INTERVIEW: Shookrah

INTERVIEW:

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Shookrah

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I have been speaking with Shookrah...

about their latest track, Flex, and what its story is. The guys reveal what the music scene is like in Ireland and how they got together; what is coming up for them and some of the rising artists we need to have a look at and follow.

I ask whether there are tour dates approaching and whether they get time to relax away from music; the advice they’d give to musicians coming through and the music they are all drawn to – they select an interesting track to end the interview with.

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

Emmet: Good, thanks! We’re just about to release the music video for our latest single, Flex. It was filmed on the stage of a venue here in Cork called Dali (formerly The Pavilion) and we had some super-talented Cork dancers and dance teachers involved, along with a really talented lighting engineer/visual artist, David Mathúna. It’s quite colourful, brash and sexy (just like me) which suits the song really well.

Also this week, we’ve been putting some finishing touches on the album which we’ll be bringing out next year around summertime. Just little nips and tucks; sprinkling some of that enchanted production dust on the songs.

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

Emmet: Ok. So we’ve got Senita up front singing her heart out till the break of dawn; Dan on guitar, Diarmait on a multitude of keyboards and synths; Brian on the bass and myself on drums.

How did Shookrah get together? How did you all meet?

Diarmait: It’s the bog-standard band genesis story, really. Most of us were friends from college; one of us got a gig etc. etc. etc. Brian’s the only person who was hired in on merit (read: outsider) as he’s such a stone-cold killer on the bass.

What can you reveal about the new track, Flex? What is its story?

Senita: Flex is the antidote anthem to any insecurities felt on a night out, as well as anyone killin’ your vibe. I wanted to write a song that was the equivalent to Kings of Convenience’s I’d Rather Dance with You (song) except more obnoxious and sassy. There are just some songs that do that to me. I just can’t mess with anyone trying to chat with me while Formation is playing for instance. I wanted to convey that in a song and invite people to feel the same about this particular song.

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

Diarmait: Exceptionally funky ones, mainly. Also, anyone who keeps it real in fairness. A small sample list: Roy Ayers, Anderson .Paak; Erykah Badu, Milo; White Boiz and N.W.A.

You are based out of Ireland. What is the scene like where you are?

Diarmait: Oh, it’s very Irish. I suppose it’s reasonably small and it’s cosy - and most people know each other, which is nice. Hip-Hop/R&B-type music seems to be coming into its own a bit here too which is cool in fairness.

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

Dan: I’m gonna answer for everyone based on their hairstyles...

Senita: A selection of outrageous trousers and pungent teas; Emmet: Limited Edition Home Alone version of Hungry Hungry Hippos; Dunlea: Volvo cufflinks; Diarmait: haircut; Dan: Neighbour’s WiFi code

Do you already have plans for 2019?

Diarmait: The release of our first album! Also, some touring.

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

Diarmait: We were playing a 3 A.M. festival gig before where the power went out halfway through. Major L.O.L.s as you can imagine!

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

Diarmait: I would have to say Bob Marley - The Gold Collection: 40 Classic Performances as I’ve had it for the last fifteen years since I was twelve.

Senita: I hate having to pick...BUT IF I MUST, I would say that Janelle Monáe’s The ArchAndroid was a big moment for me in my musical journey. I would listen to it walking country roads in South Kerry and was completely blown out of my mind as to the fact that such a strong concept album could still hold strong in that day and age. I was so struck by the Wondaland Collective’s ethos, artistic integrity and intellect.

The fact that it could be backed by Big Boi and P Diddy and take you on such a crazy, seemingly non-commercial journey opened my mind to the possibility of really performing and playing around with it and giving people more than a hook...but a genuine story and experience to latch on to.

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

Emmet: Maybe D’Angelo...and that’s just the rider! Haha. Just kidding.

What advice would you give to new artists coming through?

Diarmait: In the words of James Brown: “Make it funky, make it funky”.

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

Diarmait: I’m afraid I can’t reveal any sensitive information at this juncture but, suffice to say, we have plans for Ireland and the U.K. next year that hopefully won’t be affected by Brexit! (Seriously).

 IN THIS PHOTO: Black Pope

Are there any new artists you recommend we check out?

Diarmait: Junior Brother - Ireland’s next big thing. Real talk.

Senita: Black Pope, Fehdah; Charlotte Dos Santos, Kari Faux; JyellowL and NUXSENSE.

 IN THIS PHOTO: Charlotte Dos Santos

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

Diarmait: We’re also a quite successful five-a-side football team, if I say so myself. So, whenever things get a bit too stressful, we’ll usually run a few passing drills or even just take it easy with a good old game of Nods and Volleys.

Senita: I think my chill time gets eaten up with other projects that I’d like to get involved in. I perform with producers; do a bit of D.J.ing myself and do things like dance classes and going to the theatre. I’m starting a podcast called Points of Intersection in the New Year about Ireland and intersectionality, which will broadcast on Dublin Digital Radio. I’m listening to a lot of podcasts and doing some prep for that as a chill thing.

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

Diarmait: Johnny “Guitar” Watson - Telephone Bill

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Follow Shookrah

FEATURE: The Picky and Passionate Music Lover: Great Music Technology, Album and Accessory Ideas for Last-Minute Christmas Shoppers

FEATURE:

 

 

The Picky and Passionate Music Lover

PHOTO CREDIT: @eugenivy_reserv/Unsplash 

Great Music Technology, Album and Accessory Ideas for Last-Minute Christmas Shoppers

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I have covered music books and the page-turners you need for Christmas...

 PHOTO CREDIT: @rawpixel/Unsplash

and listed the best albums of the year. I will do another gift-related piece this week but I wanted to bring together eleven gift ideas that cover accessories, technology and some essential music – perfect for stockings and those big presents alike! If you are stumped for great gifts for the music obsessive in your life; here are some ideas, in a variety of prices, that should give you some good ideas. It can be tough buying for that special someone who loves their music but, with these handy suggestions, you should be able to find something...

 PHOTO CREDIT: @lukesouthern/Unsplash

THAT brings a smile to their face!

ALL IMAGES/PHOTOS (unless stated otherwise): Getty Images/Manufacturer/Label

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Moleskine Large Music Notebook

Perfect For: Budding songwriters and composers who want to get down their musical inspirations!

Buy: https://www.amazon.co.uk/gp/product/886293310X/ref=as_li_qf_asin_il_tl?tag=skim1x180966-21&ie=UTF8&linkId=d5310148290457ac04ec753a2d7b5fc5

Price: £15.50 (Amazon.co.uk)

Vibes Acoustic Filter Ear Plugs

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Perfect For: These decibel-reducing earphones are perfect if you want excellent sound and comfort without the annoyance of wires and endless tangling.  

Buy: https://www.amazon.co.uk/gp/product/B018WPOQSG/ref=as_li_qf_sp_asin_il_tl?tag=skim1x180966-21&ie=UTF8&linkId=d1bf5dbf7202b01ffa3c86649bfa8f53

Price: £21.00 (Amazon.co.uk)

FORITO Retro Portable Cassette Player

What’s the Deal?

