FEATURE: The December Playlist - Vol. 2: Now That the Christmas Trees Are TRULY Up…

FEATURE:

 

The December Playlist

Vol. 2: Now That the Christmas Trees Are TRULY Up…

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I did say there would be Christmas songs…

and, to be fair, the mixture is pretty strong! There is a classic cover from Blossoms and a great original from The Staves; some top tracks from Little Simz, Cat Power and Robyn – quite a variation and stuffed banquet of wonder. Have a listen through all the great tracks and the nice fusion of Christmas-flavoured and traditional…and I am sure there will be a lot in there that catches your eyes. It is a great time for music and, before we say hello to 2019; there is still a lot of this month to go and, as the songs from this week’s rundown shows, artists are still capable of producing…

IN THIS PHOTO: Cat Power

GENUINE gold.

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

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The Staves – Home Alone, Too

Little Simz – 101FM

Jorja Smith – The One

Cat Power – What the World Needs Now      

IMAGE CREDIT: Ana Kraš

Blood Orange – Dagenham Dream

VC Pines – Garden of the Year

White Lies – Finish Line

Robyn - Honey

Deerhunter – Element

PHOTO CREDIT: Nick Suchak/Anabasis Media

Milk Teeth – Stain

 

Anteros – Fool Moon

Natti Natasha - Me Gusta 

Lindsey Stirling - Santa Baby

PHOTO CREDIT: Juliane Spaete

FIL BO RIVA – L’over

ROSALÍA - BAGDAD

ZAYN – Good Years

PHOTO CREDIT: Nicole Mago

SHAED – Trampoline

The 1975 – It’s Not Living (If It’s Not with You)

Marshmello, Roddy Ricch – Project Dreams

Broken Bells – Shelter

Kodak Black – Testimony

Blossoms – Wonderful Christmastime

Hardwell (ft. Conor Maynard & Snoop Dogg) – How You Love Me

Astrid S – Closer

PHOTO CREDIT: Danny Womders

Maleek Berry – Doing U

PHOTO CREDIT: Jim Smeal/REX/Shutterstock

Natalie Portman, Raffey Cassidy – Wrapped Up

Lil Mosey – K for Christmas

Tina DeCara - Solo

Amy Baker – The Christmas Song 

Luke Sital-Singh – Love Is Hard Enough Without the Winter

Gabrielle Aplin (ft. Hannah Grace) - December

Moonchild – Get to Know It

Fleurie – Love Has No Limits

Ice Cube – That New Funkadelic

TS Graye – Honestly

Sinead Harnett - Lessons

TRACK REVIEW: Harry Pane - Heart’s Rhythm

TRACK REVIEW:

 

Harry Pane

Heart’s Rhythm

9.5/10

The track, Heart’s Rhythm, is available via:

https://open.spotify.com/track/5FdyNPGIuXkw4A61SaYUWc?si=msR6QGfwTHeqBfYRe_VINA

GENRES:

Folk; Singer-Songwriter

ORIGIN:

London, U.K.

RELEASE DATE:

16th November, 2018

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ON this occasion...

I get to look back at songwriters who have had a rather interesting and familial start – in the sense they have been raised around music and had that connection. I also wanted to talk about standards from new artists and why I’ll be making changes next year; what we might expect from the music world in 2019; whether artists who gain a certain popularity on streaming sites need to be elevated; styles of music that are still being overlooked by the mainstream – I will end by looking at Harry Pane and where he might be heading next year. It is always interesting discovering where a musician started life and what their early experiences were. For me, I was not taught an instrument – although I tried to learn a lot – but I did have exposure to all sorts of sounds; from all different time periods and artists. It was a rich experience that compelled me to follow music more closely. I am not sure whether I would be as determined and music-focused as I am now were it not for the upbringing I had. Similarly, musicians are moulded and directed depending on how they grew up. It is fascinating to see how their sounds evolve and cement and how much they take from their past. In the case of Harry Pane, he was raised in a farmhouse in Northampton but his dad and developed his distinct finger-picking style. I can imagine the bond that was forged then and the sort of effort he put in to developing his craft. What strikes me is that rather rustic settling and how idyllic it sounds. I guess the reality was a little different but one can imagine the two Panes bonding over music and that connection being passed along. I can hear the influence of legendary Folk artists in Pane’s work but there is a distinction and originality that has come from experimentation and a sense of determination. I feel there is a danger mimicking others and being too but Pane mixes in the past and his own direction with ease and accomplishment.

There is nothing to suggest he will be under the radar and away from the mainstream for too long. I know it is challenging and hard to ascend from the underground level and get to the big leagues. Things are challenging and it is difficult to know what people want. I feel Harry Pane has had that sense of self and passion instilled into him at a young age and that has made the difference. I am not suggesting the best musicians are the ones who have had a strong music attachment and education as children but there seems to be some correlation. Pane has grown up and forged his skills on the guitar with his father’s encouragement and tutelage. It is a great scene to imagine and I can tell the earliest experiences of Pane were filled with new discoveries and practice. One can hear so many different textures and ideas in Harry Pane’s music and I can trace that back to his childhood exposure. I shall move on from this subject but I am worried more and more modern musicians are not having the same sort of strong musical upbringing that those of the past did. Pane is an exception but so many are listening to modern music and not learning an instrument. That is not a bad thing but so many are not bonding with music directly and ignoring so many of the older artists. I feel the richest and most accomplished artists of the future will be those who have a broad musical upbringing and learn an instrument. Harry Pane is a great example of what can be achieved when you have that sort of start. I am not certain whether it was his dad who spiked that love of music but that family connection and the way he was raised has directly influenced his music and ambition. I need to look forward and see what the scene is looking for in 2019.

 PHOTO CREDIT: James Boardman

This year has been filled with sensational albums and some big achievements and I expect that to continue next year. The most potent and exceptional albums have looked at politics, social issues and been very ambitious. Look at the best of the British releases – from the likes of IDLES and The 1975 – and that rings true. American releases have walked a similar course and there has been a great mixture of genres. I see Hip-Hop is gaining more traction and, whilst Pop is still a dominant force; other styles and tastes are coming through and we are seeing a more varied mainstream. This is true of the top of music but, when it comes to the layers underneath, there is even more width and variation. I think those who are going to translate from the underground to the mainstream are those who can understand the need to be broad and ambitious. There have been years past where we have seen homogenisation and narrowness but that is not the case now. Harry Pane is an artist I can see succeeding in years to come and he has a solid sound but one that is flexible and varied. A lot of Singer-Songwriter/Folk acts are a bit predictable and one-dimensional and it can be difficult to promote these artists. They will succeed in their own genres and with a smaller fanbase but you can play in these genres and still incorporate other sounds and textures. I am seeing some great Pop in the underground but more and more, some great acoustic tones are being revealed. I feel Folk and Singer-Songwriter has always been pushed to the side but we will see a slight change next year. It will not completely immerse itself in the foreground but I think there is going to be that desire for something a little deeper and more contemplative. Harry Pane can pen songs that make you think but they have a definite energy.

This year has seen great artists talk about the world around them and do so with energy and exceptional potency. I think an urgency and a sense of anger has been demanded because of what is happening in politics but next year, as we see (hopefully) a bit more calm and order, there will be other tastes and sounds emerging. I think Folk will take more of a stand and I welcome that. Harry Pane will be an artist to look out for next year and study. I am excited to see where he goes and what he can come up with. The reason I have made these predictions regarding sonic evolution is the way the world is transforming. I feel what is popular and demanded is as impacted by external forces and political dramas as much as anything else. This year has been a tangled and strained one and, accordingly, artists have reacted and provided music that documents that but also makes true sense of what is happening. There have been plenty of more traditional albums – personal insights, love etc. – but it is the more charged and deep-thinking records that have resonated. I feel next year will be a calmer year and, as such, artists like Pane will have more of a say. It is clear the songwriter is looking ahead and wants to get his music to even more people. As one of the most adaptable and strong new artists around; Pane can easily navigate music’s changing tides and make his music fit. He does not need to compromise his ethics and true sound but he has a sense of flexibility that other artists can learn from. It is hard to move from the undergrowth and get to the mainstream without considering a lot of different things. I know Harry Pane will want to get to a stage where his music can inspire the larger world and, as I look around new music, there are things that need to be considered.

One of the things I have had to do as a journalist is be a lot tougher on people regarding their sound and images. This is something I mention a lot and is always on my mind. Imagery and visual outlay is crucial and artists need to realise that the visual aesthetic is as important as the sounds they are making. If musicians have a great sound but then neglect photos and how their social media pages look then that will alienate some. You have to think about every side and putting together a complete portfolio. Pane is someone who has thought of this and, whilst it would be good to see more snaps in 2019; there is a professionalism and sense of consideration that others can learn from. I see so many artists who have a sketchy and scrappy social media layout and you are not really that confident. There are few things more off-putting than an amateur look and that can be more damaging than bad/unspectacular music. Harry Pane not only had some great shots but he has personal information that lets you know where he started, where he has headed and, to an extent, where he hopes to go. Every new artist needs to put this amount of effort into their online pages and it is a great way of enticing listeners in. Pane also has good coverage across social media and, as such, a great following has arrived. His music has done a lot of the lifting but so many musicians are ignoring platforms like Twitter and it makes me a bit annoyed. I can understand if musician were not able to get a hold off all the pages and options out there but too many are ignoring sites like Twitter completely or they are not bothering to think about the visual side of what they do. Can one play by their own rules or pick and choose and expect to get as far as those who are more proactive?

I think there is too much ignorance and casualness from new artists and, given the fact the industry is tough and competitive; nobody can afford to take those risks and expect to be promoted. I have turned so many people away because they have poor/few photos or they are not on Twitter. Artists like Harry Pane are ticking all the boxes and always looking to get the work as far and wide as possible. I am not suggesting social media and visuals are the most important factor when it comes to promotion and exposure but it is essential this is not ignored. The way to get into the mind and stay in the memory is to ensure the music is strong and original but have that full visual/social media asset. Pane strikes when you hear what he is playing and, if you want to follow him and keep updated then he makes sure his fans are kept abreast. Too many do not update their pages and, as I said, their photos are pretty poor and limited. I know Pane will continue to strengthen next year and, alongside a new shoot or two, there will be more material. I will come to his latest single very soon but, until I get there, there are other things that I want to investigate. This is the time of year where artists are looking ahead to what 2019 holds but, as Spotify is so influential, they are presenting their stats and following. Artists can see how many people have streamed their music and how many nations they have reached. It is a way of boosting confidence and showing how well the music has performed. There is a danger putting too much stock in statistics and data like this – they are not true markers of quality and potential – but it is a way of seeing how many people are responding and showing the hard work is paying off.

What I am concerned about is great artists in the underground who have these impressive Spotify figures and have had to fight hard to achieve that. A lot of the stats I am seeing are from mainstream artists who have had that promotion from the site and been backed by a label. It is an unfair advantage and I feel Spotify places too much importance on Pop artists and the biggest chart acts. They can boast big figures due to that promotion and, regardless of what their music sounds like, they can be assured of great coverage. I am not accusing them of being pampered and relying on handouts but I do not feel statistics, in that sense, are about quality and what is needed in music. So much of what they are boasting is sites such as Spotify promoting them above everything else and seeing them as trendy and cool. Newer artists have a tougher time of things and have to rely on never-ending work and pushing their own music as much as they can. Does Spotify do enough to ensure new acts like Harry Pane are as prominent and exposed as possible? It is hard to keep a hold off all the new acts but there is still too much focus put onto the mainstream artists and those who are commercial. I am aware (that these artists) have a market and deserve promotion but so many rising acts are not getting the credit and push they deserve. In any case; it is good to see the new breed boast how well they have done and it is testament to their determination and passion that they can do this. I wonder whether music has become too focused on number and whether we need to judge music on the basis of quality rather than streaming figures. Can we truly say someone like Drake is better than Harry Pane?! He is more popular and has a larger following but stack their music together and, even objectively, the gap is a lot narrower than Spotify figures would suggest.

A lot occurs within the first few seconds of Heart’s Rhythm. There is something in the background, yearning from strings, that gives some ache and longing whilst Pane enters with a tumbling and fast-flowing acoustic tone. That distinct and strong finger-picking style lifts the song and brings in more colour. It is a great blend of sounds and ensures you are invested right from the off. It would be easy to stuff too much energy and movement into the introduction but Pane strikes a great balance. It is a gorgeous sound that reminds one of the great Folk artists and how they could command before a single note is sung. The guitar imbues so much atmosphere and visual magic as the notes bounce and the sound changes. Pane goes from the rousing and high-pitches tumble to the more grumbled and low-note swoon that mingles together superbly. It is amazing to hear his dexterity and how evocative he is without singing. I was stunned by the sound and how it made me feel. You get a real sense of a heart beating and changing emotions; a real story being unveiled and so much life crammed in. There is a low thud of percussion that gives another layer to the song and, before you become completely immersed in the winding and sweeping guitar, the hero comes to the microphone. It seems love is being assessed and uncovered but done so in a different way to most artists. There are thorns and walls; a sense of the physical and natural world that is used to describe the unpredictable nature of passion. Maybe things have changed for Pane and the heroine but it seems like there has been a disruption of change of fortune that brings him to now. Although there have been some pains and harder times; the feeling coming through is a man who wants to hold her tight. The two have matching colours and the passion that comes from Pane is pure.

The love he is receiving courses through the veins and it is intoxicating. You cannot overlook the strength of that affection and how it has affected him. The two have faced challenges and hurdles but the connection they have is strong. From the early sound where we had the guitar placed at the front and was taken somewhere wonderful; Pane is not at the forefront with his voice and creating the same sort of impact as he did with the guitar. The hero wants to hold the girl as their hearts beat and not really let her go. The composition continues to drive the song and there is a great mix of Folk and, oddly, a bit of Country. One hears a distinct twang that evokes the U.S. South. The lyrics speak about connecting heartbeats and synchronicity and there is simplicity in the language that means the words stick and you remember them after the song has ended. The composition never seems simple and straight. It has so many different aspects and angles that delight the senses and perfectly compliment the foreground. The heart is a complex and delicate thing and, as such, Pane is up to the task. It is a wonderful brew that mixes the classic and modern. For those who are new to Singer-Songwriter and Folk; you have a great song here that evokes memories of Nick Drake and other legends but seems very modern and new. There is graveness in the voice that mixes with the feather-light and delicate. This might be a risky combination in lesser hands – Pane masters it and creates a song that is masterful and stunning. I was constantly amazed by Heart’s Rhythm and the guitar tones fused together. It is hard to keep up with all the diversions, twists and sounds that create such a fantastic backdrop and sensation.

The lyrics are as striking and I am pleased to see a positive long song emerge. So many artists are negative and dour and it is unusual to find someone speaking hopefully. Pane and his love have faced brier and harsh winds but it seems their connection and relationship is stronger than the ill fates and storms that crop up. The hero would live a lonely life, as he says, without the heroine by his side and it is that faith and declaration that gets under the skin. I like the way the song swoops and goes from quiet to loud. It has a definite movement and energy that keeps you involved and hooked until the very end. I was stunned by the end of the track and went back to listen again. Not only does one experience that epic and incredible guitar but you get to experience lyrics that everyone can relate to and have a definite sense of positivity to them. Pane balances the optimism of the song with something more shadowy and moonlit. Heart’s Rhythm is a fantastic track that takes you away and really makes an impact. I am predicting great things for Harry Pane and think he will accomplish a huge amount next year. Maybe we do overlook Folk quite a bit but I feel that is not to do with a lack of quality and limited mobility. There are so many great artists in the genre who warrant bigger focus but are being overlooked by the mainstream. This has to change and I feel the likes of Harry Pane can lead that charge. He has crafted a gem of a song and, as 2018 comes to an end, many eyes and ears will be trained his way! Congratulations to a terrific young songwriter who I can see getting to the mainstream a lot sooner than most of his peers. In a competitive, changing and charged music world, that is no mean feat. Do not pass by Harry Pane’s latest revelation!

 PHOTO CREDIT: James Boardman

Harry Pane is someone who has gained praise from some big names and, throughout his career, has collaborated and evolved what he does. He has appeared in the U.S. at SXSW and one cannot overlook how far he has come. I opened by talking about family and that early spark. Pane would be the first to look back in amazement at how far he has come. Could he have ever imagined, in that family farmhouse years ago, that he would be where he is now? Maybe there was that dream and hope but could have envisaged what direction his career would take? It is amazing to think about that start and look at where he is right now. There is a lot more to do and the songwriter will have plenty of ambitions and aims for 2019. He has accomplished a lot this year and, with singles like Heart’s Rhythm, got to new lands and recruited fresh followers. I think music will change next year and we will see certain genres gain more of a foothold. It will be interesting to see what unfolds but I feel Pane will gain a new following and traction. I know he is busy planning gigs and already has dates lined up – look at his social media pages and keep informed. It is the way he has managed his social media page; the bond he has with fans and that exceptional music that has created this demand and means that he will head into the New Year with a determination and sense of pride. That is humbling and heartening to see and I hope Pane gets requests for gigs internationally. He has a great following in the U.K. but I know there will be many around the world who wants to see him perform.

