

Follow: https://www.facebook.com/MeganONeillMusic/

Twitter: https://twitter.com/meganoneill

Spotify: https://open.spotify.com/artist/1JqJXI7idjd9rrxOox7yiB?si=ZcQhup4qQUKSV4EgdCpAoQ

CAEZAR

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

Twitter: https://twitter.com/hailcaezar1

Spotify: https://open.spotify.com/artist/6f2j70gzysK5Z83ZhbpaFo?si=Xthxp-jAQn69b2m1eQw_1Q

Robyn Cage

Follow: https://www.facebook.com/robyncagemusic/

Twitter: https://twitter.com/robyncagemusic

Spotify: https://open.spotify.com/artist/2nALlLvYV4MLfpwsHvfYSP?si=kbe4zluOTnOC5iNB4BCSTg

Saachi

Follow: https://www.facebook.com/saachimusicofficial

Twitter: https://twitter.com/saachiofficial

Spotify: https://open.spotify.com/artist/77kZUNoh2JlP9bS8bnTkE5?si=7TxNw1zER-Onrbfnr6yCWA

Austel

PHOTO CREDIT: Jennifer McCord Photography

Follow: https://www.facebook.com/austelmusic/

Twitter: https://twitter.com/austelmusic

Spotify: https://open.spotify.com/artist/7jMnfga7535wl3kJmUlRvq?si=3Akt3gfyR16G2S9w6dAQ4Q

H A VV K

Follow: https://www.facebook.com/HAVVKmusic/

Twitter: https://twitter.com/HAVVKmusic

Spotify: https://open.spotify.com/artist/0up20da9ITwCzq8Qv9JTCB?si=m7N7qbhuTsCFtgplTJNJug

Beauty Sleep

PHOTO CREDIT: Megan Doherty Photography  

Follow: https://www.facebook.com/BeautySleepTheBand/

Twitter: https://twitter.com/beautysleeptalk

Spotify: https://open.spotify.com/artist/28Ok1CLqynsSq1X428Gj0U?si=kGP8E6scSwiSwudUt1IsSw

Only Girl

Follow: https://www.facebook.com/onlygirlmusic/

Twitter: https://twitter.com/onlygirlmusic

Spotify: https://open.spotify.com/artist/2ZkQAcKkFO60QQybtXDStt?si=bRyWnEExTcKhZbk0dE0nAg

Dermot Kennedy

Follow: https://www.facebook.com/dermotkennedymusic/

Twitter: https://twitter.com/DermotKennedy

Spotify: https://open.spotify.com/artist/5KNNVgR6LBIABRIomyCwKJ?si=aUpZCKdxTbeK74zX00nSzQ

BOUTS

Follow: https://www.facebook.com/gimmebouts/

Twitter: https://twitter.com/gimmebouts

Spotify: https://open.spotify.com/artist/63bllPXziUeY9WYSQ5QZay?si=PJhRBcRkSNu7wuRcHj0vrg

Ricky Rebel

Follow: https://www.facebook.com/RickyRebelRocks/

Twitter: https://twitter.com/RickyRebelRocks

Spotify: https://open.spotify.com/artist/4XVPmvurn00K9chvWgW1Xl?si=wYIw62RaT0y95VMDuIDyCQ

Bishop Briggs

Follow: https://www.facebook.com/thatgirlbishop/

Twitter: https://twitter.com/thatgirlbishop

Spotify: https://open.spotify.com/artist/0yb46jwm7gqbZXVXZQ8Z1e?si=Oq69oMXcRXO51SwvKoyjGw

talker

Follow: https://www.facebook.com/talkerceleste/

Twitter: https://twitter.com/talkerceleste

Spotify: https://open.spotify.com/artist/1wcTmtixisIzV10W69W6lm?si=0CmS5I0LR_i53TOoB5HZDA

Sharkmuffin

PHOTO CREDIT: @mixtapemyheart

Follow: https://www.facebook.com/sharkmuffin/

Twitter: https://twitter.com/Sharkmuffin

Spotify: https://open.spotify.com/artist/4YdwFEF9k0YQOqpdanOU9b?si=d0D1gpd0SF6DVDXqnbw-Nw

GAZELLE

Follow: https://www.facebook.com/thisisgazelle/

Twitter: https://twitter.com/thisisgazelle

Spotify: https://open.spotify.com/artist/1Lw0iRDFFdZuKmdet7xr2n?si=1qXnADEtRferKVAcNy7FEA

Cocoa Futures

Follow: https://www.facebook.com/cocoafutures/

Twitter: https://twitter.com/cocoafuture

Spotify: https://open.spotify.com/artist/06wSoowaQECM5FhKiLIXeJ?si=gkBD1JPyRiSbEzZ-U09VMg

Kris Angelis

Follow: https://www.facebook.com/krisangelismusic

Twitter: https://twitter.com/krisangelis

Spotify: https://open.spotify.com/artist/5NSCSZj6ourZB5Yy4j4saO?si=M7ytFFp1Tr26UdGsqU7OHQ

Neon Waltz

PHOTO CREDIT: Ronan Park  

Follow: https://www.facebook.com/neonwaltz/

Twitter: https://twitter.com/neonwaltz

Spotify: https://open.spotify.com/artist/1HMvS7MZ6mocKBi5iAIwBl?si=wnfvqc5lR1myNAt4946bzg