“If you grew up listening to your favorite bands on a cassette tape, you know there's nothing quite like the sound of strumming guitars and thumping bass as it poured through the headphones of your shiny new Walkman. Well now, thanks to the Setech USB Retro Cassette Player you can convert all your old tapes and mixtapes to a digital MP3 format so you can listen to them on your new iPod or mobile device.

Simply pop in a cassette, hook up the USB cable to a laptop, and then easily convert all your music into easy-to-enjoy MP3 files. Then all you have to do is load them on your portable music player and listen to them in your earbuds, in the car or while you're going hard on that treadmill. Better yet, you can still use it listen to your tapes exactly as they are, and people everywhere will know that you're not only retro, you're still cool as they day you got that Walkman” (Amazon.co.uk)

Buy: https://www.amazon.co.uk/Portable-Cassette-Converter-Compatible-Earphones-White-Black/dp/B07GYNB1QH/ref=sr_1_15?ie=UTF8&qid=1545056792&sr=8-15&keywords=clear+cd+player

Price: £17.99 (Amazon.co.uk)    

Prince – Piano & Microphone 1983 (Deluxe Edition)

What’s the Deal?

“Prince left behind a massive collection—a literal vault—filled with unreleased songs and recordings. The first collection of those recordings released is Piano & A Microphone 1983, a selection of work recorded during his iconic Purple Rain era. This box set is essential not only for Prince lovers, but for any music lover in general” (Esquire)

Buy: https://www.amazon.com/dp/B07DKGDX9P?creativeASIN=B07DKGDX9P&linkCode=w61&imprToken=m6IcdUHkBtYHRT3NoUaI-Q&slotNum=1

Price: $35.77/£28.34 (Amazon.com)

The Beatles – The Beatles (White Album) (Deluxe Edition)

What’s the Deal?

“This is the first time The BEATLES (‘White Album’) has been remixed and presented with additional demos and session recordings. To create the new stereo and 5.1 surround audio mixes for ‘The White Album,’ Martin and Okell worked with an expert team of engineers and audio restoration specialists at Abbey Road Studios in London. All the new ‘White Album’ releases include Martin’s new stereo album mix, sourced directly from the original four-track and eight-track session tapes. Martin’s new mix is guided by the album’s original stereo mix produced by his father, George Martin. During the last week of May 1968, The Beatles gathered at George’s house in Esher, Surrey, where they recorded acoustic demos for 27 songs. Known as the Esher Demos, all 27 recordings are also included in the 7 Disc Super Deluxe package, sourced from the original four-track tapes. The comprehensive, individually numbered 7-disc collection features: CDs 1 & 2: 2018 stereo album mix+H5 CD3: Esher Demos CDs 4, 5 & 6: Sessions - 50 additional recordings, most previously unreleased, from ‘White Album’ studio sessions; all newly mixed from the four-track and eight-track session tapes, sequenced in order of their recording start dates. Blu-ray: - 2018 album mix in high resolution PCM stereo - 2018 DTS-HD Master Audio 5.1 album mix - 2018 Dolby True HD 5.1 album mix - 2018 direct transfer of the album’s original mono mix” (Amazon.co.uk)

Buy: https://www.amazon.co.uk/Beatles-White-Album/dp/B07HFYZY7D/ref=sr_1_1?s=music&ie=UTF8&qid=1545053266&sr=1-1&keywords=THE+BEATLES+%28THE+WHITE+ALBUM%29)  

Price: £124.9 (Amazon.co.uk)

SONOS PLAY:1 Smart Wireless Speaker, White

Perfect For: Those who want a speaker that can fill any room; live up to all your demands and provide the very best and clearest sounds.

Buy: https://www.amazon.co.uk/SONOS-PLAY-Smart-Wireless-Speaker-White/dp/B00FMS1KJK/ref=sr_1_2?s=music&ie=UTF8&qid=1545053460&sr=8-2&keywords=sonos+one+speaker

Price: £139.00 (Amazon.co.uk) 

Steepletone '60s Rock Bluetooth Desktop Jukebox

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Perfect For: Those who want a great blast of nostalgia and the ability to play all their favourite tracks instantly.

Buy: https://www.urbanoutfitters.com/en-gb/shop/steepletone-60s-rock-bluetooth-desktop-jukebox?category=gifts-tech&color=020

Price: £100.00 (Urbanoutfitters.com)

GPO Brooklyn Grey Portable Boombox + Music System

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Perfect For: People who want to get the sensation of a Brooklyn boombox but have a savvy and great piece of modern technology in their hands.

Buy: https://www.urbanoutfitters.com/en-gb/shop/gpo-brooklyn-grey-portable-boombox-music-system?category=gifts-tech&color=004

Price: £250.00 (Urbanoutfitters.com)  

Numark PT01 Touring Vintage Suitcase Turntable

DESIGN CREDIT: Pitchfork

What’s the Deal?

“The Numark PT Touring turntable is a styled suitcase unit that recalls the popular portable turntables from the past. PT Touring has a rugged case with a handle so you can carry it anywhere. It plays all your 33 1/3, 45 and 78 RPM records, comes with a 45 RPM adapter, and it has built-in stereo speakers for convenient listening without needing to connect external speakers. In addition, it has RCA outputs for simple connection to home audio equipment and a convenient auto-stop feature kicks in when it reaches the end of the record. Plus with its USB port, included USB cable and downloadable EZ Vinyl/Tape Converter software, converting analogue records into digital files for archiving on your computer is a snap” - (Amazon.co.uk)

Buy: https://www.amazon.co.uk/dp/B015FJZZZA/ref=sr_1_1?slotNum=2&s=electronics&keywords=numark+PT01+USB&ie=UTF8&sr=1-1&linkCode=g14&imprToken=L20gT9-eL6TXUAIdERy5Gw&creativeASIN=B015FJZZZA&tag=pitchforkuk-21

Price: £58.95 (Amazon.co.uk)  

Urbanista Seattle Wireless Bluetooth Headphones

What’s the Deal?

“Essential wireless headphones from Urbanista. The Seattle headphones combine minimalist style with maximum functionality with a hands-free microphone + volume control, memory foam headphone cushions + much more. Includes Bluetooth capabilities and voice assistance from Siri + Google Now for the easiest listening experience possible. Finished with a practical folding function that makes them easy to take anywhere” (Urbanoutitters.com)

Buy: https://www.urbanoutfitters.com/en-gb/shop/urbanista-seattle-wireless-bluetooth-headphones?category=SEARCHRESULTS&color=066

Price: £90.00 (Urbanoutfitters.com)    

The Retro Monthly Vinyl Club

Perfect For: Available in a range of subscription plans and bundles; you can have your favourite classic albums delivered to your door at a great price.

Buy: https://theretro.co.uk/vinyl/

Price: Various (depending on subscription and number of albums per month)  

FEATURE: Lost Ones: Artists We Said Goodbye to in 2018

FEATURE:

 

 

Lost Ones

IN THIS PHOTO: Aretha Franklin

Artists We Said Goodbye to in 2018

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THIS is a time when we share cheer and festivity...