The U.S. would be a great country to do a mini-tour and I am not sure whether he already has dates there. Wherever he heads next year, he has done a great deal in 2018 and it has been a very successful time for him. If you have not discovered Harry Pane and feel that his music will not be for you then give him a try and do not jump to conclusions. I think many of us get a rather limited impression of what a genre is about or assume we will not like an artist because they play Folk or Rap. I feel we all need to be a bit bolder with our tastes and would certainly recommend Harry Pane as a must-hear right now. He has proved himself strong and original and there is a lot more to come from him. With precious gig experience and fond regard on both sides of the Atlantic; I feel 2019 will be his biggest year yet. I shall wrap things up but I wanted to bring Pane to new eyes and it is great to see him grow and strike. So many great Folk sounds have been provided this year and I feel they are second fiddle to other genres. I mentioned how music will change next year and I think this gives underground/rising musicians like Harry Pane a change to forge forward and gain new ground. I know he will continue to stride and dream and why wouldn’t he? What he is putting out into the world is exceptional and definitely has its own identity. That is quite rare and, alongside that, we have a rounded and complete musician who has a definite star quality about him. Give him some backing, check out his latest single and get to grips with his impressive back catalogue. Harry Pane has achieved a lot already but I feel, as we look ahead to 2019, he can go even further and establish himself as one of the...

STRONGEST rising acts around.   

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Follow Harry Pane

Official:

https://harrypane.com/

Twitter:

https://twitter.com/HarryPaneMusic

Facebook:

https://www.facebook.com/harrypanemusic/

Spotify:

https://open.spotify.com/artist/0Rl5q2Pq8y9xRbujCpZueF?si=YyjZ__c9RV6qE0jO7bE_Jw

Instagram:

https://www.instagram.com/HarryPanemusic/

YouTube:

https://www.youtube.com/channel/UCZ9TiSUJNdf1NBGs3VrUh8A

SoundCloud:

https://soundcloud.com/harrypanemusic

FEATURE: Feel It: How to Be Invisible: The Magic, Beauty and Strangeness of Kate Bush’s Stunning Poetry

FEATURE:

 

 

Feel It

IN THIS IMAGE: Kate Bush/IMAGE CREDIT: Baiba Auria 

How to Be Invisible: The Magic, Beauty and Strangeness of Kate Bush’s Stunning Poetry

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MAYBE I said there would be no more Kate Bush articles...

 IMAGE CREDIT: Faber & Faber

until next year but, given the fact she has released quite a lot recently (she has remastered and re-released her back catalogue), I feel it is right to end the year with one more feature (make sure you check out the Kate Bush pop-up shop in London’s King’s Cross before it closed Sunday at 8 P.M.). How to Be Invisible, a selected collection of her lyrics, has been released and you can grab a copy here and dive into her brilliant and beguiling world. What I do know from the book is there are some more obvious songs picked for exposure – Moving, Rubberband Girl and Breathing – but, in actuality, there are so many others that many might not even be aware of! I am holding off getting my copy until Christmas and will not succumb to the temptation to see in a local bookshop and thumb through the pages! It is strange putting out a book of lyrics and not many artists are afforded that opportunity. For so many, there are only a selection of elite musicians whose words are worthy of literary hubris. Bush, as a prodigious and always-captivating artist is not showing off or getting stuck in the past. This book is a chance for fans and new converts the chance to see her brilliant work and delve into a sea of eye-catching words, expressions and dizzying stories! I will bring in some articles in a minute (that look at her lyrics) but, to me, there are a couple of songs that stick in my mind when we think of Kate Bush’s finest lyrics. I have one of the songs, Moving, tattooed on my left arm. In fact, it is not the entire song but a couple of lines. That track is the opening number of Bush’s debut album, The Kick Inside…

 IMAGE CREDIT: Getty Images

It is dedicated to the late Lindsay Kemp who, among others, taught Kate Bush dance. He also worked with David Bowie and Bush would not be such an incredible dancer and alluring figure were it not for Kemp and what he taught her. It is not only the passion and expression of the song that gets to me but it is the way she delivers the words. The then-teenager (the album was released in 1978) proved, even at the start, she was masterful at emphasis, elongation and mood contortion. She never delivers words straight: every song has a character and nimbleness that captivates with its drama, intimacy and sense of freedom. Moving, to me, is an accomplished song that married poetry and dance and has the best Kate Bush opening – “Moving, stranger/does it really matter?/As long as you’re not afraid to feel”. I love how intriguing and mysterious some of the words are; how universal it seems and, without being a dancer, can identify and take something from the moment. It is a gorgeous song that, essentially, announces Bush to the world. I could put together a top-ten of my favourite Kate Bush lyrics/songs but, to me, the defining moment is her debut single: Wuthering Heights.

I could spend hours talking about the messages and images of Army Dreamers or the oddness of 50 Words for Snow’s eponymous track and, how in every album, there are these peculiar and exceptional lyrics that make you think and dream. There is no other artist, I feel, that has the same prowess when it comes to the English language and how her voice manages to elevate already-brilliant lyrics to heavenly heights. Whereas some bands toss off words like they mean nothing; Kate Bush has such an affinity and lust for words and can get under the skin with such ease. Her debut single, released in 1978, set the charts alight and people were slack-jawed – nothing like it had been released to the world! A song about Wuthering Heights and its doomed lovers ‘conversing’ on a cold night is not something one would hear in 2018, let alone forty years back! The song is set, as the opening line goes, on a winding and windy moor; Kate Bush (‘Catherine’) projects herself as another Cathy – albeit, one who is a ghost that is calling to Heathcliffe and asking to be let through his window. It is such an original and strange idea that is masterfully realised and presented. Such a mature, vivid and wild song was not coming from anyone twice Kate Bush’s age. The fact she wrote it whilst still school-age on a moonlit night in not very much time at all shows you how scarily-talented she is!

 IN THIS PHOTO: Author David Mitchell (who has provided an introduction/foreword for Kate Bush’s new book of lyrics)/PHOTO CREDIT: Getty Images/Press

It is the way Wuthering Heights, as a known and loved novel, was brought to the mainstream and, to many, this was their first exposure. The fact Bush’s voice is this untamed and dancing spirit takes the song to a whole new level. I will come back to my favourites (and why How to Be Invisible is an essential gift) but, given the fact the book’s foreword writer David Mitchell has written a piece in The Guardian; I wanted to let him share his experience:

“You don’t learn much about Kate Bush from her songs. She’s fond of masks and costumes – lyrically and literally – and of yarns, fabulations and atypical narrative viewpoints. Yet, these fiercely singular pieces, which nobody else could have authored, are also maps of the heart, the psyche, the imagination. In other words, art”.

“Nobody in my home-taping circle owned either of Kate’s first two albums, The Kick Inside and 1978’s follow-up Lionheart. I heard, and loved, Kate’s precocious teen-dream “The Man with the Child in His Eyes”, but had no means to hear it again. It haunted me for years. I was luckier with “England My Lionheart”. One night I was listening to DJ Annie Nightingale under the blankets when Kate’s unmistakable voice came on: I fumbled over to my shoebox-sized cassette recorder, pressed PLAY and RECORD and, by holding the radio’s speaker against the built-in mic, managed to capture about two thirds of the song”.

IN THIS PHOTO: Kate Bush doing the washing at her family’s home in East Wickham, London on 26th September, 1978/PHOTO CREDIT: Chris Moorhouse/Evening Standard/Hulton Archive/Getty Images  

The Man with the Child in His Eyes, actually, is another remarkably mature song (she wrote aged thirteen) that, today, would raise eyebrows but, as Bush said in interviews, is about praising men and them having that child-like quality and innocence. Bush was a spellbinding narrator on The Kick Inside but it was 1982’s The Dreaming that solidified her as one of this country’s finest artists – even if the album was met with a little caution by her label at the time, EMI:

“Far from resting on Never for Ever’s laurels, Kate rewove those laurels into her first masterpiece: 1982’s majestic, haywire and widdershins The Dreaming. The first track, “Sat in Your Lap”, is a statement of intent and serves as a stylistic overture: a polyrhythmic glory whose meaning – about truth’s ultimate slipperiness – is itself slippery. It requires repeated plays for its beauty to emerge, and it’s as far from “Wuthering Heights” as it could be, while still being Kate Bush. The album is never painterly, like Never for Ever frequently is. Orchestration is absent. The songs are tense, headlong and overlain and sometimes filtered through accents. They lull and startle with wild dynamic swings”.

Kate Bush, as her career took off and the pressure became more intense, did not weaken or move in a very unadvisable direction. Whether she was talking about aboriginals on The Dreaming or, by 1985’s Hounds of Love, clouds, cloudbusting machines and writing in an ambitious and epic way, people were still hooked and amazed at her evolution.

I guess it is the consistency and evolutions that mean her words are always fresh and different but uniquely Kate. Hounds of Love, to many, is Kate Bush’s magnum opus (I feel The Kick Inside is…) but the wordplay and incredible songs cannot be denied. The ‘conventional’ side-one of the album has huge hits like Running Up That Hill (A Deal with God) and Cloudbusting that, between them, ask “Do you wanna feel how it feels?” (the former) and provide us with the thought, “You’re like my yo-yo/that glowed in the dark” (the latter). The fact that, post-The Red Shoes (1993) there was a bit of silence and decline in quality did not stop many wondering what would come next. Bush was starting a family and there was a twelve-year pause until her next album, Aerial, that showed she had lost none of her step! Many consider that album one of her genius records – age and changing domestic circumstances would not diminish or tarnish her brilliance. David Mitchell, again, takes up the story:

“...By now my wife and I had a small child of our own whose toothy grin was for us, too, “The most truly fantastic smile / I’ve ever seen”. “Mrs Bartolozzi”, surely the only song by a major artist whose lyrics include washing machine onomatopoeia, portrays a housekeeper of a certain age. The drudgery of her life smothers her own memories and desires, and puts me in mind of a 21st-century Miss Kenton from Kazuo Ishiguro’s The Remains of the Day. The song “How to Be Invisible” contains a Macbeth-esque recipe for invisibility that is, Kate-ishly, both quotidian and magical: “Eye of Braille / Hem of Anorak / Stem of Wallflower / Hair of Doormat.” Disc one’s last song is my desert island Kate song: “A Coral Room”. Musically, this ballad for piano and vocal is one of her sparsest. Lyrically, it’s one of her richest, describing an underwater city, dreamy and abandoned and swaying and recalling Debussy’s prelude La Cathédrale Engloutie”.

IMAGE CREDIT: Getty Images 

Her later work, in fact, contains some of her most astonishing and vivid expressions. If Bush’s 1978-1993 was lauded because of its imagination, peculiar charm and incredible charm then her 2005-2011 output is no slouch! 50 Words for Snow, released in 2011, is her last/latest album and one that wowed critics. Its title offering is Bush listing synonyms (imagined by her) for snow whereas the wintry theme unites lovers separated by history and ill-fortune (Snowed in at Wheeler Street alongside Sir Elton John) and takes us to wonderful and jaw-dropping spaces! To David Mitchell, it seems he connects with an album that shows Bush, even in her mid-fifties (as she was then) could still entice and stagger as she did as a teen:

“A mere six years later, 50 Words for Snow was released. It is Kate’s fourth masterpiece. The songs are expansive, loose-fitting and jazzier than the rest of the oeuvre, thanks to her lower register and huskier vocal cords, plus veteran session drummer Steve Gadd whose percussive lexicon shifts from spacious to flurrying to ominous to trip-hoppy, according to each song’s slant. Lyrically, it is themed around winter. The album opens with “Snowflake”, a slow and shimmering duet between a falling flake “born in a cloud” and a person destined to catch it. Because the snowflake is voiced and sung by Kate’s son and the person by Kate; or maybe because of the small-ish children then in my life, I think of the song also as a duet between a soul before conception (one of multitudes of multitudes) and that soul’s new body’s future mother. Its lyrics are both primordial (“I am ice and dust and light / I am sky and here”) and intimate (“I think I can see you / There’s your long, white neck”). “Lake Tahoe” is a ghost story of sorts, featuring a drowned woman in Victorian dress “tumbling like a cloud that has drowned in the lake” calling for her dog, Snowflake; and that same, now-elderly dog’s dream, in which his drowned owner is still alive”.

There is talk when another Kate Bush album will come along and whether it will be different to her previous output. Her son, Bertie, is all grown up so one is curious whether she will concentrate on family or provide something akin to her work around Hounds of Love. I am hopeful there will be something out next year and, given she has re-released her back catalogue and remastered it, I feel that is her getting everything out there in order whilst she prepares for the next phase. There is, as Mitchell explains, this never-ending hunger and appreciate for Kate Bush – even if people want her to produce the sort of material she did at the start of her career:

“Fans want more of what we loved the first time, yet we complain if things feel repetitive. Kate is a mighty exception to all this, as rare as a yeti. Her fidelity to her ever-curious, ever-morphing muse has won her a body of fans who hold her songs as treasured possessions to be carried through life. By dint of never having been in fashion, she has never fallen out of fashion. By taking bold artistic risks that she navigates with ingenuity and wisely chosen collaborators, the albums Kate made in her late 40s and 50s equal and surpass the songs recorded in her teens and 20s that made her famous. To any artist in any field, her example is a hope-instilling exhortation to evolve, to reinvent, to reimagine what we do”.

 IN THIS PHOTO: Kate Bush photographed in 2005/PHOTO CREDIT: Trevor Leighton/National Portrait Gallery, London

I will wrap things up soon but, although I have shared my favourite lyrics of Bush and Mitchell’s; there are others who have a deep love of her words and peerless quality. This article looks at Bush’s exceptional calibre and how was a revelation and revolution:

“She represents for many a force of uninhibited originality and feminine energy that somehow cut through the marketing machine of pop music to set and break her own rules as her creative whims saw fit, retaining ownership of her output across the writing and production process in a way that remains impressive by contemporary standards. In particular, her talent for songwriting sets her apart. She began aged 11 and topped the charts with her first single, the Brontë-inspired “Wuthering Heights”, when she was 19. She has since had 25 UK Top 40 singles, from “Babooshka” to “Running Up That Hill”, and 10 UK Top 10 studio albums, including Never for Ever (1980) and Hounds of Love (1985). In 2002, she won the Ivor Novello Award for Outstanding Contribution to British Music...

Her songs, each with their own story to tell, their own characters, their own unique soundscape have seeped into our consciousness and form important touchstones in the lives of those who come into contact with them. I cannot fail to be moved by the lines, “I know you’ve got a little life in you yet/I know you’ve got a lot of strength left,” on 1989’s “This Woman’s Work”, when life all seems too much. There are few gatherings with my female friends that don’t end with a mime-infused interpretative dance-off to the refrain, “Heathcliff, it’s me, I’m Cathy/I’ve come home, I’m so cold/Let me in through your window”.

The article talks with a few songwriters and, before I conclude, I want to bring two of their opinions in that show how Kate Bush has inspired the new generation. Freya Ridings shared her favourite Kate Bush moments and lyric:

“Kate Bush is a revolutionary force of nature, from writing songs completely on her own to her iconic performances. The thing that sets her apart is her wild creativity and emotional freedom that shines through her melodies and lyrics. She writes in a way that still stops people in their tracks. They embody a timeless quality that is endlessly inspiring for so many emerging writers and performers.

“Ohh there is thunder in our hearts” from “Running Up That Hill”  is a lyric that’s always had a resonance with me. Not just because the song has simple timeless beauty but because it highlights the hidden emotional storms that aren’t always easy to communicate with someone you love”.

Rae Morris also gave her thoughts:

“There’s a magic in Kate Bush’s music that I can’t find anywhere else. The characters in the stories she tells are old friends you can turn to, familiar and warm, but never boring. The music she’s made over the years sounds just as fresh and relevant now as it ever did.
I first listened to “Aerial”, which may be a strange place to start.

My favourite lyrics are: “The day writes the words right across the sky/They go all the way up to the top of the night” from “Sunset”. And “My mother and her little brown jug/It held her milk/And now it holds our memories/I can hear her singing…” from A Coral Room. I’ve attached it to an image of my own mum singing in the kitchen. That’s the genius of Kate. She makes you reflect on your own life”.

I know there will be more material from Kate Bush and you can never predict what she will do next and where she will head. Her career is always impossible to pin and, in terms of albums and what they will sound like, they are always different and completely incredible. I think music, in some ways, is less about the language and more about its immediacy and compositional tones. I cannot name many modern songwriters whose tracks leap out because of the wordplay and language. Certainly, there is nobody like Kate Bush and her work is a benchmark I do not feel we will see troubled. Everyone has their own memories and favourite songs of Kate Bush but, to me, her whole career has yielded gold and legacy. I think Wuthering Heights and Moving are brilliant staring places and, if curious, take the time out to investigate her entire catalogue. I would urge anyone with even a passing interest in music and lyrics to get How to Be Invisible as it is a beautiful thing that collects together songs from right across Kate Bush’s career – including some rarer tracks and her big numbers. I cannot wait to get the book and digest every single page but, looking forward there will be curiosity hoe Kate Bush, now sixty, will follow 50 Words for Snow and what is on her creative mind. As has been shown in this piece, from 1978’s startling introduction, The Kick Inside, through to 1985’s Hounds of Love and 2011’s 50 Words for Snow; she has lost none of her linguistic genius and ability to stun the collective. As we look back on her brilliant legacy and gift, let us hope...

 IN THIS PHOTO: Kate Bush captured during filming for The Line, The Cross and the Curve in 1993/PHOTO CREDIT: Guido Harari

THERE is much more to come!