Francine Belle

Follow: https://www.facebook.com/thefrancinebelle/

Twitter: https://twitter.com/Francine_Belle

Spotify: https://open.spotify.com/artist/69XMtFBnox1T87vmhzRY3S?si=5z6oLK-ARamoO_tjBWlQPA

IDER

Follow: https://www.facebook.com/weareider/

Twitter: https://twitter.com/weareider

Spotify: https://open.spotify.com/artist/2LOwKJMjuv7VsprtYaFzl0?si=g8lC_cVwTouHLQaijxW4tA

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Stealing Sheep 

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

__________

NOW that November…

 IN THIS PHOTO: Ex:Re (Elena Tonra)

is nearly over and we are looking ahead to December; I should switch to a winter playlist but, given the warmer weather, am sticking with an autumnal feel! I have been looking at some cracking new tracks from the best rising and established female artists in music. I feel music made by women is often overlooked or assumed to be rather inferior. That is, obviously, not the case and, as shown here, wonderful variation and huge strength can be found. Have a listen to this collection of songs that seem to sum up the contrasts and colours of autumn. We have the brightness and bolder moments married with the more sensual, cool and contemplative ones. It is yet another bumper-load of female-led music that ends November...

IN THIS PHOTO: Kelly Rowland

WITH a huge smile and bang.  

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

____________

Vera Hotsauce – bullet

Ex:Re – Romance

Stealing Sheep – Joking Me

Carson McHone – Sad

Dominique – Payup

Dara – Don’t Wanna Cry

PHOTO CREDIT: @shervinfoto

Alice Merton – Funny Business

Ivy Adara – Callgirl

Gabrielle Aplin – My Mistake

Kelly Rowland – Kelly

Kat Saul - Nick Miller

Tessa Violet – Bad Ideas

Kristen Arian - Tipsy

Sophia Scott – She Ain’t Me

Lily Mckenzie (ft. Team Salut) - Surrender

Charlotte OC – Satellite

Rachel Foxx – Give to Receive

PHOTO CREDIT: Wendy Lynch/Magnum PR

Ladytron – Far from Home

Emily Burns – Damn Good Liar

Erthlings – Cuts & Bruises

Four of Diamonds – Blind

Jackie Tech - Temple

Laura Tesoro - Mutual

Rose Elinor Dougall – Make it with You

Malory – Last to Die

Fiona Bevan – Goddess

Hinds – British Mind

303 – Whisper

INTERVIEW: River Meets Sea

INTERVIEW:

River Meets Sea

___________

IT has been great...

talking with River Meets Sea about their debut track, Won’t You Stay, and how it came together. I was curious to know if there is more material coming next year and what they have coming up – they recommend some rising artists that we need to have a listen to.

I ask what their favourite memories are and whether they get time to chill away from music; what one Christmas present they would each like and the albums that are important to them – they select a great song to end things on.

____________

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

It’s been a great week, thanks! We’ve just released our debut single and video, Won’t You Stay, which we are really excited about! We have put a lot of work into it and it feels great to finally show what we have been up to.

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

We are River Meets Sea; a four-piece ambient Indie-Rock band. Joe Osborne is the lead singer and guitarist. Liam Lovegrove also plays the guitar, giving the tracks their atmospheric feel, as well as contributing to backing vocals with Luke Remon, who is the group’s bassist. Jamie Howard is on the drums laying down the beats. All four of us come from different parts of the country with different musical backgrounds, which we like to try and incorporate into the music we do.

Won’t You Stay is your new track. Is there a story behind it?

The song is about living in London and how lonely it can be. It’s about how cold the city can feel but also how freeing too and the tension between those two aspects. It’s about trying to decide whether to leave a situation or to stay put.

Might we see more material next year?

Of course! We already have another couple of tracks lined up ready to be released early next year. We are in the planning stages of a creating music video for our next single, which we hope to release around February/March.

How did River Meets Sea get together? Were you bonded by similar tastes in music?

Joe, Jamie, and Luke all met at university. We met at uni all playing in different-styled bands or solo work. Except Liam…he came out of nowhere. The styles of music we all played differed from each other, but it was the love of music itself that brought us together.  

If you were to select influences; which artists would be in the list?

It would be such a big list of influences we all have, ranging from Folk, Hip-Hop; Punk Rock, Indie and Soul. Musically, you can hear a lot of Ben Howard, Tycho; Hammock, This Will Destroy You and Bob Dylan influences in our music.

As Christmas is coming; what one present would you each like if you could have anything?

Joe: Good Question. I’d like a house.

Jamie: I’d never say no to some new speakers. I want to feel that heavy bass.

Luke: I need to get some tattoos covered up. Tattoo fixers, where you at?

Do you already have plans for 2019?

As well as releasing a new single in early-2019, we will be doing shows throughout the year around the U.K. and, hopefully, Europe too. We have also started writing some new material that we are all feeling really strong about. We will be going into the studio to record it.

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

Joe: Seeing Dylan in 2011.

Jamie: Watching A Tribe Called Quest’s final show was pretty special. Also, performing live on national German T.V. was a pretty crazy experience!

Luke: The first time I saw the Pixies, they ended with Into the White and they filled the venue with white smoke!

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

At this moment, the only date we have confirmed is Saturday, 1st December at the Tooting Tram & Social. We are playing a headline show to celebrate the release of our new single Won’t You Stay. We will be announcing more shows in the New Year.

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

Joe: I Forget Where We Were - Ben Howard. It's probably as close to a perfect album as I can think of. Listening to it is therapeutic, uplifting; devastating, never-boring and always thought-provoking, all at the same time. Musically, it's a masterpiece.