 PHOTO CREDIT: @aliyahjam/Unsplash

and look forward to the year ahead. In music terms, critics and fans are sharing their precious memories of 2018 and the records that have moved them. Among the celebration, relaxation and positivity, there is that feeling of sadness when we look back at artists we have lost this year. Every year, sadly, sees some artist depart and, whereas 2016 was especially tragic and brutal; 2018 has seen some big names leave us. To honour them, I have put together a little compilation that highlights the artist and some of their best material. We need to be in that positive mindframe and space but, within the delight and joy, there is soberness as we remember big music names who are no longer with us. Let’s us reflect and remember some fantastic names who have given us so much but, sadly, we lost this year. They did give so much but, in so many ways, their legacy and music...

 IN THIS PHOTO: Avicii

WILL never be lost.

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

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Dolores O’Riordan

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Date of Death: 15th January, 2018

Noticeable Honour: Lead singer of The Cranberries

Remembrance:

“Dolores hadn’t had a great time in her life. But the music that came out of her despite everything was incredible. I remember first hearing Zombie in the 1990s – that was the first time I was aware of her. Her voice caught me straight away. The way it went from this beautiful, soft whisper with this real Celtic vibe, to this huge rock voice, was fabulous, really unique. She didn’t get enough credit for that.

I told her I was a fan of her band, and she told me she was a fan of the Kinks, and she had listened to us a lot growing up. We met up a few times and talked a lot about music. She talked about the problems with her dad, and how she was missing her children, about how she’d had to cancel tours, and how happy she could be making music.

We had a mutual respect. We talked about writing together – I had an idea for a song called Home, about being home again, and she understood what I was trying to say. But we never sat down to do it, and that makes me really sad. She was very kind to me, too. We said we’d meet when she was next in London, and that was that.

When I heard what had happened, I couldn’t believe it. It was so awful. It must be so awful for her family. It was an honour and a pleasure to get to know her. The world’s a poorer place without her” – Dave Davies speaking with The Guardian

Greatest Album: Everybody Else Does It, So Why Can’t We? (1993)            

Choice Cut: Linger (EverybodyElse Does It, So Why Can’t We?)

 

Aretha Franklin

PHOTO CREDIT: Redferns 

Date of Death: 16th August, 2018

Noticeable Honour: The undisputed Queen of Soul

Remembrance:

“Aretha Franklin’s voice — bred from gospel, blues and jazz, American traditions that reached indelible glory because they had to overcome America itself — made all the difference. It was how, in the words of a gospel song she loved, she got over. “You had a number of gospel singers who were filled with the spirit,” said writer Peter Guralnick. “She translated that spirit into the secular field. . . . She translated that feel and fire.” More than that, Franklin’s voice raised and defined her. Nobody came close to touching it, though she emboldened many others to follow her — Patti LaBelle, Gladys Knight, Natalie Cole, Chaka Khan, Whitney Houston, Alicia Keys and Beyoncé among them. More than any of them, Franklin possessed a roar that wasn’t merely technically breathtaking; it was also a natural and self-derived instrument that testified to her truths in ways she otherwise refused to address. Some say Franklin was insecure at times in her gift, but with something so fearsome moving through their body, mind and history, who wouldn’t be both daunted and proud?

Upon learning of her death in August, at age 76, from pancreatic cancer, Barack and Michelle Obama said in a statement, “Aretha helped define the American experience. In her voice, we could feel our history, all of it and in every shade — our power and our pain, our darkness and our light, our quest for redemption and our hard-won respect.”

The late keyboardist Billy Preston — who started in gospel and went on to play with Franklin, the Beatles and the Rolling Stones — put it in more rough-hewn terms: “She can sing all kinds of jive-ass songs that are beneath her. She can go into her diva act and turn off the world. But on any given night, when that lady sits down at the piano and gets her body and soul all over some righteous song, she’ll scare the shit out of you. And you’ll know — you’ll swear — that she’s still the best fuckin’ singer this fucked-up country has ever produced” – Mikal Gilmore for Rolling Stone

Greatest Album: I Never Loved a Man the Way I Loved You (1967)           

Choice Cut: Respect (I Never Loved a Man the Way I Loved You)

Chas Hodges

Date of Death: 22nd September, 2018

Noticeable Honour: One half of the legendary Chas & Dave

Remembrance:

“And Chas didn’t stop writing, even when he was ill. He rewrote Sling Your Hook to make it about his cancer, and put it on our last album [2018’s A Little Bit of Us], which we recorded in Brian Juniper’s studio. He wrote a song with Paul Whitehouse recently for the new Only Fools and Horses musical. And when we played on Jools Holland in the summer, we played the last song Chas ever wrote, Wonder Where He Is Now, about fishing with his mate when he was a kid. We’re putting it out as a single soon. I thought that’d be a nice tribute for him.

The last time we saw each other we went fishing. He’d seemed to pick up a bit, started to eat properly, and I thought, hello, he’s on the up now. But sadly, it wasn’t to be. We used to have a laugh fishing. Chas used to have a little private fishing lake, and we’d go there, take our little sandwich boxes, and Joan would come along and make us a cup of tea. The last picture I’ve got of us together, we’ve got fishing rods in our hands. I’m glad I’ve got that.

I always say to people, Chas and Dave weren’t just a band, they were a way of life. Our wives were best friends – I lost my wife nine years ago, to cancer as well – and I’m godfather to his and Joan’s three children. We were so intertwined, not just in music. Every aspect of our lives. We were just together in everything” – David Peacock (Chas & Dave) speaking with The Guardian

Greatest Album: Don’t Give a Monkey’s (1979)

Choice Cut: Rabbit (Don’t Give a Monkey’s)

 

Yvonne Staples

PHOTO CREDIT: Charley Gallay/Getty Images for NAACP Image Awards   

Date of Death: 10th April, 2018

Noticeable Honour: Part of the iconic vocal group the Staples Singers

Remembrance:

“There were a lot of family acts that broke big in the 1970s, including the Osmonds, the Jackson 5, and the Partridge Family (who weren't really related, but still). But probably no family band was as polished and staggeringly talented in the pipes department as the Staple Singers. The group formed way back in 1948 as a gospel act — "Pops" Staples put his kids Cleotha, Mavis, and Pervis to work. When Pervis was drafted into the Vietnam War, formerly left-out sibling Yvonne Staples stepped up. Good timing: In 1971, the group released its first album of secular gospel-funk, The Staple Swingers. Yvonne Staples sang backup (the group's clear leader was Mavis Staples) on huge, soulful hits like "I'll Take You There" and "Let's Do It Again." Staples family friend Bill Carpenter told the New York Times that Yvonne Staples "was very content in that role. She had no desire to be a front singer, even though people in the family told her she had a great voice." Tempting and resisting sibling rivalry and resentment once more, Yvonne Staples later served as a backup singer and road manager for Mavis Staples in her solo career. Yvonne Staples, the best sister anyone could have, was 80 years old when she died on April 10” – GRUNGE

Greatest Album: Be Altitude: Respect Yourself (1981)     

Choice Cut: Respect Yourself (Be Altitude: Respect Yourself)

Scott Hutchison

PHOTO CREDIT: Roberto Ricciuti/Getty Images

Date of Death: 10th May, 2018

Noticeable Honour: Lead/founder of the Scottish band Frightened Rabbit

Remembrance:

“It’s impossible to listen to some of Hutchison’s songs now without thinking about the circumstances surrounding his death, as well as the highly public struggles with depression that preceded it. The fact that his body was found in a body of water called the Firth of Forth, where on The Midnight Organ Fight’s “Floating in the Forth” he had imagined his own suicide (before rejecting the idea “for another day”), became the stuff of tabloid news. Or take “Swim Until You Can’t See Land,” from 2010’s The Winter of Mixed Drinks, which seemed initially like a festival-friendly ode to persistence; its lyrics about a baptismal “drowning of the past” are tough to hear today. That Hutchison apparently couldn’t find the same relief that he brought to so many others, through his songs and his work with the UK’s Mental Health Foundation, is what’s most tragic.