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Riva Taylor 

An All-Female, Winter-Ready Playlist (Vol. I)

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I feel it is appropriate to call this ‘winter’…

 IN THIS PHOTO: Hussy/PHOTO CREDIT: Poppy Marriott

as the weather is definitely getting more tempestuous and there is a distinct chill in the air! Given Christmas is a few weeks away; it is time to embrace the winter but that does not mean we need to hide away and submit until the weather hots back up. As it is a bit grotty out there; I have collated some female-led gems that are guaranteed to warm up the cockles and, if needed, create a calming and touching mood. It is a contrasting and busy playlist that gets into the head and makes sure the body is moving. Have a look at the latest rundown and there might be some artists in there that are new to you – those you want to stick with and seek out further. Sit back, spin some great new tunes and, before long, the damp and cold outside will be replaced by some...

IN THIS PHOTO: Alicai Harley 

SERIOUSLY hot tunes!  

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

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MUNNYCAT – Check It

Vera Blue – All the Pretty Girls

E.PARKER – Godspeed

Reykjavíkurdætur - Dugleg

Alicai Harley – Proper Paper

Jade Marie Patek – Good One

VALERAS - Intentions

PHOTO CREDIT: Poppy Marriott

Hussy – Forever         

Sinead Harnett - Lessons

Riva Taylor – O Holy Night (Live at RAK Studios)

Brooke Law – See Ya Later

Tiny Ruins – School of Design

Ella Vos – Ocean

Kelsy Karter – Catch Me If You Can

Sody – Let You Know

PHOTO CREDIT: Rosie Marks

Paige Bea - After All

Fí – Feel Better

Charlotte Gainsbourg – Such a Remarkable Day

Caoilfhionn Rose – Unravellled

Caitlyn Scarlett (ft. Segal) – Nightmares

PHOTO CREDIT: Liz Ornitz

Foxanne – So Excited

PHOTO CREDIT: Shervin Lainez

Rachel Eckroth – Collecting Bruises

Mae Muller – Read

CAGGIE – It Will Never Be Over

Poppy Ajudha – When You Watch Me

Hayleau – That’s Life

Sophie Hunger – I Opened a Bar

INTERVIEW: Mauwe

INTERVIEW:

Mauwe

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IT has been cool speaking with Portia and Jay of Mauwe...

about their new single, Balcony Dreams, and what its story is. They tell me how Mauwe came to be and what sort of music they are influenced by; the rising artists we need to follow and whether they have anything lined up for 2019.

The guys select albums important to them and tell me about how they chill away from music; what advice they would give to any musicians coming through and what they would each like for Christmas.

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

Portia: Great, thank you! Just recovering after a couple of shows this week and looking forward to continuing with writing in a few days. 

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

Jay: Sure. We're Jay and Portia, A.K.A. 'Mauwe', and we make something between Electronica and Indie-pop. We released our first E.P. earlier this year and just released our newest single, Balcony Dreams, in November. 

How did Mauwe get together? When did you start making music?

Portia: Haha. Well, we'd known of each other for years - having both grown up in the same town in the Midlands. We played a couple of the same shows with separate projects, worked at the same restaurant for a little while and I think maybe even did the same course at college but never really talked about music or writing.

Then, we ended up in Bristol separately about two years ago and decided to just jam together for the first time. We recorded a cover of Elvis' Can't Help Falling In Love for fun that first day and decided we should see what we could come up with. I think we wrote our first song, Smoked a Pack, about two weeks later. 

Balcony Dreams sounds like a positive song! What inspired it and does it relate to personal experience?

Jay: Yeah, definitely. We naturally tend to write mostly from experience, like, things we're going through at the time. This one's about chasing that dream, whatever it might be, and having the strength to defy anyone who says you should 'get a safe job' because it might not work out. I based the production around that recording of the London Underground and we kind of grew the lyrics around that. 

Do you think there will be more material next year?

Portia: 100%. We've got a few new tracks that we can't wait to share as well as some that we're currently working on. Definitely feeling pretty inspired at the moment.

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

Portia: It's quite eclectic; especially combining both our tastes. But we love Jon Bellion, Vallis Alps and Louis the Child to name a few. Definitely going through a massive Nao phase - I never caught on when she first burst on the scene.

How important is Bristol and a base and its music scene?

Jay: Love it here. It's always got something going on but there's also space to chill and be yourself/clear your head, which I think is pretty important for creativity. So many great artists come through here too and it's got its history of introducing really good music to the world. Generally, a really inspiring place. 

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

Jay: Haha, I don't know. Is a tour bus too much?

Portia: I keep getting bullied by various friends saying I'm a musician who doesn't have a Hi-Fi in their room, so I'm planning on changing this once and for all!

Do you already have plans for 2019?

Jay: Yes! As we mentioned, we've got some new music on the way, as well as a couple of music videos. We're also in the midst of expanding our live set-up, which we can't wait to show off in the New Year.

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

Portia: I think our show at Sixty Million Postcards in Bournemouth was pretty spectacular. Some people had travelled for several hours to get there and it was the first time we really saw how the music had actually connected with real people. It's one thing to see plays on Spotify and YouTube or whatever, but it's obviously amazing seeing real people singing our songs back at us.

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

Portia: That is such a hard question. I'd say probably either the first or second 1975 album. When I first learnt to drive and I was going through a break up, I would only listen to those two albums on-repeat and I feel like they saw me through exciting times (peaceful times) and also gut-wrenchingly sad times. They were both the soundtrack to freedom for me in so many senses. 

Jay: This is impossible to answer, but if I have to choose it's probably Jack Garratt's Phase. It's got such a good balance of energy and great song writing, and most importantly I'm still yet to get bored of it. 

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

Portia: Oooh. Jon Bellion? And rider would include hummus at the very least. Probably some honey J.D.; a couple of meal deals and definitely some chocolate. Maybe some pain au chocolate for the morning? (Jay's obsessed).

What advice would you give to new artists coming through?

Jay: Don't sit around and wait for inspiration to hit you. Those moments do come and they're magical but so many great things have happened when we've just sat down and started creating or writing. Sometimes, nothing comes of it but at the very least it keeps your head in that space and keeps you practicing your craft. 

Portia: Believe, believe, believe in yourself and focus on your own journey.

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

Jay: Until we've finished creating our new set-up, everything live is on-pause, but we've got some great plans for the New Year!

 IN THIS PHOTO: Another Sky

Are there any new artists you recommend we check out?

Jay: Another Sky are making waves at the moment; their songwriting and production is great. FARR also have some smooth tunes that deserve a lot more attention. 

Portia: Pinegrove. They're not particularly new but I don't think enough people know about them. 

IN THIS PHOTO: Pinegrove

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

Jay: I kind of feel like music IS unwinding. There's a whole lot that is connected to it that requires what could be considered 'work', but crafting, creating and writing...that's all stuff that I feel most relaxed and at home doing. 

Portia: We both love books and films too. There's a lot of inspiration to be found in escapism as well as real life. 

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).

Portia: Haha, thanks - and thanks for having us! California by The Lagoons

Jay: Stephen - Fly Down

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Follow Mauwe

Facebook:

https://www.facebook.com/mauwemusic/

Twitter:

https://twitter.com/MauweMusic

Spotify:

https://open.spotify.com/artist/2A6ICTUl1UuEUt5sLnWTcR?si=KDJ6CmHFR8mqtrmNT5L9Jw

SoundCloud:

https://soundcloud.com/mauwemusic

PHOTOS:

Fraser Taylor

INTERVIEW: Chloe Foy

INTERVIEW:

Chloe Foy

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BECAUSE we are inching closer to Christmas...

it is a good time to speak with Chloe Foy about her cover of In the Bleak Midwinter. I was eager to know why she chose that song to cover and whether she is influenced by carols; which artists and albums are important to her and whether there are some great rising artists to look out for.

Foy tells me what gigs are coming up and whether she has a favourite musical memory; if she gets time to chill away from music and what plans are in place for 2019 – Foy picks a great song to end things with.

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

Hi! I’m okay, thank you. My week has been good - I’m trying to fight the desire to hibernate as it gets darker and damper in Manchester.

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

I’m Chloe Foy; a singer-songwriter from Gloucestershire, based in Manchester. I write songs with my guitar and have a weakness for strings and lots of beautiful vocal harmonies.

You have released a cover of In the Bleak Midwinter. Was there a reason behind covering that song?

It’s one of my favourite Christmas songs. I’m not religious but there’s a certain nostalgia that comes with Christmas carols and some of them carry beautiful tunes. It’s a setting of a Christina Rossetti poem - and some of the imagery used is very beautiful.

I am surprised more artists are not inspired by Christmas carols when writing their music – in terms of tone and sound. Do you find songs like that inspire you?

Yes. I have a classical background and often sang in choirs as a kid and I think I can’t help but be influenced in my writing by the melodic and harmonic inflections contained within choral music. I think it’s probably why I’m such a sucker for vocal harmonies.

Might we see material next year? What are you working on?

I’m currently working on lots of new material to be released next year and I’m excited to get in the studio and record it. Watch this space… 

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

This has been said a lot but I love both Laura Marling and Sharon Van Etten and think my sound lies somewhere between the two. I’m constantly inspired by female artists who are out there writing beautiful music and making a living from it, for example Jesca Hoop; Maggie Rogers, This Is the Kit. I grew up listening to The Beatles, Dylan and Neil Young so there’s definitely some influence there too. Mainly I just listen out for a good melody.

Do you already have plans for 2019?

Yep. The aforementioned release of new music, plus touring the U.K. and hopefully some gigs further afield.

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

I’ve had a great year this year what with going to SXSW and supporting Jesca Hoop, so it’s hard to pick. But, recently, on a little tour of the U.K., I took a full band to London to play Paper Dress Vintage in Hackney and I think it’s one of the best shows I’ve ever played. Everything just came together and the crowd had a really good vibe too. There was something quite magical about it.

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

Revolver by The Beatles. Because it was played so much when I was small. It evokes a lot of happy memories.

Laura Marling’s Once I Was an Eagle. Because it taught me what an album could really be.

Fleetwood Mac - Rumours…just because.

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

No Brexit please.

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

I’d support Paul McCartney…because how else am I going to meet him? And being used to a few beers on a rider, it’s hard to imagine what I could ask for…three-course meal? Champagne? Guitar tech? Full orchestra? That’s a good start.

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

I have a show in Manchester on 9th December at the Kings Arms in Salford and another in Sheffield on 21st December. They’re my last for the year but I’ll be back on the road in the spring.

What advice would you give to new artists coming through?

The usual. Don’t give up, don’t forget what’s at the heart of what you’re doing and don’t compare yourself to others.

 IN THIS PHOTO: Katie Mac

Are there any new artists you recommend we check out?

Katie Mac is a new artist from Liverpool with an incredible voice and Caoilfhionn Rose is based here in Manchester and has just released her debut album. They’re both pretty special.

 IN THIS PHOTO: Caoilfhionn Rose

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

Usually, I unwind by playing guitar and writing a song - it is my therapy. But, I also like a bit of yoga now and again and long walks. And, to contrast with this wholesome picture, I also enjoy terrible T.V. - like, really terrible.

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).

Raven’s Song by Aaron Embry

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Follow Chloe Foy

Official:

http://chloefoy.com/

Facebook:

https://www.facebook.com/chloefoymusic/

Twitter:

https://twitter.com/chloefoymusic

YouTube:

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

Spotify:

https://open.spotify.com/artist/3KSEcvpvbR40uwA4eiSJUa?si=JAOW8Hb3TsixRC-jKCh9rg

SoundCloud:

https://soundcloud.com/chloefoymusic

FEATURE: An Imperfect Figure: Spotify Wrapped 2018: Is It Possible to Get on Top of the Sheer Weight of Music and Ensure the Newcomers and Classic Acts Find a Fair Audience in the Spotify Age?

FEATURE:

 

 

An Imperfect Figure

IN THIS PHOTO: Ariana Grande (who was declared the top-streamed female artist on Spotify for 2018)/PHOTO CREDIT: Craig McDean for VOGUE 

Spotify Wrapped 2018: Is It Possible to Get on Top of the Sheer Weight of Music and Ensure the Newcomers and Classic Acts Find a Fair Audience in the Spotify Age?

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I am beholden to Spotify as much as the next person...

Fa

 IN THIS IMAGE: Spotify Wrapped 2018/IMAGE CREDIT: Spotify

and would be a much poorer and more stressed journalist if it were not in my life! That might sound tragic but I love how one can get any new album instantly and, if needed, cherry-pick a track from it for their delectation. It is wonderful to have such variety, accessibility and flexibility with our music. Once was the time, pre-streaming/Spotify/YouTube, where one had to rely on traditional methods (buying albums and singles) and a few select websites to get the best new music around. Now, we have a wealth of sites where one can access pretty much any song from anywhere in the world. It is one of the best things about the technological takeover and, as many will know, the popularity and exposure of new artists can be linked to sites like Spotify. I am not saying it is the only tool and way to get discovered but one cannot overlook its impact and role in today’s culture. I use it quite a lot and have found so much new material using it. It is the time of year when all the streaming sites and social media bodies are giving us our statistics from 2018. If it is Facebook then we are told about our most popular posts and all those ‘best moments’.

 IMAGE CREDIT: @KristianKostov_

Spotify is doing the same and providing users with the songs and artists they connected with most this year. It is a good way to find out what was rocking our world and we can have breakdowns of the type of sounds that filled our hearts. Whist it is good to have a statistical analysis of our tastes and discover where our preferences lie; I wonder whether this approach to popularity and user tastes is actually misleading and lead to some worrying realisations. I have seen various contacts on social media publish this results and it does give props to certain new acts. For me, I think there is a big weighting towards older artists and a very limited scope. I have downloaded countless tracks as part of my reviews and interviews – which provides a huge spread of genres and locations – but, in terms of the artists I came back to time and time again; it is a case of the old and established. I sort of suspected that would be the case but it makes me wonder whether one of the two things has led to that inevitability. One might argue a narrow funnelling of older tastes is a result of sites like Spotify not really uncovering the older acts and songs – they are too trend-focused and are more keen to emphasise the new and rising.

 IMAGE CREDIT: @elsbdm

I can see why new artists are top of the agenda: we need to highlight and promote the current generation and ensure we are not just relying on the old and familiar. I accept that but how often does one see a good balance of the older and new – surely, the most economical and sage use of a platform as wide-ranging and powerful as Spotify?! The other debate revolves around the scope of new music and whether it is truly possible to discover ALL of the best and brightest. I am lucky in my position as I get sent requests and songs many people will not have found – or might discover a while after release date. I think I am on the front-line of the wave of new music and can pick what I want to promote and who I want on my blog. I am always sad and have that feeling of guilt when I reject someone because I want to include everyone and do worry, in a competitive market, they will struggle to get a foothold. That is not arrogance on my part but the realisation every artist needs as much promotion and attention as possible in order to compete. Not only are a lot of bygone albums/artists being relegated to happenstance and luck but so much of what is being put onto Spotify is being overlooked. I stated how it is impossible to hear everything good and promising but I do wonder whether more needs to be done so that there is parity and less chance of narrow focus and homogenisation. I realise Spotify have introduced ‘Tastebreakers’; a personalised playlist featuring artists you might like based on search results - is it thorough and accurate enough and does it go deep enough?

IN THIS IMAGE: Drake (he is the top-streamed male artists on Spotify for 2018)/IMAGE CREDIT: @Drake

I think the very fact popularity and place is measured in numbers, streaming figures and graphs is very business-like, empty and worrying. Having seen people receive the results of their listening tastes; what strikes me is how the vast majority are listening (mostly) to artists who are either being included on weekly Spotify playlists or else are fresh and contemporary. I can understand why most people would focus on the approaching breed but is the absence of older artists a sign that we are putting too much emphasis on the new? Also, I know of so many musicians who have their music on Spotify and it can be so hard to compete with the bigger acts. I have speculated before but I think the nature of Spotify means we are naturally drawn to artists they feel are cool and worthy. Naturally, radio exposure and social media brings music to our minds and we then go to Spotify to hear that track/act but does that mean we are lacking in exploration – or is music so hefty and vast that we cannot get a handle on things?! Before I go on, and if you want to know how to see your most-streamed music of 2018; this article - gives a step-by-step explanation.

The most popular artists have been revealed and the results do not really surprise me. As the Evening Standard’s article continues; it seems the most-streamed are the very new and those who are trending:

“Drake tops the list for the most streamed artist in 2018 with 8.2 billion streams this year. This has also earned the Canadian rapper the crown for the most-streamed artist of all time.

Thank u, Next star Ariana Grande is recognised for being the most-streamed female artist, and her hit post-breakup song has had more than 220 million streams by itself already, despite only being release in November”.

I do think it is good to have a read-out of the music that we streamed this year but I am concerned there is too much spotlighting of the biggest chart acts and a very one-sided market. Think about so many of the smaller acts who warrant a lot of focus and they are not being afforded the same oxygen and celebration. The same can be said of older music and making sure the current generation have that mixture of the finest new cuts and the best of the past. How do we go about ensuring Spotify and the end-of-year statistics are not too predictable and each subscriber is given a proper opportunity to broaden their horizons?

 IMAGE CREDIT: @cy_halling

One might say the results of each user is appropriate to their own mind and not directed by playlists/promoted artists but you only need to look at the most-streamed artists from various genres to see a correlation between popularity and the fact they have received the most marketing – either because they are trendy or doing well in the mainstream charts. I recognise the artists rising high on big radio stations would have that mirrored attention on Spotify but, when you go to the site, how do you go beyond that and discover artists lower down the pecking order? So much of the trending suggestions concentrate on a very particular type of artist and there needs to be more menus and compartmentalisation. I am keen to know what is popular on Spotify but, when I am there, I am eager to uncover some rising artists that might not be that commercial but are producing something truly exciting. If we had drop-down menus by genre, location (country/city) and could provide lesser-heard/less-mainstream artists a better chance of being discovered then it would provide a more rounded listening experience and make it easy to get to grips with the sheer volume of new music. By the same token, how about doing weekly playlists by genre and focus on a bit more on artists who could truly benefit from Spotify promotion. It is vital for mainstream acts to get a big say but I think they are less reliant on Spotify than many of the underground artists who are years away from getting the same radio and chart exposure as the big guns.