Luke: I can think of two; the first one being (A Tribe Called Quest) The Low End Theory. I didn’t really listen to much Hip-Hop before this, but Jamie put it on in his car once and it completely opened my eyes up to the genre.

The other one would by ...And Out Come the Wolves by Rancid. It was the first album I became obsessed with and got me into loads of good Punk-Rock.

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

It’s a different genre, but supporting Anderson .Paak seems like it would be a riot.

Our rider would have loads of cheese, grapes; hummus and Tzatziki. Probably, a few bottles of expensive wine from the South of France. We want our backstage feeling like we’re in Monaco.

What advice would you give to new artists coming through?

Keep it consistent and don't give up. Make sure you have the basics covered and do as much as you can yourself. The music industry is setting itself up with a more D.I.Y. mentality.

 IN THIS PHOTO: The Beths/PHOTO CREDIT: Mason Fairey

Are there any new artists you recommend we check out?

There are loads of great artists out there! The Beths, Sam Fender; Ivy Sole, Gus Dapperton; Cedric Burnside and Thelma Ball just to name a few.

 IN THIS PHOTO: Ivy Sole

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

Joe: Going to the gym and escaping to quiet places in the countryside.

Luke: Going on Bumble.

Jamie: Skateboarding when the weather’s warm and going on Luke’s Bumble.

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).

I Have Lost My Pearls by Gus Dapperton

__________

Follow River Meets Sea

Facebook:

https://www.facebook.com/rivermeetsseamusic

Spotify:

https://open.spotify.com/artist/7syrrw6hvfxcleSLpQOGTX

YouTube:

https://www.youtube.com/channel/UCUWv7h3MMegLL_PNYS6AvBg

Instagram:

https://www.instagram.com/rivermeetssea/

Twitter:

https://twitter.com/_RiverMeetsSea

SoundCloud:

https://soundcloud.com/rivermeetsseamusic

PHOTOS OF RIVER MEETS SEA:

Tara Kayedi

INTERVIEW: Jay Putty

INTERVIEW:

Jay Putty

___________

I have started today by speaking...

with Jay Putty about his new single, Trouble, and what its story is. He talks to me about his musical influences and a few albums that are particularly special; what he has coming up next year and whether there are any rising artists we need to have a look out for.

Putty provides advice to new artists and tells me how he spends time away from music; what the music scene is like in Nashville and what sort of music he grew up around – he ends the interview by selecting a cool track.

____________

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

I’m fantastic! Just starting the day with my coffee and dogs.

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

My name is Jay Putty. A dog-rescuing, coffee-loving; Acoustic-Pop artist from Nashville, Tennessee.

Trouble is your new single. Can you explain the story behind the track?

So. That song came to be writing with some writers here in town that I’ve written quite a few songs with not just for me...and I wanted to write a song that summed up how I feel about my wife, whom I just recently married. I really just wanted write something about how, even if it’s hard work, finding that one you want to be with is worth all of it.

You have already achieved a couple of top-ten releases. How important is that sort of success and recognition?

It’s weird because it’s important in the sense that it helps legitimize yourself as an artist but with or without that validation the song would still be the same. It’s humbling to be able to achieve at all but it’s just the power of the support I’ve received from people which is flooring.

Did you grow up around a lot of music? Which artists did you follow at a young age?

I grew up fairly sheltered with Journey, the Eagles and contemporary worship music, but it wasn’t until I heard John Mayer on the radio that I was like: ‘Whoa, what is this and how can I do it too?!’. Which led to Metal, Pop-Punk and other bands; finding myself as a solo artist four years ago doing Pop and eventually coming back to what inspired me in the first place.

Being based in Nashville; how important are the city and its musical heritage regarding your ambitions?

That’s another, almost-loaded, question because Nashville is known as the home of Country music, which I can’t deny parts come out in the songwriting but I myself don’t fit into that category of music or the circle. The Pop scene here is great and growing but I’m also too ‘Country’-sounding to fit in there.

So, it’s a great musical city that challenges me and surrounds me with incredible people but also is somewhere I don’t feel like I have a home yet, musically, which that musical discomfort I think really helps sharpen my sound.

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

Trouble is marking the last release of the year for me and, honestly, I’ve almost tripled what I had done a year ago this year. So I think, by the end of this year, I wanted to watch this song grow into itself while taking December off to enjoy the holidays. I can worry about next year, next year.

Do you already have plans for 2019?

There’s stuff on the table like a European tour hitting the U.K., Ireland; France and more that we are finalizing - as well as two singles with an album. I’m finally glad that we are finalizing tour dates and hitting the road mostly.  

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

Man. I remember the first time I heard my song on the radio on Kiss FM. I was taken completely aback and thought to myself if this reaches one person and hits them the way it is me I could die a happy man.

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

John Mayer - A Room for Squares. The first time hearing Why Georgia absolutely changed my life.

The Greatest Showman Soundtrack. My wife walked down the aisle to Rewrite the Stars. I can’t listen to it without crying now.

Ed Sheeran - +. That album sparked something in me when I was writing all this other kind of music. It called to the soul of the artist I could be instead of who I was trying to be.

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

That is so difficult to choose who I would but, if I had to, it would be John Mayer. My rider would be super-simple. Food for my kickass band that plays with me - because they make me sound good - and a place to decompress after playing

What advice would you give to new artists coming through?