Hutchison was open about his struggles from the start. The first words heard on Frightened Rabbit’s 2006 debut are, “What’s the blues when you’ve got the greys?” It was right around this time that Frightened Rabbit first released its cover of the UK electronic duo N-Trance’s rave-era hit “Set You Free.” Listening to Hutchison’s sweetly ramshackle version now, I’m struck by how his earnest delivery lends some shred of real emotion to throwaway lines like, “Only love can set you free.” Through Frightened Rabbit’s music, Hutchison gave the world so much love, and was loved in return. If it’s too late to show him that, then the least we can do is pay his generosity of spirit forward to each other, especially in those bouts of grey. After all, there’s a lot of hard times ahead” – Marc Hogan for Pitchfrork     

Greatest Album: The Midnight Organ Fight (2008)          

Choice Cut: Heads Roll Off (The Midnight Organ Fight)

 

Avicii

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Date of Death: 20th April, 2018

Noticeable Honour: A hugely popular Swedish record producer, D.J. and remixer

Remembrance:

“One of the most defining moments of Avicii’s too-brief career came at the 2012 Ultra Music Festival, when Madonna appeared on stage to introduce him and their first collaboration, “Girl Gone Wild.” That the queen of pop acknowledged the then-22-year-old Tim Bergling — who died Friday at the age of 28 of undisclosed causes — as a peer and a collaborator wasn’t just a watershed moment for him, it was one for dance music as well.

But actually, a more telling moment in the Swedish superstar’s career came a year later, at Ultra in 2013, when he unveiled his new bluegrass-meets-electronic sound for the first time. Avicii opened his set with his signature hit, “Levels,” a blockbuster track that altered the face of EDM when it was first played at Ultra in 2011. But immediately afterward, Aloe Blacc took the stage to perform “Wake Me Up,” released just days earlier, live for the first time. When Blacc appeared, the crowd didn’t know what to think of fiddles and banjos onstage at an electronic music festival. He then went on to preview all of the songs that would make up his debut album, “True,” spotlighting folk singers Audra Mae and Dan Tyminski.

Although he retired from touring in 2016 for health reasons, Avicii never stopped making music. His second full-length studio album, “Stories,” came out in the fall of 2015 and featured hits “Broken Arrows” (a return to his bluegrass sound, featuring Zac Brown) and “Waiting for Love.” In 2017, he released a new 6-track EP, “Avīci,” featuring collaborations with AlunaGeorge, Rita Ora, and Sandro Cavazza. “Last year I quit performing live, and many of you thought that was it,” he wrote on his website. “But the end of live never meant the end of Avicii or my music. Instead, I went back to the place where it all made sense – the studio. The next stage will be all about my love of making music to you guys. It is the beginning of something new” – Jeremy Blacklow for Billboard

Greatest Album: True: Avicii by Avicii (2013)                                         

Choice Cut: Levels (Levels)

Pete Shelley

PHOTO CREDIT: Chris Gabrin/Redferns

Date of Death: 6th December, 2018

Noticeable Honour: The genius, much-loved lead of the band Buzzcocks

Remembrance:

“He was innovative musically as well as lyrically, taking inspiration from David Bowie, Brian Eno, Roxy Music and the Velvet Underground, as well as from German bands such as Neu and Can. While the music of many of the punk bands remains firmly of its time, Buzzcocks’ best songs still sound fresh and inventive, mixing dense guitar patterns with infectious melodies. Their influence can be heard on bands from Primal Scream and the Jesus and Mary Chain to REM and Nirvana. Gary Kemp of Spandau Ballet said, “Pete was one of Britain’s best pure pop writers, up there with Ray Davies.”

Buzzcocks achieved success with their first recording, the Spiral Scratch EP, which was released on their own label, New Hormones, in January 1977. It was one of the first independent releases of the punk era, and to the band’s surprise sold its first 1,000 copies in four days. “We made quite a bit of money from Spiral Scratch,” Shelley recalled. “It ended up selling about 16,000 copies and we were able to buy some new equipment.”

In 1981 Shelley launched his solo career with the single Homosapien, from the album of the same name, produced by the Buzzcocks producer Martin Rushent (who was about to help make Human League’s electropop epic Dare). Shelley had returned to his earlier fondness for electronica, and found himself in controversial waters when the BBC banned Homosapien for its “explicit reference to gay sex”. In 2002 Shelley commented that his sexuality “tends to change as much as the weather”. The track reached 14 on the US dance chart” – The Irish Times

Greatest Album: Another Music in a Different Kitchen (1978)                     

Choice Cut: Ever Fallen in Love (With Someone You Shouldn't've) (Love Bites)

Mac Miller

Date of Death: 7th September, 2018

Noticeable Honour: American rapper and singer who helped boost the career of numerous popular artists

Remembrance:

“He helped countless artists to get exposure, whether it was taking Kendrick Lamar, Chance the Rapper or The Internet on some of their first tours [as his support acts], or helping Vince Staples, Sza and Earl Sweatshirt with studio time, rides, production or just a conversation. He was available, always. He understood the benefit of lifting others up.

After one of the last shows he played, he came backstage and said, “For all the slow, quiet songs, people just sat there and listened – that’s all I ever wanted.” He was incredible live and he could make the crowd go wild, but there was something inside him that just wanted people to listen – to experience and appreciate the music, and that’s what happened in that moment. You could see this glow about him. It was like, “Man, I’m getting there, I’m actually becoming the artist I want to be.”

He’ll be remembered for his ability to redefine himself as a musician: look at the difference between Blue Slide Park and Swimming. But, as importantly, he’ll be remembered through those musicians he helped along the way. He was a spark to so many people. In a world dominated by ego, he led with the soul and lived by focusing on similarities rather than differences – that’s a lesson we all could use” – Christian Clancy for The Guardian

Greatest Album: Swimming (2018)                                         

Choice Cut: Best Day Ever (Best Day Ever)

Lovebug Starski

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PHOTO CREDIT: Getty/Johnny Nunez  

Date of Death: 8th February, 2018  

Noticeable Honour: A pioneer who helped coin the genre/word ‘Hip-Hop’ and was a successful and influential M.C. and producer

Remembrance:

“To hear Lovebug Starski tell it, he was there when the phrase “hip-hop” was coined, trading the two words back and forth while improvising lines with Cowboy of the Furious Five at a farewell party for a friend who was headed into the Army.