 PHOTO CREDIT: @nadineshaabana/Unsplash

I asked whether it is actual reasonable to create an equal balance and not be drowned by the weight of music out there. The Spotify end-of-year breakdown (or ‘Spotify Wrapped 2018’ as it is known) is a useful thing to have but I think time should be spend organising things a bit more. I concede it is too much to ask that every artist finds its way to every subscriber. It is not possible to hear everything you’d like and things will slip through the net. The thing is, I am discovering so much great music by luck – it is shared by a follower of a follower on Twitter or some such – and it has been on Spotify for ages. I would like a more organised site that keeps a track of all the new upload and can tailor suggestions to what I like and want to hear. At the moment, there is a rather meagre version of that and I feel some retuning and development could make Spotify this all-conquering site where we could still keep the cool and mainstream hot in the timeline but would mean people are able to use a bespoke search engine to narrow things down and use the menus to more easily discover new and existing artists that fit their tastes. I think you can easily have a few different playlists and options that means your experience is more varied and less directed.

 IN THIS PHOTO: Talking Heads (a classic band who are not as widely promoted as modern mainstream artists - meaning many young listeners are missing out)/PHOTO CREDIT: Getty Images

The problem with older music is that it is not new and has been played endlessly. I feel too many sites consider classic artists second to the new wave and feel people should mostly listen to what is fresh and forward-thinking. I disagree and feel, for people to become more rounded and knowledgeable about music in general, more emphasis needs to be placed on musicians who have come before. I listen to a lot of older sounds on Spotify but so many are going there and instantly gravitating towards the new. Unless they have heard a particular artist from the past on the radio and have been compelled to stream their work; is there any mechanism in place to ensure discovery is not only about trending and what is deemed ‘relevant’?! Like a menu for new artists; having dropdowns for years/genres etc. would make it easy for anyone to access songs they have never heard or those that slipped the mind. Maybe playlists by year/decade would ensure a better of old and new and make these end-of-year breakdowns less predictable and narrow. Perhaps those suggestions would cost a lot and take a lot of time but I think, the more we go to Spotify, the less we are broadening our tastes. Most of my non-commercial discoveries have arrived via radio and social media rather than a platform like Spotify.

 IMAGE CREDIT: @valeriebuvat

I do not think this is right and, when I got my Spotify Wrapped 2018, it proved two things. For a start, it was not as eclectic in terms of older music as I’d liked (as there is not the device in place to point my in various directions) and most of the newer artists I streamed were as a result of P.R. companies or artists coming directly to me – I would not have discovered these wonderful rising musicians were it not for people not related to Spotify. I know it is harmless fun seeing who we all streamed in 2018 and, in fact, promoting the results not only give a nod to artists and boost their fanbase but it is an interesting social experiment. What I am finding from those who are sharing their 2018 is how similar the results are and how many are listening to same thing. Maybe that is coincidence but I think too many of us are being directed and influenced by very narrow playlists and very few of us are venturing too far beyond the popular, exposed and trending. Music is a vast and wondrous ocean and, whilst it is easy to get buried and staggered by its size, I think all of us can boost our musical horizons and make new discoveries if such big and powerful outlets like Spotify make a few tweaks so there is more parity, broadness and age-balance (between the new and old). It has been a great 2018 for music and I hope, as a resolution for next year, Spotify introduces some new touches and innovations that mean the rising, mainstream and older...

IMAGE CREDIT: @lauranhibberd 

HAVE an equal say.

FEATURE: Vinyl Corner: Manic Street Preachers - This Is My Truth Tell Me Yours

FEATURE:

 

 

Vinyl Corner

IMAGE CREDIT: Getty Images 

Manic Street Preachers - This Is My Truth Tell Me Yours

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IT has been on my mind for a while...

 IN THIS PHOTO: Manic Street Preachers in 2018/PHOTO CREDIT: Getty Images/Press

but I have been looking back at the albums from 1998 and wondering whether they have remained relevant and as memorable now as back then. It is always hard to create a record that can be passed down the ages and, even in a year as productive and exceptional as 1998, there were many that have been lost and nobody listens to. The Manic Street Preachers launched This Is My Truth Tell Me Yours the same year as we saw blockbusters from Madonna (Ray of Light), Beck (Mutations); Garbage (Version 2.0) and the Beastie Boys (Hello Nasty) – you can throw Lauryn Hill (The Miseducation of Lauryn Hill) and Massive Attack (Mezzanine) in there! I have talked a lot about the 1990s and which years (of the decade) were best but you cannot ignore how transforming and inspiring 1998 was. We had seen the best of Britpop and movements past; there was a gap for a new revolution and a fresh wave. What we saw was Electronic music and Trip-Hop coming more into the forefront and the mainstream as busy and exceptional as ever. Such was the quality and vibrancy of 1998, it is no surprise we are recalling the best albums from the year and comparing them with today’s crop. The Manic Street Preachers have not long released an album, Resistance Is Futile, and, although it is good, there is little of the same genius that defined their 1998 milestone.

 IMAGE CREDIT: Getty Images

1996’s Everything Must Go was the first album with their brother, Richey Edwards, and it was a tough time for them. A few of Edwards’ lyrics and songs would make that record – and unearthed writings were used on future Manics albums – but it was a band facing a new future and a very harsh reality. It is a shock the final record is so cohesive and memorable – you’d forgive the band for being distracted and too emotional to write something cohesive! The success of Everything Must Go pushed them forward and, whilst 1998’s response was less intense than some of the songs on Everything Must Go; This Is My Truth Tell Me Yours is overflowing with emotion, texture and quality. Whereas Everything Must Go was released at the height of Britpop – although it was not as chirpy and Pop-orientated as a lot of Britpop sounds –; 1998 was a different year and the British mainstream was embracing something different. This was the first Manics album with lyrics entirely by Nicky Wire and, as such, it was different in tone and unlike any other release. James Dean Bradfield and Sean Moore tackled the music and, together they released something far less accelerated and Hard-Rock-inspired than we were used to. There were glacial elements and more instruments; softer elements and angles in some songs and a more rounded and experimental affair.

I will talk about an anniversary release of the record (out tomorrow) and a Manic Street Preachers tour but, for me and many, 1998 was a terrific year for music where we were seeing many of our best-loved bands either change or dip in popularity. Britpop heroes like Oasis and Blur were heading in different directions (Oasis less successful than their rivals at this point) and other genres were coming in – there was more influence from American artists and genres like Hip-Hop, Trip-Hop and Electro. The Manic Street preachers, like a lot of their peers, were succeeding when it came to exploring new ground and able to produce the big anthems. If You Tolerate This Your Children Will Be Next – they were pretty keen on long titles back then! – was inspired by the Spanish Civil War and the Welsh volunteers who joined the left-wing International Brigades. You Stole the Sun from My Heart was Nicky Wire’s fatigue at touring and a desire for rest. The band was talking about tension, fears and exhaustion on Everything Must Go (Australia looked at getting far away and escaping the chaos in the U.K. and their ranks) and one could see some comparisons with the previous offering. This Is My Truth Tell Me Yours boasted thirteen songs and only one of them (the epic hit, Tsunami) was under four minutes.

Lesser bands were have put bloated songs with needless solos together but the lengthy 1998 gem from the Manic Street Preachers was them confident and taking their sound to new heights! Every song sounds focused, inventive and original and it showed what a strong unit the Welsh band were (and continue to be). In this review, Pitchfork drilled down to the truth and beauty of an incredible record:

“Supporting Wire's powerful lyrics, the Manic Street Preachers play with virtuosity and conviction. James Dean Bradfield's voice has never sounded better-- he's evolved into one of the best rock singers around. The band's music is also the most far- ranging of their career, incorporating a broader instrumentation that includes non- typical rock instruments like the sitar, melodica, omnichords, and organ. For example, "Ready For Drowning" possesses a moody, almost classical- sounding organ with some of the most intriguing harmonic shifts ever penned by a rock musician.

The Manic Street Preachers are also one of the few groups capable of integrating orchestral instruments in a way that still produces great rock music (check out the cello in "My Little Empire"), always avoiding the schmaltzy elevator music that can result when some rock musos get a hold of an orchestra. Meanwhile, they manage to infuse some quite dour lyrics with some of the most haunting melodies in rock this side of Radiohead. Bradfield and Moore seldom choose the obvious chords, arrangements and melodies, resulting in music that is heads- and- tails above almost any band on the planet. I'd say it's my album of the year so far, but I picked it number one last year. (It actually came out in the U.K. last fall)”.

There is something timeless and ever-intriguing about This Is My Truth Tell Me Yours as it is not an ultra-Britpop smash or something that was of a particular scene. I was at school when the album came out (I was fourteen) and I was wondering what would follow the epicness and influence. I had been aware of the Manic Street Preachers and loved albums like Everything Must Go and The Holy Bible (1994). I was drawn by their raw sound and huge tracks and was excited to get my hands on their fifth album. The thing I was struck by was the shift in sound and how easy songs like You Stole the Sun from My Heart became anthems of the year. You had the catchy choruses and distinct Manics sound but there was new light to be discovered. Unlike today, there was a giddiness and excitement in the ear in September when the album arrived on the shelves. CLASH, in their recent celebration piece, talked about the rush of expectation that was in the air and why the album resonated:

“As the clock struck midnight on September 13th 1998 thousands of Manic Street Preachers fans were queuing, some for up to 13 hours, outside Cardiff’s Virgin Megastores to be among the first to buy 'This is My Truth Tell Me Yours' and have their copy signed by the band, James Dean Bradfield, Nicky Wire and Sean Moore...

IMAGE CREDIT: Manic Street Preachers/Getty Images

As Britpop ate its self in a haze of cocaine in Camden and Champagne at Number 10, newly occupied by Labour’s Tony Blair, it was left to the Manics to give the country a new soundtrack. They had always stood apart from Britpop and it had been obvious they would live through other phases once that era ended.

As an album it stands the test of time better than any of the pop bands that dominated that year. It’s personal while remaining relatable and political while remaining authentic. The new re-issue captures its weary urgency perfectly and some of its messages seem even more important now than they were 20 years ago”.

There are, as of tomorrow, Collectors’ Editions of the album to mark its twentieth anniversary. Although the official anniversary was a few months back; these C.D. and vinyl bundles are must-haves for people like me who were hit by This Is My Truth Tell Me Yours when it arrived back in 1998. We get to hear new selections and there are demos and rehearsal recordings. It gives new light and exposure to a treasure of an album that, to me, was the last time the Manic Street Preachers created real genius. That might seem harsh but I think they hit a peak in 1998 and what we saw was a combination of new formation and responsibility – Nicky Wire as the lyricist – and the band facing a new time in British music…

Of course, being Vinyl Corner, I would urge people to get their hands on the two-L.P. version of the record (from tomorrow) and play it in its full glory. The Manic Street Preachers went on to evolve their sound and create more fantastic albums but, in many ways, they were unable to eclipse the wonder and revelation of This Is My Truth Tell Me Yours. Listen to the album with a record player and quiet room and you get to hear all the nuances and notes that make This Is My Truth Tell Me Yours such a rare treat. It is the sound of a band venturing in a slightly new direction but pulling off an incredible feat They could have stumbled and weakened after the intensity and exhaustion of Everything Must Go but, instead, they seemed refreshed and captivating. Whilst it is hard to name other albums that sound like This Is My Truth Tell Me Yours; I know so many bands who were inspired to get into music because of the 1998 smash. Many were following the band before then but had their eyes and minds opened following their fifth album. If you can get the twentieth anniversary releases (either one or all three) tomorrow then I urge you to but, if not, pick up the original album on vinyl and set some time aside to drink it all in! In 1998, many were raving about Air’s Moon Safari and Hole’s Celebrity Skin but one cannot mention a glorious year without mention the Manic Street Preachers’ wondrous...

 IMAGE CREDIT: Manic Street Preachers/Getty Images

THIS Is My Truth Tell Me Yours.

INTERVIEW: Fí

INTERVIEW:

Fí

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THE superb Fí...

has been telling me about her new track, Feel Better, and how it differs from her previous song, Éalú; whether there is more coming along in 2019 and which artists/albums have made an impression on her – she selects a great song to end the interview with.

The Irish songwriter recommends some artists we need to check out and tells me what it was like working in L.A.; if she gets time to unwind away from music and whether there are any gigs booked in the diary – Fí gives some advice to musicians coming through the ranks.

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

Hi, Sam. I’m great, thank you - and yourself? My week has been manic, stressful; loaded and exciting. Happy to take a breather after assignments and my single just released.

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

Yes, of course. It’s Electro-Pop, commercial but tinged with dark, Alternative and atmospheric elements. It’s important though that, stripped back on piano or guitar, the song is strong without all the production. I love a good, anthemic chorus built on a story or personal experience.

Can you tell me about your new single, Feel Better? What is the story behind it?

It’s basically about deflecting all that’s fake and embracing the real truth. It’s  a dark and self-deprecating song being true to yourself, not getting too caught up in the façade of who we think we are meant to be and (the humdrums) of what it means to lead an extraordinary life instead of just being who we are. Chase the unknown; we chase to find the spark that may ignite that fire of desire or ambition within us. Whether that be music, alcohol…whatever we need to distract ourselves to make us feel ‘ a little better’.

There’s highs and there’s lows; ups and downs, and not every day is significant or extraordinary. But, it’s how we perceive the little things that happen which help make us appreciate our individual  journeys that little bit more.

How does it differ to your previous track, Éalú?

I feel like they’re very different, sonically. I wanted to test myself, vocally, as I usually sing in my upper range so it was a change for sure. There was about five hours worth of harmonies on the track too so it’s definitely more built up and stacked in that sense. Both have Dance elements but I guess it’s more pop than Éalú which probably leans towards the electronic side. But, Feel Better still embraces the dark production elements.

I believe you have been recording in L.A. What was it like working over there? Tempted to move over there one day?

I was. I booked a mad, spontaneous trip to L.A. one night back in March.  I definitely regretted it after but, thankfully, it all worked out and ended up being a really amazing experience. Everyone loves Pop and everyone is so, so talented. It’s a bit surreal but also easy to get wrapped into it. I felt like that was my real life when I was over there but it’s also consuming; like everyone is trying to be somebody. I think every session I was in they were a bit like, ‘Who is this Irish girl?’; but every experience was enjoyable and I definitely learned a lot over there.

The atmosphere is so collaborative and fun and sometimes pressurizing to get the song completed in the given time. (There’s a vibe off of bouncing ideas and finishing a song when it comes together in the room). Sharing your experiences and thoughts with songwriters you have just met is, in theory, kind of unusual but it can be cathartic and it was a really refreshing change from writing on my own. I think, if my circumstances were different, I possibly would but I also like the idea of going there for short writing trips. It feels like a transitory place; idyllic and exciting, but I was happy to come home to reality and non-industry world after six weeks.

I love London, though. I had plans to move there but it’s still in my sights.

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

My influences have really changed over the years, so I guess it’s a combination of all of them. My first influences was ’90s Pop. I had a major obsession with Britney Spears and loved Spice Girls and Samantha Mumba. When I first started out, naturally, I started in the real Singer-Songwriter/Folk sound. Alanis Morissette and Gabrielle Aplin were definitely on replay. I love a wide range of music but I guess you’re drawn to listen to the music you create.

I’d say Halsey was a major influence for my change in sound. I used to follow blogs on a daily and I heard her first single years ago and instantly loved her music, which was well before her hit with The Chainsmokers. I love how poetic she is and the way she tells a story: it’s clear she has something to say. Other artists like Dua Lipa, Dagny; Verite, Allie X and Tove Stryke are absolute Pop queens who are doing their own thing in their own right but all still different within the pop genre.

Do you already have plans for 2019?                                 

I have a lot of songs to release in the coming months - I’m aiming for January for my next release. Hope to write more, gig more and perform more and just keep building and gaining more traction with my music. Hopefully, I’ll start writing more with other artists and do more songwriting too.

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

I feel like releasing Éalú was a highlight - just as I put it off for so long and I didn’t know if anyone would like it. I did everything myself so it’s a scary thing just putting yourself on the line after putting in so much work into it. You hope people will love it. Hearing it on your favourite radio shows is just such an amazing feeling and, when people hear it spontaneously in the car or shop, that is like mind-blowing.

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

Alanis Morissette - Jagged Little Pill

I was working in a school and I had just started putting up demos of original songs a few years ago. One of the staff members told me I needed to listen to Alanis Morissette. My style of music was very different back then and the next day he burned me a C.D. of Jagged Little Pill and I really loved it. Her songwriting is so true and her voice is amazing.

Gabrielle Aplin - English Rain

I was watching so many YouTubers a few years ago; how they played and wrote music and I wanted to do that. I found Gabrielle online and loved her music. She was self-taught too so it inspired me to buy a guitar and teach myself to write and play.

Halsey – Badlands

I was writing really poetic, folky songs but also had written a lot of Pop songs. I wasn’t sure what style of music I wanted to record but, when I heard Halsey, I was drawn to her kind of style of Dark Pop. I love her stories, her lyricism and how she just did her own thing. She was not getting radio plays until Closer and she was building fans online long before her radio hit.