Write every chance you get, even if it sucks. You have to write the bad songs to get to the good ones. You have to write the good ones to get to the great ones.

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

No tour dates right now but, come 2019; I’m hitting the road hard.

 IN THIS PHOTO: Jonny Zywiecel

Are there any new artists you recommend we check out?

Jonny Zywiecel, Khalil Poore; Khiana Meyer and Pagentri. They are absolutely incredible.

 IN THIS PHOTO: Pagentri

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

I try to get time away, but my wife calls me a workaholic because I don’t know how to disconnect. But, when I do, I love to cook and go to the 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).

Check out Jonny Z - Hard to Breathe

__________

Follow Jay Putty

Facebook:

https://www.facebook.com/JayPuttyMusic

Spotify:

https://open.spotify.com/artist/0XIjLSi3fr8On0Dwq208Lp?si=nT8Tc7fgRk-FRCAFWQFjpA

YouTube:

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

Instagram:

https://www.instagram.com/JayPutty/

Twitter:

https://twitter.com/JayPutty

FEATURE: Rhymin & Stealin: New York’s Finest: The Beastie Boys’ Eight Incredible Albums Investigated and Uncovered

FEATURE:

 

 

Rhymin & Stealin

IN THIS PHOTO: The Beastie Boys in Chicago in 1987/PHOTO CREDIT: Paul Natkin/WireImage  

New York’s Finest: The Beastie Boys’ Eight Incredible Albums Investigated and Uncovered

__________

EVEN though the Beastie Boys...

 IN THIS PHOTO: The Beastie Boys in 2009 (from left to right: Ad-Rock, MCA and Mike D)/PHOTO CREDIT: Press/Getty Images

ended their recording career in 2011, they are still as relevant as ever and over in the U.K. right now! Beastie Boys Book was released at the end of last month and is the story of the trio as told by its two surviving members, Ad-Rock and Michael Diamond (Mike D). The New York band formed in 1981 and, since their debut in 1986, they have seduced and thrilled the world with their brotherhood, wit and incredible rhymes. I love them because of the sampling and how they manage to marry disparate worlds. Although Adam Yauch (MCA) died in 2012; his bandmates are promoting the new book and are keeping the spirit and memory of Beastie Boys alive! Their debut, Licensed to Ill, was released on 15th November, 1986 and I cannot believe it is thirty-two!

IN THIS IMAGE: The cover of the Beastie Boys Book/IMAGE CREDIT: Spiegel & Grau/Getty Images

I remember listening to it as a child and was blown away by this fresh and wonderful sound that was happening at the explosion of American Hip-Hop. In the year, Run-D.M.C. released Raising Hell and it was to lead to a bold and genius Hip-Hop movement that saw the likes of N.W.A. and Public Enemy release generation-defining albums. Make sure you pick up the new book as you get a lot of details of that time and the role the Beastie Boys played in Hip-Hop’s start. I cannot recall the first time I discover the band but it must have been around the time of Hello Nasty in 1998. Maybe it was a bit sooner but, in any case, I had heard nothing like it and still cannot think of anyone who comes near to them and that concoction of sounds. There is more to the Beastie Boys than the songs - there is an entire legacy, past and set of relationships that many of us never got to see!

IN THIS IMAGE: A shot of the Beastie Boys Book/IMAGE CREDIT: Spiegel & Grau/Getty Images

I followed Beastie Boys right until the final album, Hot Sauce Committee Part Two, and am sad we will never see another record from them! Ad-Rock and Mike D are promoting Beastie Boys Book and it is great to hear them chat about their time and being in one of the biggest bands ever. Rolling Stone looked at the book and gave their impressions. One snippet of their review/assessment struck me:

“Yauch’s loss is deeply felt in Beastie Boys Book, where he’s arguably the most vivid character of all – the snowboarding prankster, spiritual seeker and older-brother figure who pushed the others to new heights again and again. “The band didn’t break up,” Horovitz writes in a heartbreaking chapter on the recording of 2011’s Hot Sauce Committee Part Two. “We didn’t go our own creative ways. No solo project fucked things up to cause animosity. This was our last album because Adam got cancer and died. If that hadn’t happened, we would probably be making a new record as you read this. Sadly, it didn’t turn out that way… Too fucking sad to write about.”

In the hotel room, it’s clear that Horovitz and Diamond are relishing the chance to spend time together, riffing on the old days. “Looking back, it’s like, oh shit, that was crazy – how did we live through that?” Horovitz says. “And look at us now. We’re grown-ups. We have to think about mortgages. I gotta get dog food.” He shrugs. “I’m still alive”.

IN THIS PHOTO: Michael ‘Mike D’ Diamond (left) and Adam ‘Ad-Rock’ Horovitz photographed at the Bowery Hotel in New York/PHOTO CREDIT: Mike McGregor for The Observer  

Make sure you tune into BBC Radio 6 Music from ten tomorrow morning as Ad-Rock and Mike D are talking about the book and recalling memories from their time in the Beastie Boys. It is rare to see a group (or duo, as they are now…) have that optimism and talk about their career when they lose a member. Whilst it is sad MCA is no longer here and part of this holy trinity; they are happy to talk about the old days and there is that endless and unbreakable love. When speaking with Miranda Sawyer for The Guardian, some interesting details came from the interview. It seems like the actual creation of the book was quite intense:

“The book took them four years to complete and tells the Beasties’ story from pre-1981, when Diamond formed a hardcore band with friends, including Yauch. Packed with photographs, diagrams, maps, cartoons, recipes, lists (some great music ones), as well as some brilliant writing from them both, Beastie Boys Book is a delight. But, God, getting either Diamond or Horovitz to talk about it is nigh-on impossible”.