He incorporated the phrase into the D.J. sets he was playing in the South Bronx, helping to solidify it as lingo of the scene and inadvertently providing the opening line to “Rapper’s Delight,” the 1979 Sugarhill Gang song that would take hip-hop out of parties and onto the radio.

Decades before hip-hop was the dominant influence on American popular culture, it was the work of Bronx teenagers gathering in parks, recreation centers and clubs and improvising a new approach to music by jury-rigging old records and technology.

Lovebug Starski was a mainstay of this scene in the 1970s. He started out carrying records and equipment for the disco and funk D.J. Pete (DJ) Jones — one of the first to mix two copies of the same record — at the Starland Ballroom in the Bronx before becoming a D.J. in his own right, spinning at numerous Bronx clubs.

He was a rapper as well, one of the first to rhyme and spin records at the same time. When rapping was little more than accompanying patter to enhance a D.J. set, he was a charismatic source of party-moving phraseology, and he would also handle the microphone for other D.J.s, including a young Grandmaster Flash” – Jon Caramanica for The New York Times

Greatest Album: House Rocker (1986)                                   

Choice Cut: Amityville (The House on the Hill) (1986 single)

 

Mark E. Smith

PHOTO CREDIT: Andrew Whitton 

Date of Death: 24th January, 2018  

Noticeable Honour: Acerbic, caustic and unforgettable lead of The Fall

Remembrance:

“Mark E. Smith—the mad Mancunian genius behind The Fall, one of the most prolific, mercurial, confounding, and enduring bands of the post-punk age—has died, according to a statement from his manager, Pamela Vander. “It is with deep regret that we announce the passing of Mark E. Smith,” Vander wrote. “He passed this morning at home. A more detailed statement will follow in the next few days.” Smith, who had spent previous tours in wheelchairs, had been in particularly poor health the past few months, canceling a planned weeklong residency in Brooklyn over the summer and bowing out of U.K. gigs that he’d scheduled against the advice of his own bandmates and management team—stubborn and determined to keep the group going to the very last. Smith was 60 years old, and there will never be another like him.

Smith—braying and sneering about the urban grotesques and pub-dwelling “Slates, Slags, Etc.” crowding his streets, delivered in a hyper-literary style crammed with H.P. Lovecraft references, weird fragments of crackpot history, and inscrutable inside jokes peppered with regional slang—was a singer and songwriter like absolutely no other. It’s impossible to explain his appeal to anyone (let alone someone like me, a suburban Texas kid), other than to say that you either get it or you don’t. It’s why Fall fans are notoriously tribal; merely “getting it,” a nigh-biological response to Smith’s voice in your ear, grants automatic passage to its cult, where you can waste your days scrutinizing tossed-off references to British politicians and forgotten ’50s pop idols on the Fallnet mailing list, arguing with other opinionated, smartass record geeks like yourself” – Sean O’Neal for The A.V. Club

Greatest Album: Live at the Witch Trials (1979)                  

Choice Cut: Mr Pharmacist (Bend Sinister)

INTERVIEW: Jacko Hooper

INTERVIEW:

Jacko Hooper

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THE brilliant Jacko Hooper...

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has been telling me about his new single, Trust in Me Always, and what its history is. I ask whether there is more coming along and which albums are important to him – Hooper suggests some rising artists that are worth a bit of time and energy.

The songwriter talks about his E.P., Together We’re Lost, and why he took a slight break from music; which artist he’d support on tour if he could and whether there are gigs approaching – Hooper selects a great new track to end the interview with.

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

All good, thank you. It's a strange time after releasing a record where, all of a sudden, you have a bit more free space in your brain after all the hard work is over. But, yes, good.

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

My name is Jacko Hooper. I write and perform songs with guitar, keys and vocals. I draw influence from the things around me. I find it hard to write songs that aren't about personal experience.

Trust in Me Always is your new single. Is there a story behind the track?

The song is a conversation between your automatic thinking and your logical thinking. It's the voice in your head when it's trying to convince you that you are right to be fearful of the irrational and it keeping you 'under its spell'.

It is from the E.P., Together We’re Lost. I believe it was bedroom-recorded after a slight break from music. What was the reason behind the gap and returning with this E.P.?!

I needed to take a little break and get back in the right mindset in how to release music. I wanted to put something out that I was proud of and felt represented me at this time - and I knew the only way I was going to achieve that is if I focused more on writing and less on performing. Demoing songs and finding the right balance of production and intimacy was important and I wanted to feel like I found that sound correctly with this record.

Who are the artists that inspired you growing up? Did you grow up around a lot of different music?

Funnily enough, I didn't grow up around much music at all. I don't come from a musical background. I always used to listen to the radio when I was really young and used to write poems. I discovered an album in Asda called The Album and it had loads of bands on it that I never knew existed, i.e. the ones that weren't on the local commercial radio station. I heard distortion for the first time with bands like The Vines and Muse and the dramatic and emotive nature of the music led me to wanting to put these words I’d scribbled down to melody.

As I grew up, I fell in love with artists such as Jeff Buckley, Bowie; Glen Hansard and Damien Rice and I think that's when I started to venture towards a more acoustic sound.

Do you already have plans for 2019?

I have some collaborative projects that I’m really looking forward to release; working with some really inspiring musical friends of mine on some different releases, including Folklore Vol.2, which is a label I set up. Tour plans are in the works too. I think things will start becoming public knowledge more in the spring time.

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

I was invited to support James Blunt at the Brighton Centre (which is my hometown) a few years ago. There were a few venues growing up as a kid that I knew I always wanted to try and play and the Brighton Centre didn't even come into my mind. To walk out in front of 5,000 people, including friends and family, was one of the most surreal and accomplished feelings I’ve ever had in my life. The songs I was singing I were songs I wasn't sure anyone would ever hear, let alone that many at one time.

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

Music is all I really do with my life. I put on shows; I release records, my own and other peoples. I go to gigs; I write music. I struggle to find time for anything else in honesty. I'm a workaholic, so I like it that way. It's my friends and family that have to hear me talking about it all the time - so probably more work for them than me.

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

So hard to pick...

The album that made me want to pick up a guitar would probably be Showbiz by Muse. It was the first proper album I had really digested and I remember not being able to understand how he was creating the guitar sounds...so that's what my gut goes with.

After that, it'd probably be Trouble by Ray LaMontagne. To me, it's just a flawless record; a songwriter at the peak of his powers. Every song is so inspiring. It takes me somewhere else as a listener and makes me want to write songs as an artist.

I'll pick a more recent album for my third choice. I love Post Tropical by James Vincent McMorrow. I think the production on this record coupled by his painfully accurate falsetto creates an atmosphere totally unique. It feels like the old album style of listening from start to finish has died out somewhat in recent years. Yet, with this record, it flows like a story and needs to be enjoyed as a whole piece. I admire that hugely.

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

At this point, just some rest. I want nothing for Christmas. Literally, just nothing.