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

Ohhh, this is tricky. I used to ask Santa for karaoke machines for as long as I remember. I’d get any and every type of karaoke machine. I’ve probably developed a bit since then! A new iPhone would be lovely (hint hint). I’ve had the worst year for phones and technology. I think I’m on my fourth.

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

I think Britney Spears. I idolised her when I was like when I was, like, six and I think it’s that case of mad dreams coming through life full circle. Dua Lipa, though; like I’ve been obsessed since her demos years ago. It’s crazy to see her blow up. Supporting her would be pretty magic. 

What advice would you give to new artists coming through?

Patience, persistence and perseverance...

Don’t compare yourself to others: just keep on going in your own lane and somehow, somewhere along the way the pieces start to fit together. Write every day. You’ll write awful songs but really great ones too. The more you write, the better you become. Surround yourself with people who encourage you and support you. It eases the load and pressure. It’s important to not compare yourself because every journey is so different; people break out and get discovered in different ways.

What you don’t see is the team of songwriters, pluggers; managers and producers behind one ‘hit’. Someone can have instant success but a short-lived career whereas someone could take years to gain traction and then have a lifetime of success. I guess success is also measured by how you perceive it and what you want to achieve. There’s no such thing as an overnight success. Where doors close, others will open so stay with it. Stay positive and keep on going.

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

I have a headline show in Whelan’s on 13th December as part of Midnight Hour. I’ve only recently started performing again so I’m finding my feet with how it’s all done and the best way to perform the songs. I’ll definitely have more to come in the next few months. Keep an eye out.

Are there any new artists you recommend we check out?

Yes. Loads and loads of great new artists. Xo Mo are from my hometown and are killing it - also the nicest guys in the World. FLYNN is from my hometown too and he’s just blown up recently. I love this new artist called GRAACE. I have her music on-repeat. Also loving ORKID and Charlotte Lawrence at the moment.

 IN THIS PHOTO: GRAACE

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

Ironically, music is my chill time. I started studying a Masters recently, so I haven’t had much chill time. Though, I’m looking forward to a Christmas break where they will be plenty of chill! I’ll probably spend that time writing and I love a good book. I go out with friends and I also love the gym. Apart from music, I find it’s important to take time to yourself to do something completely different to take your mind away from it.

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).

Yes. I’ve had this on-repeat lately…

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Follow Fí

Facebook:

https://www.facebook.com/FiMusicOfficial

Instagram:

https://www.instagram.com/fimusicofficial/

Twitter:

https://twitter.com/fimusicofficial

YouTube:

https://www.youtube.com/channel/UCxjYauQr67EOVW9gDUs83ew

Spotify:

https://open.spotify.com/artist/2ThgJwM2JJ5Vja2C4rt8WE?si=hnJ0gUIVQ7-WyP7B-TBhvQ

SoundCloud:

https://soundcloud.com/fimusicofficial

INTERVIEW: ECKOES

INTERVIEW:

ECKOES

___________

HUGE thanks to ECKOES...

for telling me about her latest track, Without Prejudice, and how it came to be. I ask her whether there are plans for more material and whether we can see her on the road – she highlights a rising name to watch and a few albums that are very important to her.

I ask which artists inspired her growing up and whether she has a favourite musical memory; what she would like for Christmas and the advice she’d give to any artist coming through – ECKOES selects a great song to end the interview on.

____________

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

Fabulous to both.

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

Clash Magazine just described me as “A multi-dimensional artistic entity” and I don’t think I can ever top that sentence. So, I’ll just leave that there...

Your new single, Without Prejudice, is out. Can you reveal how it started life and its story?

I’d love to say ‘the song just wrote itself’ but I’d be lying. I sat on those piano chords for about half a year before I could find a top-line that did them justice. My producer, David Ezra, almost stopped listening to my ideas: he was so sick of the hearing them. Then, one day I knew I had something; sent it across and we were like - this is it.

I’ll never forget the feeling that day in the studio when we both knew something magical was happening and you have to work quickly because that vortex to wherever inspiration comes from doesn’t stay open for long. Our responsibility is to let it flow through us and not get in the way. Two-three hours later, we sat back to listen and I’m pretty sure I cried I was so proud of it.

Might we see an album or E.P. next year do you think?

Absolutely. There’ll be an E.P. next spring.

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

Artists like James Blake and SOHN give me life because they create experimental Electronic music that still manages to be beautiful yet unpredictable. I listen to Björk when I’m slipping back to my comfort zone; a Dutch Iranian artist, Sevdaliza, for her brave use of instrumental space. I have an old-school R&B core so you can often hear a deep Missy Elliott drum.

Do you already have plans for 2019?

Yes! I was selected for as an INES 2019 artist (Innovation Network of European Showcases) so I’ll be performing at a bunch of festivals abroad. I also just signed a deal to take my music to China, so the first trip to Beijing will be in January. I’ve never been before and it’ll be a massive adventure in general. And I’ll be playing a Spotlight 2019 Session for Ticketmaster on 14th Jan - a few days before I leave for China -, so it’s already looking like a great year.

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

Getting play-listed on Apple Music’s ‘Best of the Week’ two weeks ago was an outer-body experience, because I scrolled down and it was Meghan Trainor, Sean Paul; ECKOES, Muse; Bastille, Coldplay…and it’s not that I’m striving for Pop success (or Without Prejudice wouldn’t have been 5:30 minutes long); it’s more that they have the machines and teams to get them there, to get them heard, and I have just me and my song. I was so proud.

What does music mean to you? How important is it in your life?

Ha. Well it’s the reason I think I’m alive, so I guess pretty important yeah. I feel super-lucky that I’m someone who music/art comes down through. I get to create things that connect people; that connects me to people. However hard work it is. I’ll always be so grateful. 

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

JUST THREE?!

Paul Simon (and Ladysmith Black Mambazo) - Graceland

Pretty much raised me. My dad played the video of their Zimbabwe concert (that couldn’t be in South Africa because of Apartheid) on-repeat. The harmonies, the songs; the context - just everything about this album is beauty.

Whitney Houston’s (double album) Greatest Hits

It was a lesson to us all on piercing people’s hearts with your voice.

Alanis Morissette - Jagged Little Pill

It was so, so raw. It was magical.

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

A few more hours in every day?

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

Oooooo. I’d open for Michael Jackson FOR SURE, just to be in his presence. And anything I ask for will look basic and normal compared to his rider, so I’d go all-in.

My band, Max and Luigi, would love random things like bumper cars and a carousel. I’d get mountains of lightly salted Kettle Chips to wade in. (Post-show of course; I’m not mad).

What advice would you give to new artists coming through?

Make sure you love the process. The making the music itself, the performing and the practicing. Because, if you do, you’ve already won, every day. But, if you don’t, then this industry will break you.

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

I’m playing a Spotlight Session 2019 for Ticketmaster on 14th Jan at Camden Assembly (formerly Barfly). Tickets are free on their website.

How important is it getting onto the stage and delivering music to the people?

It’s massive. Live is Queen - and everything else just serves her. It’s where we all get to experience this one moment in time all together. It allows me to bring my recorded music to life; share the visual aspect and connect with people in a magical way. I absolutely love it.

 IN THIS PHOTO: THABO

Are there any new artists you recommend we check out?

Not so new, but I just discovered THABO. His voice gives me chills. It’s so divine.

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

I don’t get much time to be honest, but when I need to reboot I go and see my little niece and nephew - who I am obsessed with. Little people are so all-consuming and joyful. I have to get out of my head and just enjoy the present  because, to them, nothing else exists.

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).

A friend of mine and inspiration, Terri Walker, has just re-blessed the music industry with her presence. Her new track, Breakout, is a must-listen

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Follow ECKOES

Facebook:

https://www.facebook.com/iameckoes/

Instagram:

https://www.instagram.com/iameckoes/

Twitter:

https://twitter.com/iamECKOES

YouTube:

https://www.youtube.com/user/MissDlys/feed?gl=LU&hl=fr

Spotify:

https://open.spotify.com/artist/5OdYe38kK1xXcyhk7sEJcG?si=2bLeOCL9RNSbA6eKghwmOA

INTERVIEW: Catherine Marks

INTERVIEW:

Catherine Marks

___________

THE wonderful Catherine Marks...

has been talking with me about her work as a producer and offering some useful insight and advice to those thinking about following her footsteps. As someone who has produced for the likes of The Amazons (she produced and mixed their debut album - it included the hit, Little Something), Palace (she produced and recorded their album, Heaven Up There); Big Moon and Sunset Sons; I was keen to learn how she came to producing and, given gender imbalance in the industry, whether she is seeing improvements.

Marks selects a few albums that are important to her; whether she has plans for 2019 already and whether there are rising producers and artists that we need to check out and follow – she ends the interview by selecting one of 2019’s best tracks.

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

Hi! My name is Catherine Marks and I’m a record producer/mixer and engineer.

What are you working on at the moment? Might we see a Catherine Marks-produced album very soon?

I have worked on several albums this year and they are all coming out in early-2019. I’m currently in Wales at an amazing residential studio working on The Amazons’ second album! It’s sounding monumental at the moment and we’re only halfway through!

How did you get into the production side of things? Was it something you always wanted to do?

I didn’t initially know that production was what I wanted to do but I always knew I wanted to work in music. Especially early on, I had no idea what production meant and also didn’t understand you couldn’t just walk into a studio and say “I’m a producer”! But, in the early days, I had a lot of doors open to me and I just made the most of those opportunities. 

I’d originally studied architecture and came to London when I finished my degree. Like a lot of interns/assistants, I started working for a producer rather than studying. It was tough but I enjoyed it and so kept going. This eventually led to engineering and then producing. It’s been many years of building up experience and then it was a natural step to production.

There are more female producers coming through, but the industry still is filled with male producers. Do you think it is harder for women to be accepted - and does more need to be done to turn the tide?!

I think we are in the process of the tide changing. There is, of course, always more that can be done. Having these kinds of conversations helps. The Music Producers Guild have also done a lot to give recognition to the women who are doing well in their field and hopefully that will inspire more women to be involved. I’m looking forward to the day when this isn’t a question that needs to be asked and it’s not about being male or female - just about being awesome at your job. 

But, it’s important that we keep having these conversations to raise awareness but also to highlight those who are kicking ass and doing well to encourage and inspire. It’s a tough job irrespective of gender but can be incredibly rewarding.

IN THIS PHOTO: Laura Marling/PHOTO CREDIT: Tom Oxley/NME

Which fellow female producers would you recommend to us to check out? 

Olga FitzRoy, Marta Salogni; Heba Kadry, Steph Marziano; Anna Laverty, Laura Marling; Sylvia Massy, Linda Perry;  Rhiannon Mair, Lauren Deakin Davies and Alex Hope just to name a few...

Do you feel D.I.Y. artists and those producing their own work encourages them to work in studios, or do you feel a lot of newer artists are going down the self-produced route?!

It varies. I like the artists who are using the D.I.Y. approach to develop who they are without the time restrictions and pressure that booking an expensive studio can often bring. But also when an artist knows it’s time to bring on another point of view, and perhaps another environment, is also important.

Your job involves a lot of different aspects and roles. What is the most rewarding part of working on an album and seeing it come to life?

The most rewarding aspect is the relationships you build in this really unique context and usually in a really concentrated period of time. Watching an artist grow confidence or seeing what they had in their head all along fully realised. 

It’s usually when the plan that I’ve had in my head comes together. Just making music that everyone involved loves!

Would you have any advice to anyone looking to become a producer? How does one get started?

There are many ways, but one suggestion is getting in touch with producers who you like and ask them if they’ll let you come and make them tea...learning on the job is how I started.

Also, don’t be discouraged if your first experience working for a studio or producer is a disaster. It’s all part of the learning process. It’s a very unusual working environment. People working in close proximity where emotions are much more magnified and heightened. Be prepared for your first situation to be horrible and trust me when I say the next person you work for will be infinitely better.

Do you already have plans for 2019 - and albums you are producing?

Yes, I have plans...I have three or four albums already in the diary...and a long holiday to Australia. 

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

There are so many.... 

But one moment in particular (because it was the first of many to come) was when I was in ICP with Wolf Alice making an E.P. and we listened back to Moaning Lisa Smile after having recorded it for the second time (it was the first track we’d recorded and we definitely did not hit a hole in one) and we all laughed and jumped around and danced because we were so happy that it sounded so amazing. 

I think there was an Oscar lying around and we pretended it was a Grammy. It was the sense of relief and elation; the anxiety and tension completely dissipated. It was one of the best feelings I’ve ever experienced.

I’ve had similar since but that was the first.

Which three albums (from other albums or ones you have produced) mean the most to you would you say (and why)? 

This is such a hard question as I could answer this differently another day of the week - but today...

Talk Talk - Spirit of Eden

I found the C.D. in one of the first studios I was working at as I was packing down a session. It was a late Saturday afternoon and there was no one else in the building. It was still very early in my career and I’d kind of switched off from listening to music for enjoyment and, as I was starting to learn how the magic was made, the magic had gone from my listening experience.

This changed that. I put it on and it made me stop. There was a little stream of sunshine coming through the window and I lay on the floor where the sun landed, closed my eyes, and listened to it all the way through. It changed everything.

The Stone Roses - The Stone Roses 

This album represents a series coincidences and serendipitous moments for me. I didn’t discover this album until 2002. This was a few years before I decided to move to London. It reminds me of the band I played with in Melbourne who introduced me to music other than what was on commercial radio. 

And I have ended up doing most of the albums at the studio where it was recorded.

Paul Simon - Graceland

Mum and Dad had it vinyl. I still have it on vinyl. I still love it!

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

Guitar lessons.

 IN THIS PHOTO: Jade Bird

Are there any new artists you recommend we check out?

She might not be new but I’ve only just come across her: Jade Bird! I also like Jerry Williams. Roman Lewis is incredible! YAK are pretty bloody awesome too.

 IN THIS PHOTO: YAK

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

The past eighteen months have not left much time for ‘chilling’ but mostly lots of naps...and then after I’ve sufficiently napped. I catch up with friends...engage with the world outside the studio.

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).

Comeback Kid - Sharon Von Etten 

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Follow Catherine Marks

Official:

http://www.catherinejmarks.com/

Instagram:

https://www.instagram.com/cjmarks/

Twitter:

https://twitter.com/cjmarks

FEATURE: More Tea and Biscuits Than Beer and Cigarettes: Where Have All the Hell-Raisers and Envelope Pushers Gone?

FEATURE:

 

 

More Tea and Biscuits Than Beer and Cigarettes

IN THIS PHOTO: Johnny Rotten (John Lydon) of the Sex Pistols and Public Image Limited captured by GQ in 2016/PHOTO CREDIT: Martin Schoeller

Where Have All the Hell-Raisers and Envelope Pushers Gone?

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THIS is not a feature condoning those artists who...

 PHOTO CREDIT: @diesektion/Unsplash

are caught in controversy because of sexual assault allegations or applauding those who are criminal and perverse. I am keen to distinguish between the classic idea of the hell-raising, hotel-trashing Rock icon and those who, in the modern day, are grabbing headlines because of a different form of destruction. This piece does not only apply to the male icons of the past: there have been plenty of female artists who have carried this incredible reputation, cool and, at times, notoriety. I am not suggesting we have absolutely no standout, edgy artists at the moment but the culture has changed so that this kind of attitude is being reduced. I remember, as recently as the late-1990s and early part of the last decade seeing these cocky and cool artists with a definite swagger and the tension that surrounds them – you are never quite sure whether they’d light up a cigarette in an interview or drive a motorcycle into a swimming pool! Maybe it would be unwise to embrace a new generation of Keith Moons and Jim Morrisons and, in an age of #MeToo and suspect morals, I feel their breed would be extinct within a matter of days. What I miss if that sense of excess and chaos that used to come from music. Certain quarters were renowned for their sense of chaos, disquiet and rebellion. I have written before about the lack of rebels in music and how everything seems so mannered and soft.

 PHOTO CREDIT: @sarahlouisekinsella/Unsplash

There are some great Punk and Rock bands out there and, whilst they are happy to create a rowdy and sweaty gig; that behaviour does not seem to extend beyond that. I love a gig that has a bit of unpredictability and rabble but, when you head away from the stage, are we too afraid to promote a certain fashion that might seem gaudy and provocative today?! Music tastes have shifted and we are seeing technology drive our choices more but I would have thought that, away from this, we’d get some modern artists who had a bit of personality about them. We have some fascinating and loveable artists but I am seeing older stars like Patti Smith, Madonna; Paul Weller, Noel Gallagher and John Lydon (Johnny Rotten) who, back in the day, were responsible for plenty of tabloid column issues and raised eyebrows! Perhaps movements like Punk and Britpop came with a certain flexibility and need to project a bit of flair. Chart back to the 1960s when we had these big and bold figures such as Keith Moon, Mick Jagger and bands such as Led Zeppelin and maybe there is no return. One of the rather unpleasant aspect of this old-time icon/hell-raiser is the sexual component. That old image of the band being inundated with groupies is a rather unseemly and horrible side that, I hope, has been vanquished. You never know whether it still happens but I’d like to think it is a practice that has moved with the times.