The interview is definitely worth reading in its entirety...but this is a section that really caught me:

“...Mostly, the interview goes like this: I mention an anecdote, or a particular time in their career, and then they mess around. So, when I ask about Diamond’s late-1980s habit of wearing a Volkswagen badge as a medallion (as he does on the book’s cover), he and Horovitz have a lengthy debate as to whether either of them actually wrote anything specifically about the VW badge/medallion thing. Then…

Diamond: “It was just one of those things that happened… Adam and Adam showed up at my apartment in the West Village with one and they were like: ‘Here, you’re wearing this’”...

 “Horovitz: “That’s not really how it happened. Didn’t you steal it? You kind of stole it.”

Diamond: “From you? I stole it from you? Is that what you’re saying?”

In contrast, Horovitz enjoyed the writing (“It was very easy, I really liked it”), and has concentrated on completing a lot of the other legwork: sourcing photographs, tracking people down. Aside from all that, he has a little boy with his wife, Bikini Kill’s Kathleen Hanna, and he and Hanna write screenplays together (they sold a pilot to Comedy Central). He’s played bass in Bridget Everett and the Tender Moments and he acts, much to Diamond’s amusement. “Did you know Adam was in a semi-pornographic movie in 1984?”

I am rambling and stepping off of the path at the moment but I have loved learning new stuff about the Beastie Boys and make sure you pick up a copy of the book - as it is an illuminating, comprehensive and deeply personal look inside a magical time when New York’s finest reigned! In honour of some Beastie magic hitting our shores; here are all eight of their albums laid out; a review for each and the choice tracks selected – I have highlighted the definitive cut from each record. From 1986’s Licensed to Ill through to 1989’s Paul’s Boutique; from To the 5 Boroughs in 2004 to the finale, Hot Sauce Committee Part Two (2011); it has been a wild and wonderful ride. Reacquaint yourself with their back catalogue and get settled back. They might not be recording anymore but, as their book shows, there is so much more to learn. We have never seen anyone like the Beastie Boys come along and, for as long as any of us live, I don’t think...

IN THIS PHOTO: The Beastie Boys in Greenwich Street in New York City/PHOTO CREDIT: Terry Richardson

WE ever will!

ALL ALBUM COVERS: Getty Images

________________ 

The Wonderful Beginning: Licensed to Ill (1986)

Release Date: 15th November, 1986

Labels: Def Jam/Columbia

Producers: Rick Rubin/Beastie Boys

Background:

“The group originally wanted to title the album Don't Be a Faggot, but Columbia Records refused to release the album under this title—arguing that it was homophobic—and pressured Russell Simmons, the Beastie Boys' manager and head of Def Jam Recordings at the time, into forcing them to choose another name.[5][6] Adam Horovitz has since apologized for the album's earlier title.[7]

Kerry King of Slayer made an appearance on the album playing lead guitar on "No Sleep Till Brooklyn" and appeared in the music video which is a parody of glam metal.[8] The name of the song itself is a spoof on Motörhead's No Sleep 'til Hammersmith album.[8] King's appearance on the track came about because Rick Rubin was producing both bands simultaneously (Slayer's Reign in Blood was originally released a month earlier on Def Jam).[8]” – Wikipedia

Review:

“There hasn't been a funnier, more infectious record in pop music than this, and it's not because the group is mocking rappers (in all honesty, the truly twisted barbs are hurled at frat boys and lager lads), but because they've already created their own universe and points of reference, where it's as funny to spit out absurdist rhymes and pound out "Fight for Your Right (To Party)" as it is to send up street corner doo wop with "Girls." Then, there is the overpowering loudness of the record -- operating from the axis of where metal, punk, and rap meet, there never has been a record this heavy and nimble, drunk on its own power yet giddy with what they're getting away with. There is a sense of genuine discovery, of creating new music, that remains years later, after countless plays, countless misinterpretations, countless rip-off acts, even countless apologies from the Beasties, who seemed guilty by how intoxicating the sound of it is, how it makes beer-soaked hedonism sound like the apogee of human experience. And maybe it is, maybe it isn't, but in either case, Licensed to Ill reigns tall among the greatest records of its time” – AllMusic

Download/Stream: Fight for Your Right; Paul Revere; Brass Monkey

Spotify Link: https://open.spotify.com/album/11oR0ZuqB3ucZwb5TGbZxb?si=IsxHfbYwSBmJxjqaz2XBLQ

Choice Cut: No Sleep Till Brooklyn

The Misunderstood Follow-Up That Is Regarded as a Seismic Gem: Paul’s Boutique (1989)

Release Date: 25th July, 1989  

Label: Capitol

Producers: Beastie Boys/Dust Brothers/Mario Caldato Jr.