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

I think it'd have to be Glen Hansard. I remember watching a live version of him performing Say It to Me Now and it was a life-changing moment. It gave me genuine chills; to see one person emit such emotion in a performance with so little accompaniment...something clicked and I knew that was how I wanted to get my story across. It felt so honest. No bulls*it; just a guy with a guitar who wasn't holding back on a single word or melody. He lives every bit of it.

The rider would have to be a crate of Jameson's really, wouldn't it? Given the company...

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

Not yet. As I say, I think it'll be spring when things are getting back into shape.

What advice would you give to new artists coming through?

Love what you do. Be honest with your writing. We all take huge inspiration and influence from people, but your favourite artist already exists: the world doesn't need another one. Be you. It's so much more interesting.

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 IN THIS PHOTO: Bess Atwell/PHOTO CREDIT: @d.haughian

Are there any new artists you recommend we check out?

I’m lucky to have a lot of very talented friends making some of my favourite music. I would highly recommend Bess Atwell, The Hungry Mothers; Paper Hawk - and today I found a singer called Chloe Foy who I’m thoroughly enjoying, My friend George Ogilvie recently brought out an E.P. too and that's been playing fairly consistently I must admit.

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IN THIS PHOTO: Chloe Foy

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

No.

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).

Oooo. In that case. I'd recommend Grace by Bess Atwell. Stunning melodies and lyrics in particular in this one.

Thank you!

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Follow Jacko Hooper

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FEATURE: Start As You Mean to Go On... The Best Debut Albums of 2018

FEATURE:

 

 

Start As You Mean to Go On...

PHOTO CREDIT: @samueldixon/Unsplash 

The Best Debut Albums of 2018

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EVERY year is filled with great albums...

 IN THIS PHOTO: Noname/PHOTO CREDIT: Getty Images

and, when it comes to the end of the year, how many critics focus on incredible debuts? I feel those artists who make a bold start are overlooked to an extent so, as this year’s best albums have already arrived; let’s take a look at the acts who have made a sensational entrance. It is always interesting heralding big debuts and wondering where that artist will head next. To celebrate bright newcomers who have dropped incredible debuts, I have collected together the ten finest of 2018. Who knows where they will go from here but, with great reviews under their belt, it is sure to be a very bright future. Many have celebrated and highlighted the best albums of 2018 but here, in isolation, are ten stunning albums from artists...

 IN THIS PHOTO: Superorganism/PHOTO CREDIT: Getty Images

TAKING their first big step.

ALL ALBUM COVERS: Getty Images

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Cardi B – Invasion of Privacy

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Release Date: 5th April, 2018

Label: Atlantic

Producers: Various

Review:

“Later, on the popping "Money Bag," she playfully laments "I been broke my whole life/I have no clue what to do with these racks!" She gets filthy on the explicit "Bickenhead" -- which samples its namesake Project Pat song with a little Blood twist -- that it could make Lil' Kim or Foxy Brown blush. Her chart-busting singles "Bodak Yellow" and "Bartier Cardi" are also included here, nestled with other tough-talking shots like "She Bad" with YG and "Drip" with fiancee Offset and his group Migos. The Latin trap "I Like It," with Bad Bunny and J Balvin, is a notable highlight, a potential chart-buster in waiting. Surprisingly, Invasion is not just sneering street bangers about her "money moves." Bittersweet infidelity dirge "Be Careful" finds Cardi yearning for a solid relationship with a real man, not an unfaithful one (all signs point to Offset). On "Ring," a smooth R&B jam that features Kehlani, Cardi is vulnerable, revealing a well of pain beneath her tough-as-nails facade. "Thru Your Phone" is unflinching and relatable, wherein Cardi burns with vengeance as she poisons her cheating man with bleach in his cereal and a good old-fashioned stabbing. It's cartoonish but real, a confession of thoughts that are all too familiar to the scorned. This balance between over-the-top party starters and thoughtful reflection makes Invasion of Privacy an impressive debut for a rising star who can back up her outspokenness with raw talent” – AllMusic

Stream:  https://open.spotify.com/album/4KdtEKjY3Gi0mKiSdy96ML?si=NoNriDUsSg-zK57d8_E0uA

Elite Tracks: Bartier Cardi/I Like It/Ring

Standout Track: Bodak Yellow

Shame – Songs of Praise

Release Date: 12th January, 2018

Label: Dead Oceans

Producers: Dan Foat & Nathan Boddy

Review:

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

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

Stream:  https://open.spotify.com/album/3A1kutvBmC6czSsSv7aR5E?si=OkwDGxa3Q7aRYhjWnfIU9g

Elite Tracks: Dust on Trial/Donk/Friction

Standout Track: One Rizla

Miya Folick – Premonitions

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Release Date: 26th October, 2018

Label: Terrible Records PS

Review:

“Those sugary hits of pop magic linger longer than they ought to; Folick knows how to reach heights that few others’ voices and songwriting can reach. ‘Baby Girl’ is a heart-rending tale of devotion (“Oh, lying on the bathroom floor / Laughing our heads off / Oh, crying in the alleyway  Your head in my lap”), while the sharp pop production of ‘Dead Body’ and ‘Thingmajig’ allow space for an artist who continues to explore with leaps and bounds.

It’s a rare feat for an album to paint a picture that’s broad but intimate at the same time, but Folick has done it here. Her voice, songwriting and ascent are unstoppable; one would do best not to ignore her” – NME

Stream:  https://open.spotify.com/album/3nWDfV4stC2VQopcuHjJmO?si=hJ0ItwERSHik6yiCGbQR9g

Elite Tracks: Thingamajig/Premonitions/Stock Image

Standout Track: Stop Talking

 

Ashley McBryde – Girl Going Nowhere

Release Date: 30th March, 2018

Label: Warner Bros. Nashville

Producer: Jay Joyce

Review:

“But even when the core of the tune is just the smoky draw of her voice and an acoustic guitar, she makes her songs stick through the placement of sharp details. “Andy (I Can’t Live Without You)” finds a new twist on the familiar trope of a girl singing about a guy who she loves in spite of his bumbling ways by performing it as a heartfelt ballad rather than a winking goof. Similarly on “Tired of Being Happy,” McBryde’s humble reminder to an ex-lover that she’ll be there if his new relationship flames out is played with ample amounts of heat and distortion.