 IN THIS PHOTO: Oasis caught in cheeky mood in 1995/PHOTO CREDIT: Getty Images/Press

What seems to bother me is how mannered and controlled music has become. Even independent artists exercise too much self-control and I do think it is possible to be controversial, brash and have a swagger without stepping into a rather dodgy and black area. I do a lot of interviews and, whilst some artists have an attitude and can be spiky; you never get anything that rivals the rockers and punks of the past. The rebels and hell-raisers of the past and not genre-specific either: every corner of the industry, at some point, boasted its own poster-boy/girl of non-conformity and rebellion. I am hearing some attitude in music itself but one rarely sees these standout figures that play by their own rules and imbue that flame of trouble. In order to clean up music in terms of sexual allegation; have we sanitised it to such a degree where we are ensuring every musician plays nice and does not say the right thing?! Social media ensures we can all connect with one another but has this revolution meant freedom of speech has been compromised somewhat? One of the reasons why I am draw to artists such as Madonna and, say Oasis, is because you had real and bold personalities coming through. They didn’t need to be endlessly rude but there was a confidence and sense of the provocative that seems to have gone away.

 IN THIS PHOTO: Madonna in 1992/PHOTO CREDIT: Steven Meisel

The Gallagher brothers, Liam and Noel, still have a bit of a cocky side but they are different to the chart-ruling gods there were back in the 1990s. Potent and inspiring female artists like Chrissie Hynde and Madonna, say, should have inspired others to push the envelope and project but, more and more, modern artists are too safe and bland. Perhaps one could not promote a sexually-vivacious and near-scandalous artist but what has happened to bands that, once in a while, raise some eyebrows; interviews filled with political anger and spit; an artist/band that opens the eyes and you think, right away, they differ from everyone else out there. I remember growing up around the Britpop age and seeing these larger-than-life bands really light up interviews and, even off stage, had something special about them. I think we gravitate towards certain artists because there is something thrilling, raw and unpredictable about them. Not that the scene has been neutered but it has been a long time since we have seen someone come along that does not court tabloid attention for bad reasons but definitely peaks interest and seems to be on their own path. It is important we set a good example to the young generation but I think that should revolve around the more criminal and sexual side of things – you can draw a line and not compromise a sense of freedom and controversy. The fact social media is so powerful and prevalent means, inevitably, any action someone feels is ‘inappropriate’ or ‘flammable’ and they will be scolded and flogged.

 PHOTO CREDIT: @anete_lusina/Unsplash

I do worry that, in order to stop music going down a very dark hole, it has made artists afraid to be themselves. You might say the reason we are not seeing modern-day Gallaghers, Morrisons; Madonnas and Rottens is because of the times. Post-Punk is very different to the first wave of Punk and Pop is not as it was in the 1980s and 1990s. You could argue some of the boundary-pushing artists from the past were vying for MTV attention and trying to get ahead of their peers. Now, with social media, streaming and a particular way of working emerging; maybe artists risk losing support, money and following if they step outside of accepted boundaries. I know some artists have tarnished music but have we adopted this policy where we are scared stiff of artists with any sort of confidence and bold personality doing something regrettable? I am, as I said, not condoning the groupie-collecting bands and drug-taking, for example, but it is easy enough to avoid that and still get people talking. It seems there was a distinct cut-off point when we lost the icons, the rebels and the hell-raisers. Some might say the end of Oasis’ career signalled a decline but I think we can go a bit later. Maybe the early-2000s was the last time there were these sort of figures in music.

 IN THIS PHOTO: The Doors’ Jim Morrison is captured in 1967/PHOTO CREDIT: Guy Webster

It is tricky distinguishing between recklessness and rebellion; between the gone-too-far and the genuinely thrilling artists in some cases. Perhaps we need to let it be known that, of course, any artists who guilty or accused of sexual assault or go too far should be punished and suffer the consequences but it is possible to allow some free reign and not need to be so stuffy. I hope we do see a musical shift where there are these brash and potent stars; the big Pop artists who push the envelope and mark themselves out; the rare spirits unafraid to speak out and cause a bit of commotion. Rarely do we see music papers filled with the sort of battles we saw during Britpop; those artists trashing hotel rooms or the queens and kings of various genres showing why they are head and shoulders above their rivals. It is not that music is boring but I think there is too much fear and this feeling that too much could go wrong if we loosened the lead and let them run free. I hear plenty of potential and some charged songs but that rarely spills out into the open. I do not want to promote yobbishness or blur boundaries but there is a real need and yearning for something a bit more thrilling and rebellious in music. There is nothing wrong with a nice cup of tea and biscuit after a long day but you’d like to think, soon enough, we will start to see some artists out there who put one in mind...

 PHOTO CREDIT: @veeterzy/Unsplash

OF the decades-lasting hell-raisers of the past!

INTERVIEW: Hybrid

INTERVIEW:

Hybrid

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I have been learning more about Hybrid...

and his latest track, Make a Move. He gives me the lowdown on its origins and talks about upcoming plans and the sort of music he grew up around; how he mixes Spanish and Latin sounds into his work and whether there are some rising artists we need to keep a look out for.

I ask Hybrid if there is advice he would give to approaching musicians and how he spends time away from his work; what he would like for Christmas and which song he wants to end the interview on.

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

I’m great. Still buzzing from the release of my single. It has been a great week producing, training; writing and getting ready for what’s coming.

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

Hi. My name is Hybrid. I’m a Latin/Pop and R&B artist. I’m from a little town in Spain called Torrevieja and recently moved to London to work on my music.

Make a Move is your debut single. Is there a story behind it?

It’s a long story but, basically, it’s about me being attracted to this really hot girl and we couldn’t keep our eyes off each other - but we both didn’t make a move, so she left and I thought I’d lost the chance to meet her. Luckily, later she came back so I decided to make the move and talk to her.

While I was talking to her, she kept complimenting me with this and that; saying “You’re so handsome” so I asked her “If you think I’m so handsome, why didn’t you come over and talk to me?” and she replied “It’s not a good look when girls approach guys”. It’s an issue for both sides and there are probably lots of missed opportunities out there. So basically just make a move.

Might we see some more material next year?

I’ve got a couple of new tracks lined up for early-2019 and been working in the studio on new songs with some top producers and writers shaping my sound. So stay tuned!

As a Latin artist who resides in the U.K. and Spain; sings in Spanish and English...do you think that opens you up to worlds and fans other artists are unable to touch?

Yes. It allows me to relate to both English and Spanish listeners and opens up a broader world of creativity to express who I am. Besides, I’ve been listening to Latin and American music most of my life so it’s a part of who I am.

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

I was inspired by Michael Jackson, R. Kelly; Usher, Justin Bieber at a young age and, more recently, The Weeknd, Pnb Rock, and Ozuna.

Do you already have plans for 2019?

2019 will be the best year yet! I’m coming back to London to get ready for bigger things to come.

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

Yeah. My first performance. When I was twelve-years-old, my best friend had this crazy idea of performing at a school singing contest for fun - thinking it wasn’t going to be big. But, when we got there, the entire school was present. So just imagine the experience of a twelve-year-old kid starting his first year of high-school, having no idea if he could sing. But, when I opened my mouth and started singing, everybody went crazy which shocked me because I didn’t realise that I would have that effect on people.

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

There is one particular record that means the world to me and that is Me and My Guitar by Tom Dice, a Belgian artist. It was a gift from my grandma. 

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

I want a new, shiny Touch Bar MacBook Pro to work on my music and future projects.

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

It would be The Weeknd.

What advice would you give to new artists coming through?

Just keep fighting and do what you want to do in life.

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

Coming soon...

 IN THIS PHOTO: Johnny Yukon

Are there any new artists you recommend we check out?

Johnny Yukon (Lies); anders (Undone) and Reo Cragun (In Too Deep).

 IN THIS PHOTO: anders

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

I like to chill doing music but, when I’m not doing music, I’m always skating with my mates.

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). 

Me and My Guitar by Tom Dice

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Follow Hybrid

Official:

http://www.hybridthagod.com/

Facebook:

https://www.facebook.com/HybridThaGod/

Instagram:

https://www.instagram.com/hybridthagod/

Twitter:

https://twitter.com/Hybridthagod

YouTube:

https://www.youtube.com/channel/UCBC8wyMWIq_tvZv_UD42tUQ

Spotify:

https://open.spotify.com/track/3X74segbQ89B2cHZj5UyE1

INTERVIEW: Brad Byrd

INTERVIEW:

Brad Byrd

___________

THANKS to Brad Byrd...

for discussing his latest single, Lovesong, and why he decided to tackle The Cure’s classic. He talks about his love of the band and which artists are important; albums that mean the most and when he got into music.

Byrd highlights some rising acts to watch and tells me what is coming next; if he has favourite memories from his time in music and who he’d support on tour if he had the chance – he selects, no shocks, a Cure song to end things with.

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

I’m well, thanks. I’ve been busy getting back into it after our Thanksgiving, but all is good.

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

Sure. I’m a singer/songwriter that grew up in New England and I currently live in Los Angeles, CA. My sound is mainly Indie-Rock/Alt-Country. I’ve released three full-length albums, plus a handful of singles and covers to date.

You have released a cover of Lovesong. What prompted you to tackle The Cure’s classic?

I’ve always loved The Cure since I was very young. A few months ago I heard Lovesong on the radio and it just hit me: creating a cover at a slower tempo might be interesting. I dug that concept so much that I decided to record it!

Are they a band you are a big fan of? What sort of sounds did you grow up around?

Yeah. The Cure’s music was like the theme to my high-school years. I basically grew up on Kiss Me, Kiss Me, Kiss Me and Disintegration. I also was into so much of what was on the radio at that time and certainly had love affairs with certain records like Def Leppard’s High ‘n’ Dry and Pyromania; Van Halen’s Jump; U2’s Joshua Tree and even Kiss’ Double Platinum. My parents played a lot of The Beatles, Crosby, Stills & Nash and John Denver records…and my brother was super-into Punk-Rock like Bad Brains. So, I was kind of exposed to the full dose.

Can you remember when you knew music was the path for you? Did something trigger that?

I was always drawn to the drums and bought my first kit when I was a freshman in high-school. My brother played guitar and we would jam after school constantly. My mom would always flick the cellar lights on and off to signal dinner time or, as New Englanders say: “Suppah time”. Drums are my favorite instrument but it wasn’t until my college years, at Syracuse University, that I fell in love with writing songs on the guitar.

After college, I lived in Brooklyn and worked in N.Y.C. as a technical recruiter (because I never thought of music as a career choice). After work, twenty-three-year old me would light a bunch of candles and record myself on a tape recorder in my studio apartment. Man, I wish I knew where those tapes were! I vividly remember one day having this weird feeling come over me - my ‘A-ha!’ moment...’This is what I want to do...be a singer/songwriter for the rest of my life’. It came out of nowhere really and the passion for it has never subsided.

Do you already have plans for 2019?

Yes. My team and I are releasing a full-length record called Phases in the spring and there will be live shows and videos surrounding the release. No specific tour dates set in stone just yet but we’re hoping to make it to the U.K./E.U. as well.

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

That’s tough; so many things. Just this month, legendary Los Angeles radio D.J. Nic Harcourt has been spinning my cover of Lovesong during his morning show on 88.5 FM (KCSN). That’s a standout for me!

What does music mean to you? How important is it in your life?

Outside of friends, family and health, it’s basically everything to me. As long as I can remember, I’ve wanted to write songs, record them and share them with as many people as possible. It’s a passion of mine that really runs deep.

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

Another tough one! Hmm…U2’s Joshua Tree really got me thinking about melody and song-craft. Later on, albums like Nada Surf’s Let Go and Lou Reed’s Transformer blew my mind in terms of simplicity, melody; groove and arrangement. Those three were all game changers for me.

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

Peace, man. The world needs to come together and we’ve got to stop fighting everywhere.

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

I’d love to go out with The War on Drugs. I really love what they are doing right now. My rider would consist of mainly vegan/gluten-free options, plus a case of lime flavored LaCroix Sparkling Water for each gig.

What advice would you give to new artists coming through?

One: don’t take yourself too seriously. Two: know that making it and having a career in music is a long, slow burn. Three: don’t be an egomaniac.

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

Aside from a few quick Holiday appearances, we don’t have finalized tour dates to share just yet. But, we’re currently lining things up for 2019 and I’m looking forward to playing the tunes off Phases to lots of new crowds. If your readers are in Los Angeles, they can find me at the renowned Hotel Cafe in Hollywood or out in the desert, rocking the saloon at Pappy & Harriet’s.

How important is it getting onto the stage and delivering music to the people?

It’s so important…there’s nothing more fun and powerful than being on stage and affecting people with music.

 IN THIS PHOTO: David Poe/PHOTO CREDIT: Marina Chavez

Are there any new artists you recommend we check out?

I recently did a show with wordsmith, and N.Y.C. transplant, David Poe. He’s been at it a long time and his catalog is definitely worth deep-diving into. I also recently caught Misty Boyce with Grand Canyon here in L.A. It was a night of solid songs and great performances. Check ’em out!

 IN THIS PHOTO: Misty Boyce/PHOTO CREDIT: Deborah Farnault

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

My wife and our two dogs love to get out of the city and go to Big Bear Lake and the desert in California a lot. I use our trips to gain perspective and enjoy down time.

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).

Cool! Yeah, how about a song by, um…The Cure?! Let’s go with Lullaby?

 

Thanks for your time!  Happy Holidays and all the best to you in 2019.

__________

Follow Brad Byrd

Official:

http://bradbyrdofficial.com/

Facebook:

https://www.facebook.com/BradByrdOfficial/

Instagram:

https://www.instagram.com/bradbyrd/

Twitter:

https://twitter.com/brad_byrd

SoundCloud:

https://soundcloud.com/brad-byrd

YouTube:

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

INTERVIEW: Bree Taylor

INTERVIEW:

Bree Taylor

___________

I have been speaking with Bree Taylor...

about her latest single, You Played It All, and what its story is. I was eager to learn what is happening next for her and whether there are plans; the sort of music she was raised around and which albums ranks as personal favourites.

Taylor talks about the role plays in her life; what advice she’d give to rising artists and which new names we need to get behind – she ends the interview by selecting a great track and reveals what Christmas present she would have given a choice of anything.

____________

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

Hi, Sam! My week has been great so far! Found out my dad booked me a surprise trip to Nashville for the first week of June as an early Christmas present, so I am super-excited about that.

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

My name is Bree Taylor. I am a singer-songwriter from Toronto, ON (in Canada) and I recently released my six-song E.P. called Unbreakable in August 2018 and am currently promoting my single, You Played It All, off the E.P. This E.P. is a Pop record that I have been working on the past three years that I am excited to finally have released.

You Played It All is your new track. What is the story behind it?

This new single I wrote a few years ago as a sad piano ballad but, when I took it to my producer this past summer, we started playing around with it in the studio and we ended up turning it into this fun, upbeat yet-emotional Dance ballad. I absolutely loved the entire creative process of this song and where it ended up. It turned into something so special that I didn't see coming when I first wrote it - which is the coolest part of being a musician and songwriter.

It is a song about dating and relationships in today's dating era where many guys play games and lead girls on and don't take relationships seriously. They get scared of commitment or just purely enjoy the chase and are emotionally immature; but a lot of great women get hurt by them in the process. What I want people to take away from this song, however, is that if someone is playing with your emotions in any dating/relationship scenario they aren't worth your time or energy and you're better off without them. So, what seems like a hurtful situation is actually a blessing in disguise because you deserve so much better than that.

Are you looking ahead to next year in terms of material?

YES! I am already doing a bunch of writes (sic) and working on new music and will be releasing a Pop-Country single in the New Year and taking my music a bit more in that direction. My roots are originally Country; that’s what I was writing before I started on this E.P. but have always had a love for so many genres that I wanted to put out a Pop record. I’ve since been getting back into my roots and also have gotten so much feedback at my shows that I have a killer voice for Country music, so it seems that’s where things are taking me and my music next.

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

I have honestly listened to so many different artists of different genres of music my entire life that I couldn’t quite give a direct answer to that. I have always just been me. I am sure all the different musical interests I have had my entire life have influenced me and my sound in one way or another. I grew up loving Shania Twain, Amanda Marshall; Carrie Underwood, Kelly Clarkson; Taylor Swift, Faith Hill; Sade, Avril Lavigne...the list goes on and on!

My current sound is just me - I write and sing from the heart and whatever comes out is where we take things. I love being able to experiment with my music!

Do you already have plans for 2019?

Well. I kind of spoiled this bit already by mentioning that I will be taking my music in a new direction in 2019 and releasing a Country single early-2019. I also mentioned earlier that I will be down in Nashville for about a week or so the first week of June 2019 so I am planning to set up a bunch of writing sessions and meetings while I am down there and take advantage of my time in town.

I also have plans to be doing more shows and festivals in 2019 and am hoping to potentially plan another tour as well. I have some things being planned behind the scenes that I am hoping will work out that I can’t talk about just yet - but I will update everyone on my social media once I am able to.

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

My favourite memory thus far in music would have to be being on my first tour this past May 2018. I did a twelve-show tour across Canada sponsored by Silhouette Eyewear that was absolutely a great experience for my first ever tour. It was very low budget and wasn’t the most lavish experience per se but it was great experience. Myself and all the other artists on tour had a lot of fun; bonded and made friends for life.

My ultimate favourite moment would be getting to perform on stage at the Hard Rock Casino in Vancover, BC. That is the biggest stage I have yet to perform on and it was a stage that several dozen incredible artists and bands that I admire have performed on like Pat Benatar, Michael Bublé... the list goes on. Their sound system and team were incredible too - it was a great performance experience.

What does music mean to you? How important is it in your life?

Music is everything to me. I don’t know how I would function without music in my life - it has been so ingrained in me that it is vital to my existence. Creating fuels my soul and music is every part of that. Listening to music has always been something my parents surrounded me with and creating it is such a deep part of me that not being able to sing or write would probably kill me or, at the very least, my spirit. I can’t see myself doing anything else and that is why I work so hard - because I really have no choice.