Background:

“Derided as one-hit wonders and estranged from their original producer, Rick Rubin, and record label, Def Jam, the Beastie Boys were in self-imposed exile in Los Angeles during early 1988 and were written off by most music critics before even beginning to record their second studio album, Paul's Boutique.[8] Following the commercial success of Licensed to Ill, the Beastie Boys were focusing on making an album with more creative depth and less commercial material.[8] The group's previous album had been enormously popular and received critical acclaim among both mainstream and hip hop music critics, although its simple, heavy beats and comically juvenile lyrics led it to be labeled as frat hip hop.[8] The group signed with Capitol Records and EMI Records.[8]

Contrary to popular belief, most of the sampling for Paul's Boutique was cleared, but at dramatically lower costs compared to today's prevailing rates.[10] According to Sound on Sound, most of the samples were cleared "easily and affordably, something that [...] would be 'unthinkable' in today's litigious music industry."[10] Mario "Mario C" Caldato, Jr., engineer on the album, said that "we realized we had spent a lot of money in the studio. We had spent about a $1/4 million in rights and licensing for samples."[11]This type of sampling was only possible before Grand Upright Music, Ltd. v. Warner Bros. Records Inc., the landmark lawsuit against Biz Markie by Gilbert O'Sullivan, which changed the process and future of hip hop sampling” – Wikipedia

Review:                                               

“Twenty years later, nobody’s asking that question. Paul’s Boutique is a landmark in the art of sampling, a reinvention of a group that looked like it was heading for a gimmicky, early dead-end, and a harbinger of the pop-culture obsessions and referential touchstones that would come to define the ensuing decades' postmodern identity as sure as “The Simpsons” and Quentin Tarantino did. It’s an album so packed with lyrical and musical asides, namedrops, and quotations that you could lose an entire day going through its Wikipedia page and looking up all the references; “The Sounds of Science” alone redirects you to the entries for Cheech Wizard, Shea Stadium, condoms, Robotron: 2084, Galileo, and Jesus Christ. That density, sprawl, and information-overload structure was one of the reasons some fans were reluctant to climb on board. But by extending Steinski’s rapid-fire sound-bite hip-hop aesthetic over the course of an entire album, the Beastie Boys and the Dust Brothers more than assured that a generally positive first impression would eventually lead to a listener’s dedicated, zealous headlong dive into the record’s endlessly-quotable deep end” – Pitchfork

Download/Stream: Shake Your Rump; Looking Down the Barrel of a Gun; Shadrach

Spotify Link: https://open.spotify.com/album/4DfmPm17Nz6a60BlEpGGKU?si=mSWCWU3lQCuAVq4X_MgYTw

Choice Cut: Hey Ladies

The Critics Were Firmly Back on Board: Check Your Head (1992)

Release Date: 21st April, 1992 

Label: Capitol

Producer: Mario Caldato Jr.

Background:

“Check Your Head is the third studio album by American hip hop group Beastie Boys, released on April 21, 1992 by Capitol Records. Three years elapsed between the releases of the band's second studio album Paul's Boutique and Check Your Head, which was recorded at the G-Son Studios in Atwater Village in 1991 under the guidance of producer Mario Caldato Jr., the group's third producer in three albums. Less sample-heavy than their previous records, the album features instrumental contributions from all three members: Adam Horovitz on lead guitar, Adam Yauch on bass guitar, and Mike Diamond on drums.

In contrast to their previous album, Paul's Boutique, the Beastie Boys returned somewhat stylistically to their punk roots on Check Your Head, playing their own instruments for the first time on record since their early EPs (although they did provide live instrumentation on at least two songs on Paul's Boutique).[7] Hence, photographer Glen E. Friedman's idea to shoot photos with their instrument cases (one of which became the cover).[7] Supposedly, a trading card with Norman Schwarzkopf, Jr. from a set of Desert Storm trading cards was the inspiration for the title[7]” – Wikipedia  

Review:                                               

“This all means that music was the message and the rhymes, which had been pushed toward the forefront on both Licensed to Ill and Paul's Boutique, have been considerably de-emphasized (only four songs -- "Jimmy James," "Pass the Mic," "Finger Lickin' Good," and "So What'cha Want" -- could hold their own lyrically among their previous work). This is not a detriment, because the focus is not on the words, it's on the music, mood, and even the newfound neo-hippie political consciousness. And Check Your Head is certainly a record that's greater than the sum of its parts -- individually, nearly all the tracks are good (the instrumentals sound good on their subsequent soul-jazz collection, The in Sound From Way Out), but it's the context and variety of styles that give Check Your Head its identity. It's how the old school raps give way to fuzz-toned rockers, furious punk, and cheerfully gritty, jazzy jams. As much as Paul's Boutique, this is a whirlwind tour through the Beasties' pop-culture obsessions, but instead of spinning into Technicolor fantasies, it's earth-bound D.I.Y. that makes it all seem equally accessible -- which is a big reason why it turned out to be an alt-rock touchstone of the '90s, something that both set trends and predicted them” – AllMusic

Download/Stream: Pass the Mic; So What’cha Want; The Blue Nun

Spotify Link: https://open.spotify.com/album/04FRBQIphnjVWLyAs9j5mo?si=mmyE5G79RpSGloOEsBUXww

Choice Cut: Gratitude

An Evolutionary Leap, Rather Than Sabotage: Ill Communication (1994)

Release Date: 31st May, 1994   

Labels: Capitol/Grand Royal

Producers: Beastie Boys; Mario Caldato Jr.