To some ears, then, Nowhere could sound like raw material to be crafted into some major hits for some major country stars. According to McBryde, that was potentially the case with the marvelous nose thumbing title track as apparently Garth Brooks had taken a shine to it. But luckily someone with her label or management team stepped in and put the brakes on him recording his own version of it before hers came out. These songs don’t need to be messed with or tarted up or given a 21st century shine. They work perfectly in their current roughshod, if gently polished, form. The needle may keep moving for female country artists, but that’s of little concern to McBryde. She’s on a journey toward career longevity and Nowhere is her confident and solid first step” – PASTE

Stream:  https://open.spotify.com/album/2FeaUU9jFydTIsVO5F8rNU?si=KlQwue7LRIKNAeQvoKw2Ig

Elite Tracks: Radioland/A Little Dive Bar in Dahlonega/Home Sweet Highway

Standout Track: Girl Goin’ Nowhere

 

Snail Mail – Lush

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Release Date: 8th June, 2018

Label: Matador

Producer: Jake Aron

Review:

“Bedroom pop gets a hi-fi makeover on Snail Mail’s debut full-length, the appropriately titled Lush. Back in the ’90s, backing intimate confessions with swishing cymbals and professionally produced guitars would have been heresy, but 18-year-old singer-songwriter Lindsey Jordan is bound to no such orthodoxy. The emotional thrust of her music is the same, though, writing about unrequited crushes, boring parties, and the acute loneliness of standing alone in a suburban kitchen in the middle of the night. The self-assurance underlying Jordan’s lyrical vulnerability comes through in Lush’s anthemic dual-guitar approach, overlaid with her strong, clear voice and even a French horn on the melancholy “Deep Sea.” The crushing sameness of the existence described in Snail Mail’s music means that not every song on Lush is essential, but when Jordan hits, she hits a bullseye, with mini-indie masterpieces like “Pristine” and “Heat Wave” set to inspire another generation of songwriters” – A.V. Music

Stream:  https://open.spotify.com/album/2e48GqjEwCi87gQJanb1bf?si=uyoo-AcSRIGdS7GYLd8ZDg

Elite Tracks: Pristine/Stick/Deep Sea

Standout Track: Heat Wave

 

Superorganism – Superorganism

Release Date: 2nd March, 2018

Label: Domino

Producers: Superorganism

Review:

“The band can do shiny pop ("It's All Good," which has a crazy slowed-down Tony Robbins sample), introspective dream pop ("Reflections on the Screen"), slowly strutting Beck-like hip-hop ("SPRORGNSM"), and melancholy ballads ("Nai's March"), all with equal aplomb. When they kick into second gear, they make modern pop that equals the best around. "Everybody Wants to Be Famous" is a rollicking takedown of D-list culture complete with ringing cash-register percussion and a melt-in-your-mouth sweet vocal by Orono; "Something for Your M.I.N.D." is warped pop gold with subaquatic bass, a naggingly catchy vocal sample, and Orono's second most off-kilter lyrics (after "The Prawn Song"). Despite the somewhat cluttered and freewheeling exterior, it's clear that Superorganism know exactly what they are doing at all times, slicing and dicing like master chefs, then reassembling the bits and bobs of pop ephemera into a concoction that has a sugary kick sweeter and fizzier than an ice-cold cola” – AllMusic  

Stream:  https://open.spotify.com/album/15TFB6uLZlb3gnCysRrLix?si=aTYhWdfAThKqSk0YCV15ww

Elite Tracks: Nobody Cares/Something for Your M.I.N.D./The Prawn Song

Standout Track: Everybody Wants to Be Famous

Noname – Room 25

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Release Date: 14th September, 2018

Producers: Phoelix/Noname

Review:

“Noname’s evolution and personal growth since Telefone is evident throughout Room 25, but particularly on “Don’t Forget About Me,” which extends the introspection of “Forever” and many of the questions she began to grapple with on “Casket Pretty.” Backed by smooth yet stirring R&B melodics, Noname meditates on life, death, and the longevity of love, seeming to take comfort in the temporal limitations of being human. When she sings, “I know my body’s fragile, know it’s made from clay / But if I have to go, I pray my soul is still eternal / And my momma don’t forget about me,” the track becomes a sort of memento mori, highlighting the redemptive potential of mortality.

Equally gripping and swoon-worthy, “Regal” and “Montego Bae” showcase the breadth of Noname’s vocal prowess and the dynamic energy of her diction. Wrestling simultaneously with the impact and glory of cultural innovators like Oprah and Toni Morrison and the lure of sensuality and consumerism, she reminds her audience that to be human is to be many things at once: “So he gon’ fuck me like I’m Oprah, classy bitch only use a coaster / Now I’m swimmin’ in the money with a ducky too / Reading Toni Morrison in a nigga canoe / ’Cause a bitch really ’bout her freedom ’cause a bitch suckin’ dick in the new Adidas / And yes and yes, I’m problematic too” – A.V. Music

Stream:  https://open.spotify.com/album/7oHM3Sj0l2nXAzGAxW0KOt?si=Gm00q82tTSywzMd7J3iVqQ

Elite Tracks: Prayer Song/Regal/Part of Me

Standout Track: Blaxploitation

Kali Uchis – Isolation

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Release Date: 6th April, 2018

Labels: Rinse/Virgin/Universal

Producers: Various

Review:

“Reciprocal guest appearances are made throughout. Tyler and Bootsy add sympathetic humor to the drifting BadBadNotGood groove "After the Storm," while Gorillaz' Damon Albarn lays out some festive Suicide synth pop for "In My Dreams." Elsewhere, numerous West Coast associates -- Sounwave, Larrance Dopson, DJ Dahi, Om'Mas Keith, and Thundercat among them -- add to the set's prevailing dazed, dreamlike feel. Uchisis never obscured by the productions, coolly expressive while casually threading clever imagery from song to song. Her writing is most vivid in one of the delightfully bent retro-soul numbers, "Feel Like a Fool": "My heart went through a shredder the day I learned about your baby mothers/'Cause you're a grown-ass man, now you should know better/But I still run all my errands in your sweater." For all its entertaining art-pop feats, Isolation is just as remarkable for serious moments like "Killer," in which Uchis reaches a high degree of anguish that only real-life experience can arouse” – AllMusic

Stream:  https://open.spotify.com/album/4EPQtdq6vvwxuYeQTrwDVY?si=anNk1GYJQtaOtvDmwFrWPw

Elite Tracks: Miami/Tyrant/Neustro Planeta

Standout Track: After the Storm

 

Soccer Mommy – Clean

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Release Date: 3rd March, 2018

Label: Fat Possum

Producer: Gabe Wax

Review:

“Through the delicate opener “Still Clean” Soccer Mommy laments a relationship that doesn’t work out, but shifts gears to play with the “cool girl” trope on the record’s second single “Cool”. With “Your Dog” Soccer Mommy proves she does power pop as well as she does balladry, as she rails against an emotionally abusive relationship: “I'm not a prop for you to use/When you're lonely or confused/I want a love that lets me breathe/I’ve been choking on your leash.” But Soccer Mommy truly shines as she wistfully lilts, “You’re made from the stars/That we watched from your car,” about a lover who strays, on the album’s central anthem “Scorpio Rising”.

Despite the situations Soccer Mommy finds herself in, Clean isn’t just about the teenage experience: it’s a 10-track album that encapsulates emotions and situations that are as versatile as her sound. Whether you’re reminiscing about late-night make out sessions in high school or surrounded by plenty of “cool” girls in your city, Soccer Mommy’s introspection is something that defies age” – The Independent

Stream: https://open.spotify.com/album/36NLDBi2kX7XRHnyLzLOS8?si=pSekcy7ZQneRrs4v6Nf5og

Elite Tracks: Last Girl/Scorpion Rising/Last Girl

Standout Track: Your Dog

 

SOPHIE – OIL OF EVERY PEARL’S UN-INSIDES

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Release Date: 15th June, 2018

Labels: MSMSMSM/Future Classic/Transgressive

Producer: SOPHIE

Review:

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

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

Stream: https://open.spotify.com/album/6ukR0pBrFXIXdQgLWAhK7J?si=u1aip4LeSL-4zs58yf1VFw

Elite Tracks: Pony Boy/Faceshopping/Immaterial

Standout Track: It’s Okay to Cry

FEATURE: Live Forever: Was Music At Its Happiest in 1994?