I have invested so much time, energy and money into my career but it is just something that doesn't feel like work to me. I even love things like this - interviewing, press; performing, writing; designing my website, acting in and creating a music video. Every angle of this industry and my career in music I adore. It’s second nature to me and is so enjoyable it just comes naturally and is everything I want for my life.

I also love that it gives me the platform to be an advocate for things I care about. I can not only write songs about topics that mean so much to me and writing very much is therapy for me...but I can bring awareness and share my story with mental-health as someone who has suffered with anxiety and depression almost my entire life as well as bullying in school, body-image issues and eating disorders.

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

Shania Twain - Come on Over

I would steal this album from my mom growing up and dance and belt out along to her tunes. It reminds me of all the happy times in my childhood when everything was blissfully happy and unaware of the stresses of adult life. Before I was bullied in school when things were easy and fun.

Avril Lavigne - Under My Skin

I went through a lot of teen angst and was bullied really badly throughout my school years and this album really stands out to me because it had a lot of deep and emotional lyrics that I could connect to. It got me through a lot of hard times growing up.

Michelle Branch - The Spirit Room

This album stands out so clearly to me because Michelle Branch inspired me to pick up the guitar and want to sing professionally and have a career in music. I had always dreamed about being a professional musician but, when I fell in love with her music and saw the passion she had and heard her lyrics, I knew it was how I wanted to spend my life. I can’t quite explain it but this album took me dreaming of having a career in music and gave me the drive and ambition to really go after it and make it a career.

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

One present I really want this Christmas is love: love for me and for everyone. I want everyone to feel loved and wanted and to know how much they are valued especially at this time of year; especially those who don't have anyone or are going through hard times. This time of year is hard for many people, especially those who have lost loved ones who can't be here with us.

Since losing people close to me, the holidays have become a hard time for myself and my family and my heart goes out to everyone else dealing with similar things. So, all I want is love. I am a simple person and my pursuit of love and happiness has been a long and tiring one - and it's all I want in life but especially this Christmas.

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

I would want to tour with either Taylor Swift or Carrie Underwood. I admire them both so much as women, artists and businesswomen. I love their music and everything they represent and would LOVE to be able to open for either of them on tour.

In terms of my own rider - I am fairly easy going and modest so I don’t expect much. Haha. I would probably want some essential oils with a diffuser; hot ginger/lemon tea, a comfy couch to relax on; some good lighting to do hair and makeup and a little bed and treats for my dog - who I would want to bring with me on a big stadium tour like that.

What advice would you give to new artists coming through?

I always say that, for anyone wanting to get into this industry, you not only have to eat, breathe and sleep music but you also need to educate yourself on the business end of it as well. It is such a highly competitive industry that you not only need to have talent and passion but you need to run your own business and build your brand along the way. Music isn’t just about music anymore and there are so many area’s to this industry that are vital to your success. You need to find a way to stand out from the rest and set yourself apart.

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

The only current show I have booked for 2019 is February 22nd, 2019 - a charity event for Team Dog Rescue; Part with a Purpose at Chateau Le Parc. I am booking shows and festivals right now for 2019 and will post on my website any upcoming shows or people can join my mailing list to find out.

 IN THIS PHOTO: The Reklaws

Are there any new artists you recommend we check out?

I really am loving The Reklaws. They are a brother-and-sister Country duo and I saw them this past summer at the Mississauga Waterfront Festival and really fell in love with their music. I also love Kira Isabella - and her new single, Little Girl, is killing it. I just love her lyrics and the powerful messages behind her music. She also has a great voice!

IN THIS PHOTO: Kira Isabella

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

Music is pretty much my life and I am constantly surrounded by it because my drive and determination to make this a full-time career for myself is relentless so I never give up. However, I do let myself socialize with friends and family and I date when I get the chance as well, which not only fuels my music creatively but it had given me a lot of experience to give advice to my fans on my YouTube channel or upcoming podcast.

I like to unwind at home with my dog, in my P.J.s, with a good blanket and either a good book or show on Netflix. Or, I love doing yoga or going to the gym to help me de-stress and help me with my anxiety.

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).

Halsey - Without Me

__________

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FEATURE: Brilliant by Design: 2018’s Fifteen Best Albums Covers

FEATURE:

 

 

Brilliant by Design

PHOTO CREDIT: @guustimutant/Unsplash 

2018’s Fifteen Best Albums Covers

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WE often think about the best songs and albums...

 PHOTO CREDIT: @anko_/Unsplash

this time of year but do we really think about design and videos? The visual side of music is paramount and you cannot discount it. Maybe we do not put as much stock in album covers now that vinyl is not as common as decades past. I feel a great importance should be placed on album covers as they are your introduction to that particular work and an iconic example can endure for many years. So many artists get lazy with the cover and either do a rather uninspired portrait or some lazy design. It can be depressing to see it happen but I guess not every musician is design-minded and has that same flair. Now that we have seen most of the best albums arrive; here are fifteen incredible examples of album covers that catch the eye – almost more intense, colourful and intriguing than the music in the album itself! Have a look at these sense-catching, wonderful designs and you’ll agree there have been some rather fantastic covers...

 PHOTO CREDIT: @sahuaromedia/Unsplash

THIS year.

ALL ALBUM COVERS: Getty Images

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Arctic Monkeys – Tranquility Base Hotel & Casino

Release Date: 11th May, 2018

Label: Domino

Producers: James Ford/Alex Turner

Stream: https://open.spotify.com/album/7v6FNgLDS8KmaWA1amUtqe?si=TqOe6m7-SNSDsjMwOe23Hw

 

Beach House – 7

Release Date: 11th May, 2018

Label: Sub Pop

Producers: Beach House/Sonic Boom

Stream: https://open.spotify.com/album/1xg88pe0CUD6UeE3fEnEkD?si=b_l7DSuZRLCatvdG_qaRlA

Christine and the Queens – Chris

Release Date: 21st September, 2018

Label: Because

Producers: Christine and the Queens/Cole M.G.N.

Stream: https://open.spotify.com/album/08LcAgUEeFV4tM3WPPpbYh?si=JVTGx6HmQPKpTk0Mx9I6sw

Editors - Violence

Release Date: 9th March, 2018

Label: PIAS

Producers: Leo Abrahams/Editors

Stream: https://open.spotify.com/album/6sA3KrkfzaNnbrrbry7vvH?si=BmsrPSnUTXuFos14z-0w9g

John Grant – Love Is Magic

Release Date: 12th October, 2018

Label: Bella Union

Stream: https://open.spotify.com/album/52txSNOPrQRdZqSICTz705?si=Tcw6uvYRTFqwUfdMZCb8fw

Brandi Carlile – By the Way, I Forgive You

Release Date: 16th February, 2018

Labels: Low Country Sound/Elektra

Producers: Dave Cobb/Shooter Jennings

Stream: https://open.spotify.com/album/2wDKBKgco7u3V1IWEK5V8l?si=fSKVcvaFTJu2M8EyZkVznw

Jake Shears – Jake Shears

Release Date: 10th August, 2018

Label: Freida Jean Records (Absolute UK)

Producers: Jake Shears/Kevin Ratterman/John Hume (co-production)

Stream: https://open.spotify.com/album/3hozs5UEKdbBvKk9SRVe9g?si=EmOUJtHCTlyzZRakjHYHyw

Mr. Fingers – Cerebral Hemispheres

Release Date: 13th April, 2018

Label: Alleviated Records

Stream: https://open.spotify.com/album/46sews77v3EoXe6PzYmYdD?si=aYzdK45KRrmJWmsCf7S84w

Sandra Kerr & John Faulkner – The Music from Bagpuss

Release Date: 16th November

Label: Earth Records

Stream: https://open.spotify.com/album/5RmL5jpUh4vpqaLBYcjOPY?si=SLKnldNuQvqg-ndAUGSapg

James – Living in Extraordinary Times

Release Date: 3rd August, 2018

Label: Infectious Music

Stream: https://open.spotify.com/album/7naQYNSUpzEPPXoqUBv6HU?si=_zwXfMk0QSaGNukts-7Emw

Maribou State – Kingdoms in Colour

Release Date: 7th September

Label: Counter Records

Stream: https://open.spotify.com/album/70FGsJuLXPQHYdKmEZZFq9?si=KQhW9qC6QL2CqWDJ7bDwWw

Georgia Anne Muldrow - Overload

Release Date: 26th October, 2018

Label: Brainfeeder

Stream: https://open.spotify.com/album/7y38i89ZhdCh0k9qsvamz8?si=Q6DRgOohTYGNJlwFYrzJTw

CHVRCHES – Love Is Dead

Release Date: 25th May, 2018

Label: Glassnote Records

Producers: Greg Kurstin/CHVRCHES/Steve Mac

Stream: https://open.spotify.com/album/2hshVOA4ULsMGHPDiUaDbJ?si=o25orlOQRCqxWeKpLIrXkA

Tracey Thorn - Record

Release Date: 2nd March, 2018

Label: Merge Records

Producer: Ewan Pearson

Stream: https://open.spotify.com/album/4rb4OC3d46iZld05PU927t?si=fg1auDuxRaOcQ3ue6YtUXA

Let’s Eat Grandma – I’m All Ears

Release Date: 29th June, 2018

Label: Transgressive Records

Producers: David Wrench/Sophie Hunter/Faris Badwan

Stream: https://open.spotify.com/album/5Bnhkya5cGltQFTrnC0grx?si=qW1McNDCTJ-9h-jfdU-w5A

FEATURE: A Change in the Wind? Why We Need to See More Equality and Tougher Intervention in 2019

FEATURE:

 

 

A Change in the Wind?

IMAGE CREDIT: Getty Images 

Why We Need to See More Equality and Tougher Intervention in 2019

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HARDLY a day goes by without...

some form of sexism or misogyny making its way into the news! The story below caught my eye and worried me. Although it does not involve music directly; it is another case of a woman being embarrassed, objectified or exposed to sexism. Here are the details:

“French DJ and musician Martin Solveig apologized on Monday after asking Norwegian soccer star Ada Hegerberg if she knew how to twerk, just minutes after she won the inaugural Ballon d'Or award as the world's best women's player.

After accepting her trophy, Hegerberg interacted with Solveig as part of the awards ceremony in Paris and promptly responded "no" when asked in French about the suggestive dance.

The two shared a brief dance as the ceremony moved forward, but Solveig's question led to widespread criticism online and he said after the show that he was sorry for causing offense”.

One would hope that we’d see an end to this sort of thing but, worryingly, many men feel it is natural to do something so stupid and ill-advised. Maybe it was a misjudged attempt at comedy and celebration but, given the gravity and seriousness of the setting, it has gone down like a led balloon. It seems that the music industry is no stranger to sexism and a glaring lack of equality.

 IN THIS PHOTO: Foo Fighters (who have been confirmed as headliners for next year’s Reading and Leeds Festivals)/PHOTO CREDIT: Getty Images/Press

Many might clam this year has seen big albums by female artists emerge. From Robyn to Cardi B and Anna Calvi; it has been a great year for female artists – not only solo artists but bands. That is nothing to do with the industry but the talent out there. It is the women responsible for these records that have done the hard lifting and it makes me wonder whether this excellence will be rewarded with festival headline spots? More and more, it seems festivals are being set up for men. Although I know there will be ample female artists stocking next year’s festivals; headliners announced for Glastonbury and the Reading and Leeds Festivals have all been men! I am trying to think whether any corner of the industry has changed and improved in the last few years. In terms of festivals and who they are booking, there is that desire for blokes with guitars. I was looking at Maggie Rogers’ Twitter feed and, as a musician, she was aghast at the line-up announced for next year’s Mad Cool Festival. NME have given us the details:

 “Mad Cool Festival have announced a stellar line-up for their 2019 edition, as well as various improvements to the site and organisation.

After winning the NME Festival Award for Best Line-up, last year’s acclaimed event featured the likes of Arctic Monkeys, Queens Of The Stone Age, Jack White, Nine Inch Nails, Dua Lipa, Depeche Mode, Pearl Jam and many more...

Now, the 2019 edition of the Madrid bash is set to welcome the likes of The Cure, Bon Iver, Noel  Gallagher, Smashing Pumpkins, Vampire Weekend,  The National, Wolfmother, Greta Van Fleet, Mogwai, Teenage Fanclub, The Twilight Sad and The 1975 – with plenty more acts to be announced in the months ahead.

IN THIS PHOTO: The National/PHOTO CREDIT: Getty Images/Press

After coming under fire from a number of acts last year, Mad Cool 2019 will be getting rid of the VIP areas in front of all stages. Other improvements include reducing the number of stages from seven to six, and decreasing the capacity by 5,000 per day. They also plan to have more toilets on site, as well as increasing the size and staffing of all bars.

“Mad cool is working closely with a prestigious and renowned company in order to ensure the adequate functioning of the technical network,” a spokesman said. “In addition to this, wristbands bought online will be delivered anywhere in the world”.

A lot of people will not be shocked by the line-up and the fact that it is male-dominated. I have spoken a lot about gender inequality and why, given the huge locker of female talent, we are still seeing men headline festivals – the same, boring ones that always seem to make the bill. It is not only the inequality in festivals that worries me - but a general sexism and misogyny that has been coming in lately!

lol i love these musicians and have nothing against this festival but this pic is legit such a parody of music festival diversity it made me giggle.
"LADIES AND GENTLEMEN, ONCE AGAIN WE BRING YOU... WHITE DUDES PLAYING GUITARS" https://t.co/zXgyx8nt6M

— Maggie Rogers (@maggierogers) December 3, 2018

Not only do we have to take to task those who book festival headliners but there have been a few musicians accused of sexual assault. One band, Hookworms, have split because of an allegation and other male artists have been accused. It is not just musicians we need to punish if they are subject to these types of allegations but festivals need to be policed more. There is a growing number of women harassed at festivals and, as festivities and alcohol takes effect, more and more are finding themselves inappropriately touched and bothered by men. It is another aspect of the industry that shocks and makes me wonder whether more needs to be done. This article shows that

“Nearly half of female festival goers (43%) under 40 say they have faced unwanted sexual behaviour at a music festival, a new survey suggests.

Overall, 22% of all festival goers have faced assault or harassment, rising to 30% of women overall.

The most common forms were unwelcome and forceful dancing and verbal sexualised harassment.

YouGov surveyed 1,188 festival goers. The poll also suggested only 2% of such incidents were reported to police.

Earlier this year, separate data released in the Crime Survey for England and Wales in February showed more than 80% of victims of sexual assault did not report it to police.

Those statistics also revealed that one in five women had experienced some form of sexual assault since they turned 16...

PHOTO CREDIT: @aranxa_esteve/Unsplash 

The festivals YouGov survey, which was commissioned by the Press Association, also found that only 1% of women reported sexual assault or harassment to a member of festival staff, either before or after the event, although 19% of men did report their experience to staff.

Tracey Wise, founder of campaign group Safe Gigs For Women (SGFW), said: "We have struggled to find anyone with any definite statistics on this before now.

"It gives us something to show to festival organisers so we can say 'you need to take this on board'." 

Jen Calleja, a co-director of the Good Night Out Campaign, called the research "shocking but not surprising", saying it "helps prove what we already know through anecdotal evidence".

She added: "We know that the vast amount of harassment and sexual assault is not reported and we know this comes down to stigma, fear of not being believed and a minimisation of what harassment is.

"The idea we want to put forward is that harassment is everybody's problem, it's not just the person who is being assaulted," Calleja said.

The poll also found that 70% of those who experienced sexual assault or harassment at a festival said the perpetrator was a stranger.

IN THIS PHOTO: Jen Calleja 

It seems like some of the festivals are willing to make changes and firm up their security – an alarming amount of festivals are not taking action and responding appropriately:

The Press Association contacted 21 of the UK's biggest festivals to discuss the new research on sexual assault and harassment at UK music festivals and ask about provisions and policy at their events.

Only five responded - Glastonbury, Reading and Leeds, Creamfields, Latitude, RiZE and Wireless were among those that declined to comment.

Somerset Police recorded two incidents of sexual assault, two incidents of rape and one incident of indecent exposure at last year's Glastonbury Festival.

A spokesperson for The Green Man festival said: "Stewards are positioned throughout the festival and are trained to report any harassment, or violence, to security to be investigated. Crew and service staff are also trained or advised on ways to report minor harassment, or violent behaviour or violence".

I cannot think of any aspect of music – that was prone to sexism – that has improved lately. Maybe radio D.J.s and shows is one exception. Big broadcasters like the BBC have promoted female talent and are making steps but it is still not going far enough. Most D.J.s on the big stations are men and this statistics goes into studios, record labels and festivals.

 PHOTO CREDIT: @andrewtneel/Unsplash

I think there are some improvements in smaller areas of music. I am seeing a lot of female journalists getting noticed and the fact digital journalism is growing means the female voice is being exposed and there are few limitations. There are always problems in journalism but I am seeing some growth and changes there. Perhaps there are steps being taken elsewhere but I cannot help monitor the music news and wonder whether anything positive is occurring. It seems sexual assault, festival sexism and issues regarding women being played on radio – there is a sense of ageism that precludes some established artists making playlists – are still rife and there is no end to be seen. Are listeners and those who are responsible for augmenting the profile of certain male artists to blame? We are the ones who make them popular and share their music so, if there are cases of men being called out regarding sexual assault then should we, as consumers, take action?! The same can be applied to festivals and whether we need to protest more. This article asks the same sort of questions and whether more can be done: 

“Cardi B, rapper and sole savior of "Finesse," starred on the cover of Cosmopolitan's March Issue. Instead of using every precious second of her feature to discuss her blossoming career or the small things that make her one of the most lovable musicians on the scene, Cardi took time to address sexism in the industry.