Background:

“Ill Communication is the fourth studio album by American hip hop group Beastie Boys. It was released on May 31, 1994 by Grand Royal Records. Co-produced by Beastie Boys and Mario C., the album is among the band's most varied releases, drawing from hip hop, punk rock, jazz and funk. As with their prior release Check Your Head, this album continues the band's trend away from samplingand towards live instruments. It features musical contributions from Money Mark, Eric Bobo and Amery "AWOL" Smith and vocal contributions from Q-Tip and Biz Markie. The Beastie Boys were influenced by Miles Davis' jazz rock albums Agharta and On the Corner while recording Ill Communication[1]” – Wikipedia     

Review:                                               

“By 1994, the Beastie Boys were a lot closer to 30 than they were to 20, and it's not much of a stretch to interpret their fourth album as a growing-up phase of sorts. Where Check Your Head was a jam session turned venting process turned crossover success, Ill Communication is the album that let them infuse their turn towards sincerity with a renewed sense of playfulness, solidifying their transition from the gleefully exaggerated bad-boy anarchists of their first two albums to a trio of (slightly) more mature, trend-setting enthusiasts. It's as if they took stock in their history, realized they were past the point of having to prove anything, said what the hell, and decided to throw their whole repertoire into the album. Considering the record was assembled over a comparatively brief six-month span, it's an ideal, condensed snapshot of the Boys' genuine interests and cultural obsessions, whether they were spiritual (Buddhism), musical (late-60s/early-70s soul-jazz) or recreational (no less than three members of the 1993-94 Knicks get shout-outs). It's the Beasties at their most lifestyle-savvy, though they came across less like opportunistic youth marketers and more like the idiosyncratic hipsters they'd always been. (Remember, this was in 1994, before "hipster" was a pejorative.)” – Pitchfork  

Download/Stream: Sure Shot; Root Down; Heart Attack Man  

Spotify Link: https://open.spotify.com/album/6lfjbwFGzQ6aSNP1N3JlT8?si=Wzj6VRnRQMaqq3L8Z5cAWg

Choice Cut: Sabotage

A Wide-Ranging Masterpiece: Hello Nasty (1998)

Release Date: 14th July, 1998  

Label: Capitol

Producers: Beastie Boys; Mario Caldato Jr.

Background:

“Hello Nasty was released on July 14, 1998, four years after the band's previous album, Ill Communication—and marked the addition of DMC champion Mix Master Mike to the group's line-up.[1] "I Don't Know" features Miho Hatori on vocals, and "Dr. Lee, PhD" guest stars dub musician Lee Scratch Perry on both vocals and percussion.[2] Hello Nasty also marked Eric Bobo's last appearance as percussionist in the band, as well as the last time the Beastie Boys worked with a co-producer.[2]

The title for the album was allegedly inspired by the receptionist of their NY-based publicity firm Nasty Little Man who would answer the phone with the greeting "Hello, Nasty".[3] The cover art depicts all three members (Horovitz, Yauch and Diamond from left to right) wrapped in an aluminium sardine tin and getting baked in the sun. The band makes a reference to this in the song "Body Movin'", in which the lyrics goes, "MCA, where have you been? Packed like sardines in a tin”” – Wikipedia

Review:                                               

“On the surface, the sonic collages of Hello Nasty don't appear as dense as Paul's Boutique, nor is there a single as grabbing as "Sabotage," but given time, little details emerge, and each song forms its own identity. A few stray from the course, and the ending is a little anticlimactic, but that doesn't erase the riches of Hello Nasty -- the old-school kick of "Super Disco Breakin'" and "The Move"; Adam Yauch's crooning on "I Don't Know"; Lee "Scratch" Perry's cameo; and the recurring video game samples, to name just a few. The sonic adventures alone make the album noteworthy, but what makes it remarkable is how it looks to the future by looking to the past. There's no question that Hello Nasty is saturated in old-school sounds and styles, but by reviving the future-shock rock of the early '80s, the Beasties have shrewdly set themselves up for the new millennium” – AllMusic   

Download/Stream: Song for the Man; Body Movin’; Three MC’s and One DJ

Spotify Link: https://open.spotify.com/album/1HhBu55aklCwIus7KffIji?si=NynHMTOZQueT2UJYEhbGng

Choice Cut: Intergalactic

Entering a New Century – and a New Creative Phase: To the 5 Boroughs (2004)

Release Date: 15th June, 2004  

Label: Capitol

Producer: Beastie Boys

Background:

“To the 5 Boroughs is the sixth studio album by the Beastie Boys. The album was released on June 14, 2004 internationally, and a day later in the United States. The album debuted #1 on the Billboard 200 with 360,000 copies sold in its first week and is certified Platinum by the RIAA for sales of over 1,000,000 in the U.S.” – Wikipedia

Review:                                               

“To the 5 Boroughs” is the Beasties’ first all-new CD since 1998’s ”Hello Nasty” and thus has the feel of a bona fide event. As might be inferred from the title, ”Boroughs” is the group’s gift to their hometown in the post-9/11 era. ”Dear New York, I know a lot has changed/Two towers down but you’re still in the game,” Mike D raps on ”An Open Letter to NYC,” the album’s anthemic centerpiece. The track includes a ton of New York-specific shout-outs (”I remember when the Deuce” — 42nd Street and Times Square to you out-of-towners — ”was all porno flicks,” raps Ad-Rock wistfully) and prominently samples the Dead Boys’ ”Sonic Reducer.” It sounds so rousingly righteous you don’t even mind that the Dead Boys were from Cleveland.

Sonically, the disc falls somewhere between the Beasties’ two best efforts, ”Licensed” and 1992’s ”Check Your Head,” minus the latter’s weird, megaphone-like vocal effects. The beats — by Mixmaster Mike and the Boys — are simple and effective, with a welcome lack of distracting bells and whistles that made ”Hello Nasty” feel overstuffed. It’s also the globally aware group’s most politically charged album to date. ”Is the U.S. gonna keep breaking necks?/Maybe it’s time we impeach Tex,” raps MCA on ”Time to Build,” one of several instances in which George W. is given a lyrical smackdown” – Entertainment Weekly

Download/Stream: C-Check It Out; Triple Trouble; Oh Word?