When asked about #MeToo, she said she was excited about the strides being made against sexual assault in Hollywood. But she also expressed doubt that the movement would translate to music. Why? Women have been speaking out about harassment and assault in hip-hop for years and no one has listened to them.

She told Cosmo, "A lot of video vixens have spoke about this and nobody gives a fuck. When I was trying to be a vixen, people were like, ‘You want to be on the cover of this magazine?’ Then they pull their dicks out"...

IN THIS PHOTO: Rapper Cardi B onstage during the 2018 Global Citizen Concert at Central Park, Great Lawn on 29th September, 2018 in New York City/PHOTO CREDIT: Michael Kovac/FilmMagic

“But assault and harassment aren't just an issue in hip-hop or among girls trying to make it into a music video. It's a systemic issue that hasn't been answered with it's own Time's Up-type movement. It affects even recognizable women — women with multiple record deals, millions of dollars, and world tours.

“There's such a lack of accountability for abusive producers, directors, executives, and other men at the top that they're willing and able to abuse a bright young woman with fan clubs and world tours. What are they doing to girls you'll never hear of, who will never be able to become a Cardi B or a Kesha?

We can't be shocked that this is happening. And we can't pretend it isn't our fault. We’re constantly celebrating abusive artists. We choose to love absolutely horrible people. Why would an unnamed producer be too nervous to hurt someone when Chris Brown punched one of our most beloved pop stars in the face and still has a successful career?”

It is hard to take action and get angry; there is that sense of denial and, if the problem does not face and impact us directly, then what is the personal gain in taking such a risk? I feel, if we are ignorant and passive, it will see the rise in sexism and sexual harassment/assault continue unabated! Are we making the problem worse by putting our heads in the sand?

“But if we aren't willing to do something about the abusers we know and understand as abusers, why should faceless higher-ups at record labels be scared of us? They won't be. They'll pretend to be woke, like Cardi B says they do, for love. But they know when push comes to shove, we won't believe the women they hurt. And if we do believe them, we don't do shit about it. No one takes action. No one stops listening. No one tells people on Twitter tweeting about Lil Dicky and Chris Brown to shut the fuck up. And no one demands change from people who make such an influential part of our culture. That's how systemic sexism persists in the industry”.

 IMAGE CREDIT: @OfficialRandL

We have focused a lot on all the positives and great music that has come out this year. It has been a fantastic 2018 in many ways but, running alongside all of this, there is a clear divide and ill that has not been eradicated. It would be naïve to think we could stamp everything out by this time next year but 2019 needs to be a year where those higher-ups take proper action and those with power and influence need to make it count. From festivals tightening security and banning those who are lewd and sexually provocative to the way headliners are booked – and why women are constantly overlooked. I know there are many men in music who are determined to help bring out improvement but I can see very little difference between what music was like last year and how it is now. Perhaps there have been some evolutions here and there but, considering the proliferation of sexism and sexual assault rearing its ugly head; have we really got anywhere at all?! Maybe a more structured and governmental style of leadership needs to come into music – a point I shall explore later this week – but it is clear stricter messages and punishments need to be dished out. I have not even mentioned songwriting credits and award ceremonies – again, we are seeing these gaps and divides.

 PHOTO CREDIT: @foulsterr/Unsplash

The New York Times, earlier this year, looked at the statistics:

“In an analysis of the top 600 songs from 2012 to 2017 — defined by Billboard’s year-end Hot 100 chart for each of those six years — the study found that of 1,239 performing artists, 22.4 percent of them were women.

The numbers are much lower among people behind the scenes. Of the 2,767 songwriters credited on those songs, 12.3 percent were women. Female producers — the people most responsible for the sound of pop music — are even rarer, at just 2 percent in a subset of 300 songs across this same period, the study found.

While women’s difficulties breaking into the music business are well documented, the starkness of the study’s findings is surprising. At the Grammy Awards, for example, the success of stars like Beyoncé, Taylor Swift and Adele may grab headlines. But a vast majority of awards go to men.

Of the 899 individuals who have been nominated for the last six Grammy ceremonies, 90.7 percent were men and 9.3 percent were women. The study found that women were most likely to appear in the best new artist category. (This year, three of the five best new artist nominees are women: Alessia Cara, Julia Michaels and SZA. The only woman up for album of the year is Lorde)”.

We can all see what is happening and how bad it is...the first change is accepting the fact that change needs to happen. We are seeing too many all-male festival headliners and a desired ‘type’ being celebrated and romanticised at every turn. Minor festivals are headlining women but none of the biggest festivals. The fact smaller festivals around Europe are booking female headliners should act as guidance to the bigger festivals – proving how there are great female artists who are equipped to handle a headline slot. These small movements are promising but, if we want to see a richer and more equal industry next year, these minor (yet positive) movements need to translate into...

PHOTO CREDIT: @rossf/Unsplash 

SOMETHING consistent and large.

FEATURE: Encore Une Fois: Even MORE Specials: Celebrating The Return of the Ska Legends – The Ultimate Playlist

FEATURE:

 

 

Encore Une Fois: Even MORE Specials

IN THIS PHOTO: The Specials/PHOTO CREDIT: Getty Images/Press 

Celebrating The Return of the Ska Legends – The Ultimate Playlist

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FEW of us were expecting any material from The Specials...

anytime soon but, as a Christmas treat, they have brought us a right old gem! Vote for Me is out there and, as the title implies, it a song that reflects on modern politics and whether we should trust and believe or leaders. Whether aimed at our P.M. or the U.S. President; it carried weight and can be applied directly to so many world leaders. I notice little nods to their most-famous song, Ghost Town, in bits of the compositions. The 2 Tone/Ska band, since their debut album (The Specials) in 1979. Although a lot of the recording sessions were fraught with tension and division, the band would be the first to admit that the results, in spite of that, are pretty awesome. It is great they are back together because, as much as anything, there are very few in the mainstream who sound like them. The political music we have received this year have been from the likes of IDLES and artists with snarl and a distinct sound. I feel a blend of pertinent and observational lyrics, coupled with rousing and colourful sounds, brings the messages to life and makes the music more accessible. There is an album, Encore, due for 1st February and, if Vote for Me is anything to go by, it is clear the same Specials are present and correct – they have not dropped a step since their last album, Conquering Ruler (2001).

  IMAGE CREDIT: Getty Images

It seems like every album from them documents the times in which we all live and speaks much more truthfully and loudly than any politician. Having listened to an interview Horace Panter (bass) gave to BBC Radio 6 Music’s Georgie Rogers; it seems like everyone is facing in the same direction – his words… – and there is a lot more harmony in the ranks. The years away have not dented their magic and unity and you can just tell the approaching album, already, will be one of 2019’s very best. Everyone has their own favourite song from The Specials but, to me, Ghost Town will always be the one. I cannot get over the chills and scariness from the song; the catchiness of the chorus and the message being conveyed. Documenting violence and rage in London; it seems like there is even more truth and relevance to be found now – given the capital’s spate of knife-related murders and gang troubles. The Specials, back in 1981, were keen to document the troubles happening around them and what a state the country was in. One would like to think the nation has strengthened and cleaned itself up in the ensuing thirty-seven years but, alas, we are in a right old state! It is great to have the old masters back and, maybe, they can help make sense of things.

I will end this piece with an ultimate Specials playlist that collates all their best songs together but, before then, I return to my point about a great return. I have spoken about artists who get back onto the stage and record new music after such a long time and wonder whether it always pays off. This year has seen The Streets, Dido and The Zutons either release new material or tour dates following quite a hefty gap. The results so far have been a bit mixed and it can always be a bit sad preserving this memory of a much-loved artist and having that shattered when you hear their new work. Even though there has been one single from The Specials, you can hear they are in top form and have not disappointed. It is not a case of a band reforming for nostalgia or to relaunch a big song like Gangsters or Too Much Too Young. Their 1979 debut ranks alongside the very finest albums of the decade and, with songs like A Message to You Rudy sitting alongside originals such as Nite Klub; it is an exceptional offering that has stood the test of time. Maybe it is hard to integrate 2 Tone or Ska into the mainstream but I wonder why we do not hear more of it. Bands, when they are being political or serious, tend to match them with the music.

 IMAGE CREDIT: Getty Images

Is there a fear a rather jolly and dance-worthy composition would undermine the nature of the song?! I feel a contrast like that actually strengthens a song and, as The Specials have proven, the music lasts and is a lot more enduring. So many artists have avoided politics and social concerns in a year when we are as divided and strained as any time of this generation. Things are going to the wall and the trust we put in politicians is dwindling. Even though The Specials have a few grey hairs and line; they are proving they can match the might and memorability of the modern-day politically-minded artists and that makes me relieved. I was worried a return might see them weaken or produce something sub-par but any fears have been allayed. Vote for Me is a proper stomper and cutting song that has the trademark tones of The Specials. Let us end things there and rejoice in the knowledge that the boys are back. I hope it is a permanent return and they continue to make more albums. Keep your eyes out for Encore in 2019 and let’s see what else they have up their sleeves! Often, one is disappointed by legends making a return to music but the first signs of The Specials 2.0 are very positive indeed! We need them more than ever right now – in this muddy and divided country – and, with moods starting to drop and people losing a lot of hope; here is a united and spectacular force that...

IMAGE CREDIT: The Specials/Getty Images 

ARE bringing back the bliss.

INTERVIEW: Passive

INTERVIEW:

Passive

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THANKS to Passive...

for telling me about their new single, Like This, and what inspired it. I ask how they all got together and if they already have plans for next year – they reveal some albums important to them and select some rising musicians we need to get involved with.

With some tour dates coming along - 15/12: Zigfrid von Underbelly, Hoxton; 18/12: The Horns, Watford; 22/12: The Camden Assembly, Camden; 31/12: Trinity, Harrow; 10/01: The Dublin Castle, Camden –, I was eager to learn more about them and the music they’d drawn to; the advice they’d give to upcoming artists and how they spend time away from music.

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

Hey! This week’s been good! Looking real forward to Xmas and the gigs we have coming up.

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

We are an Indie-Rock band originally from Watford, London. We've all known each other since school and have been playing with each other for years, but started up Passive in the summer of 2017.

Can you tell me how Passive began? When did you find one another?

All four of us met in school and we've been playing together since the age of seventeen. At this early age, we'd all been in different bands with other musicians but came together once recognising we enjoyed the sound we made together. It was only last year (July 2017) we formally announced ourselves as Passive. We all knew from early on that being in a band was what we wanted to do with our lives and we've played every gig possible since.  

 

Like This is your new single. Is there a story behind it?

Like This was a song that Elliott wrote about a particular relationship a long time ago. Originally, the song had quite a positive meaning - that ‘when (relationships are bad) it's like this, I'll do what I do best (to fix things of course)’. Upon reflection, Elliott may have been putting his head in the sand a little. We wanted the album art to represent this. The Burial of Atala by Roussy-Trioson depicts a man who's closing his eyes, gripping his partner's legs and hoping for the best. 

Might we see more material next year?

We've got loads more material to record and a couple of things ready to release, so more singles are on the way and, if we’re lucky, eventually we should smash out an E.P.!

Is North London a great area when it comes to influence and musical peers?

North London is great. Like many others, we started out playing home town gigs in Watford and Harrow and have now moved onto venues in Camden and Shoreditch, all north of the river. We've met a lot of great bands on the way and predict we'll meet many more! You realise early on that London’s a pretty tight-knit community of musicians. 

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

Seasick Steve, The Strokes; Jamie Cullum, John Mayer; Travis Barker, Peace; John Mayer, Florence and the Machine and Noel Gallagher. Coldplay…?

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

Elliott: Boots with no holes in.

Phil: A free hot yoga class.

Josh: Some LUSH bath bombs.

Matt: A Liverpool season ticket.

Do you already have plans for 2019?

We are playing The Dublin Caste on Thursday, 10th January! 

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

We did a New Year’s Eve gig at our local pub/club - the Trinity in Harrow. It gets pretty packed and sweaty but it was a great set; we had a great time and it was certainly a top-notch mem!

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

Elliott: Back to Bedlam - James Blunt. It was the first album I bought from HMV.

Phil: Maroon 5 - Songs About Jane. Mum always plays it in the car.

Josh: I love the first Two Door Cinema Club album but Elliott borrowed it and broke the case...

Matt: (What’s the Story) Morning Glory? It made me wanna join a band.

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

I think we can all agree that we'd love to support Peace and that we'd want four shots of tequila beforehand.

What advice would you give to new artists coming through?

Go to pubs, see some live music, find out who's putting on the night and then ask if they’ll put you on in future!

 IN THIS PHOTO: YONAKA/PHOTO CREDIT: RORY

Are there any new artists you recommend we check out?

Loving things from YONAKA, CHILDCARE; Anteros, Connie Constance; SEA GIRLS and Pip Millet right now!

 IN THIS PHOTO: Anteros

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

We. Love. The. Pub. Also...we’re huge Peaky Blinders and Peep Show fans. 

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).

Elliott: Hopopono by GoGo Penguin

Josh: 5 dollars by Christine and the Queens

Phil: Stop This Train by John Mayer

Matt: Little by Little by Oasis

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Follow Passive

Facebook:

https://www.facebook.com/wearepassive

Spotify:

https://open.spotify.com/artist/1xJWj8NwAqbwu52IfzZ6Xg?si=EwyMWjV3TUaxiV1Y-Zp39A

Instagram:

https://www.instagram.com/wearepassive/

Twitter:

https://twitter.com/wearepassive

SoundCloud:

https://soundcloud.com/wearepassive

PHOTOS OF PASSIVE:

Francis Albrecht

FEATURE: Prime Cuts: 2018’s Ten Finest Tracks

FEATURE:

 

 

Prime Cuts

IN THIS PHOTO: Kendrick Lamar and SZA (who collaborated on one of this year’s biggest tracks, All the Stars)/PHOTO CREDIT: Getty Images

2018’s Ten Finest Tracks

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BECAUSE we are almost at the end of 2018...

IN THIS PHOTO: Christine and the Queens’ (Héloïse Letissier) stunning single, Girlfriend (ft. Dâm-Funk), is a typically excellent offering from her acclaimed album, Chris/PHOTO CREDIT: Jamie Morgan  

it is the time when many are collating their favourite albums and singles. There is a lot of activity and, whilst there is some consensus, there are some surprises to be found - and it shows what a variety has been provided this year. I have already decided my favourite albums of 2018 but the tracks side of things has been harder! Whilst I agree with a lot of articles regarding the best tracks of the year; there are a couple that have not been included that warrant fonder appreciation. I have kept it to a lean ten as to focus down and not get too carried away – and it was really hard to hone my selections down. Here are some truly awesome songs that show what 2018 has been all about: its variation, passion and strength. I wonder, given the brilliant songs that have arrived this year, whether next year...

IN THIS PHOTO: IDLES (whose year-defining album, Joy as an Act of Resistance, boasts such fierce treasures as Danny Nedelko)/PHOTO CREDIT: Heather McCutcheon for Loud and Quiet  

CAN match its fantastic example.

ALL OTHER IMAGES/PHOTOS: Getty Images

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Childish Gambino – This Is America

Release Date: 5th May, 2018

Labels: mcDJ; RCA

Writers: Donald Glover and Ludwig Göransson 

Genres: Trap/Afrobeat

Robyn – Honey

Release Date: 26th September, 2018

Label: Konichiwa

Writers: Robyn, Klas Åhlund and Markus Jägerstedt

Genre: Pop

IDLES – Danny Nedelko

Release Date: 5th June, 2018

Label: Partisan  

Writer: Joe Talbot

Genre: Post-Punk

Let’s Eat Grandma – Hot Pink

Release Date: 30th January, 2018

Label: Transgressive Records

Writers: Jenny Hollingworth, Rosa Walton; SOPHIE and Faris Badwan

Genres: Avant-Pop/Synth-Pop

Kacey Musgraves – High Horse

Release Date: 25th June, 2018

Label: MCA Nashville

Writers: Kacey Musgraves, Trent Dabbs and Tommy English

Genre: Country-Pop

Arctic Monkeys – Tranquility Base Hotel & Casino

Release Date: 23rd July, 2018

Label: Domino

Writer:  Alex Turner

Genres: Lounge-Pop/Space-Pop

Christine and the Queens (ft. Dâm-Funk) - Girlfriend

Release Date: 17th May, 2018

Label: Because

Writers:  Héloïse Letissier (Christine and the Queens) and Dâm-Funk

Genres: Pop-Funk/Pop

Billie Marten – Mice

Release Date: 9th September, 2018

Labels: Chess Club; RCA Victor

Writer: Billie Marten

Genres: Folk/Singer-Songwriter

Kendrick Lamar & SZA - All the Stars

Release Date: 4th January, 2018

Labels: Top Dawg; Aftermath; Interscope

Writers:  Kendrick Duckworth, Mark Spears; Al Shuckburgh, Solána Rowe and Anthony Tiffith

Genres: Hip-Hop/Rap

Janelle Monáe – Make Me Feel

Release Date: 22nd February, 2018

Labels: Wondaland; Bad Boy; Atlantic

Writers:  Janelle Monáe, Mattias Larsson; Robin Fredriksson, Justin Tranter and Julia Michaels

Genres: Pop/Hip-Hop/Funk