Spotify Link: https://open.spotify.com/album/4nnQZQWLibK1VIhCGDFjk3?si=8J47qGRnR1ijUT-q0S34Sg

Choice Cut: An Open Letter to NYC

Great but Not Essential: The Mix-Up (2007)

Release Date: 26th June, 2007  

Label: Capitol

Producer: Beastie Boys

Background:

“On May 1, 2007, an e-mail sent to those on the Beastie Boys' mailing list revealed the album is all instrumental. On June 21, 2007, a legal stream of the entire album was released on BrooklynVegan.com.[7] Drummer Mike D said that "even though The Mix-Up is a 'post-punk instrumental' album, the Beasties have no plans to ditch vocals for good. In fact, they are currently planning another version of the album that will feature collaborations with 'a pretty wide array' of 'mostly newer' vocalists."[8] Two singers speculated to be featured on the vocal version were Jarvis Cocker and M.I.A.[9]” – Wikipedia

Review:                                               

“This is a fusion of sounds -- cool organs, elastic guitars, loping basslines, rolling rhythms -- where all of the elements are integrated together, turning into a style that's recognizable as uniquely, undeniably the Beastie Boys, even if they don't utter a word on this record. As always, they're more about feel than instrumental acumen, but they've sharpened as players, creating tighter, assured grooves and seamlessly blending their fascinations with funk, dub, soul, and Latin rhythms. Even if the instrumental interplay is tighter, the overall atmosphere is alluringly warm and friendly: it's music that flows easily and it's a perfect soundtrack for a slow summer afternoon. Most of all, the Beasties sound relaxed and comfortable, enjoying the process of making this music, and if you're on the same wavelength, it's hard not to get sucked into it too. The Mix Up is not a major statement, but that's the nice thing about the record: it's as personal and idiosyncratic as any old funky soul-jazz LP that you'd find deep in the crates of a second-hand record store. It's easy to enjoy and it's indelibly stamped with the personality of the group, which is not only no small thing, it's also a good, rewarding path for the Beastie Boys as they approach middle age” – AllMusic

Download/Stream: 14th St. Break; Electric Worm; The Rat Cage

Spotify Link: https://open.spotify.com/album/4ceCKh9j1lgoMWOzCqxqIA?si=CY9jpu8OStyY3R48NsAirg

Choice Cut: Off the Grid

The Superbly Grand (If Sad) Finale: Hot Sauce Committee Part Two (2011)

Release Date: 27th April, 2011  

Label: Capitol

Producer: Beastie Boys

Background:

“The first part of the album was intended to be called Hot Sauce Committee, Pt. 1 and was prepared for release, with artwork revealed and a planned release date of September 15, 2009.[6] In an interview the Beastie Boys stated that the album was completed and group announced that they would tour the United Kingdom in support of the new record.[5] This was delayed after Adam "MCA" Yauch was diagnosed with cancer.[4] On July 20, 2009, Yauch announced the cancellation of tour dates, and assured fans that he should be fine after surgery.[10] In October 2009, Adam Yauch announced that the band had not yet decided a new release date, but was quoted saying he was hoping to release it in the first half of 2010.[11]

An email sent out on October 17, 2010, from the Beastie Boys announced that Hot Sauce Committee Pt. 1 would be shelved indefinitely, and Hot Sauce Committee Pt. 2 would be released in 2011. An email sent the following week now clarified that Pt. 2 would be released with almost exactly the same track list as was announced for Pt. 1, excluding the track "Bundt Cake."[12] No date was set for Part 1.[13] The project was finally released in May 2011 under the title Hot Sauce Committee Part Two, with a slightly altered track listing including a new version of "Too Many Rappers".[14]

According to Andrew Eastwick from Tiny Mix Tapes, "Long Burn the Fire" paid homage to the 1970s soul-rock band Black Merda with its fuzz-inflected guitar riffs. Its song title, Eastwick continued, "may also be a sly nod" to music critic Robert Christgau, who recommended the band's 1972 record of the same name to the Beastie Boys in his review of their 1994 album Ill Communication[15]” – Wikipedia

Review:

“The tracks urge us to Make Some Noise, threaten to "rock da house" and even suggest a "party on the left." However, their wit and invention transforms such tired cliches into their freshest offering in years. A tapestry-cum-rollercoaster of sound, the confusingly titled album (Part One remains unreleased) mixes obscure samples, live playing, electronic squiggles and hardcore thrash. You're as likely to encounter cries of "Mayhem, mayhem!" and air horns as old nursery rhyme phrase "Knick knack paddy whack" featuring in a rap. The mere two guests have been selected to actually add something rather than to up the celeb appeal. The blistering Too Many Rappers finds Nas paying homage to his Beastie forefathers; Santigold gives Don't Play No Game That I Can't Win some instantly infectious pop reggae sunshine. However, the Boys' trademark nerdy raps are as inimitable as ever” – The Guardian  

Download/Stream: Too Many Rappers; Funky Donkey; Lee Majors Come Again;

Spotify Link: https://open.spotify.com/album/1vQYbqslni0jVfvaVK2lvx?si=gXrvMc0CT5OFVaYIKEV1Lg

Choice Cut: Make Some Noise