FEATURE:

 

 

Live Forever

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IN THIS PHOTO: Oasis captured in 1994/PHOTO CREDIT: Getty Images 

Was Music At Its Happiest in 1994?

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THERE might be some debate regarding...

 IMAGE CREDIT: Getty Images/RexUSA

the most optimistic year in music but there can be no doubt the last really glorious time; when people were together and spirited was a very long time ago. I think the only way for modern music to last and make an impact years from now is to bring some joy to the party. At the moment, music is largely the sullen teenager who sits in the corner with a beer and nurses that all night. They might slink off to the bathroom and sit in the rub as the sound the festivities comes through the floorboards. That actually sounds like something I’d do but we need to think why music has become so negative and lacking in spark. That is not to say every artist and song is lacklustre: there is ample energy and excitement but, in a lot of cases, how often are those songs sticking and coming back to mind? It will take a long time before music can regain its energy, happiness and unity – look back at 1994 and there was definitely something in the air then. There was a Tory government in the form of John Major and there was a definite need for some change and improvement. We did not have anything as manic and annoying as Brexit but the U.K. especially was not in a particularly strong state. I was only ten when the year started and had already seen the death of Grunge. Its leader, Kurt Cobain, died in 1994 and it was a rather bleak time of things.

IN THIS PHOTO: Björk in 1994/PHOTO CREDIT: Joseph Cultice

Many would have assumed music would descend into misery and bleakness but there was a definite revival and optimism. Grunge still continued and would see bands like Soundgarden create masterful works; there were other genres coming to the fore. The song that I have used at the top of the article, Live Forever, seemed to define what was needed at the time: youthfulness and no concern with small talk and mortality. Although 1993 was a stunning year for music, there was not quite the same epic offerings as we got the following year. Nirvana gave us their final album, In Utero, and Björk came onto the scene with the incredible Debut. Whilst there was some darker music and moodier artists; we were seeing seeds planted that would burst into life by 1994. Some could say the 1990s was always cheery and we have only reached a doom-laden sulk now. It is clear 1997, too, was optimistic and transformative but I feel 1994 is the year when everything peaked. Britpop players were starting to come through in 1993. Suede and Blur were releasing stunning material that showed what was to come. I think as 1993 as a year when scenes like Grunge were slowing and music was looking for fresh inspiration. By the time 1994 came along; there were a lot of changes and developments that called for artists to come together and provide sounds to lift the world.

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 PHOTO CREDIT: @jeremymcknight/Unsplash

That might sound a bit grand and exaggerated but look at the best albums, singles and T.V. shows at the time and you cannot argue against the spirit, positivity and happiness. If Cobain’s death did not entirely lead to an explosion of rebellious happiness – Superunknown by Soundgarden counts as one of the bleakest and one of the most impressive albums of the year – there was an effort to come up with a movement that offered hope and did not retreat into itself. There was a split between Britain and America. It is not to say the U.S. was depressed whilst Britain was happy – different scenes dictated the music mood. Britpop, in many ways, signalled something hopeful and wonderful in this country. Oasis’ debut, Definitely Maybe, was a bold and brilliant record that matches big riffs and huge choruses with messages of living for the moment and all having a good time. Blur’s Parklife had some down moments but its infectiousness and sheer vitality cannot be understated – defined by songs such as Parklife and Girls and Boys. Britpop offered musicians the chance to drive optimism and use music as a way of joining people. If there were some more arty and less joyous bands in the Britpop movement; we had a brilliant moment in music that gave us reason to smile! Beastie Boys released Ill Communication and Beck gave us Mellow Gold. Even albums like Crooked Rain, Crooked Rain (Pavement) and Jeff Buckley’s Grace, in their own way, lifted us and stayed in the heart.

The romance of Buckley’s music introduced a genuine star who, although he would only live another few years, was unlike anyone around. Alongside Britpop and Grunge was an invasion of great Dance and Electronic music. Our very own Prodigy released Music for the Jilted Generation and, again, there was plenty of raw energy and positivity. The generation might have been jilted but The Prodigy were bringing this fierce and spectacular brew to the youth of Britain. It might sound weird but there was plenty of validity and pleasure to be found in music that was slightly less happy. Tori Amos’ Under the Pink and Manic Street Preachers’ The Holy Bible were not exactly cheery…but there was something to hold onto; music that could ease our pain or identify with us at the very least. Bands like Pulp, The Cranberries and Underworld were all adding their colours to the mix and it was such a heady time. I have alluded to some rather unhappy records but compare them to albums of today and I still find a lot more relevance, optimism and longevity in the best of 1994. I like the fact there was a genuine need for improvement and a need to connect with people; albums that were big, bold and unforgettable! Pop was very much at the forefront and the best of the mainstream were adding their voices to an incredible year. Madonna was entering a new creative phase with Bedtime Stories and a more mature and accomplished artists was showing her strengths.

Anthems from 1994 such as Oasis’ Live Forever and Blur’s Parklife were sitting alongside Beck’s Loser and Ini Kamoze’s Here Comes the Hotstepper. The Dance and Pop scene was strong and, if anything, that is the biggest change we have seen now. I can’t think of the last year Dance music was a big part of the mainstream but throughout the 1990s, a mix of British and European pioneers were giving us this instant and fantastic songs that put you in a better frame of mind. Some of the songs that topped the charts in 1994 were The Sign (Ace of Base), I’ll Make Love to You (Boyz II Men) and The Most Beautiful Girl in the World (Prince). Sheryl Crow was singing All I Wanna Do whilst Crystal Waters gave us 100% Pure Love. Culture Beat gave us Mr. Vain and Madonna had a Secret; Haddaway asked What Is Love whilst Aerosmith were Crazy. These Billboard-topping songs were not a minority. There was so much ebullience and mood-lifting music mixing alongside songs that were a little less happy. Even the more introverted songs seemed, in their own way, lifted you with their beauty and made you genuinely feel something. U.S. Pop-Punk (Green Day) was nestling alongside darker Alternative-Rock (Nine Inch Nails) and the great Pop and Rock of Britain. The music world was as open and vital as any other time in history.

This summer has been hot in terms of temperature but can we say the music reflected that warmth?! If anything, it has been a rather downcast year for sounds. Look at 1994 and summer hits included M People’s Moving on Up and Salt-N-Pepa’s Whatta Man (with En Vogue). The fabulously goofy Crash Test Dummies scored big with a song whose chorus was, essentially, mumbling whilst Lisa Loeb gave us the exceptional Stay (I Missed You). All-4-One brought us the luscious I Swear and Janet Jackson’s Any Time was a huge smash. Maybe the popularity and prominence of music television helped elevate and define the colour and optimism in the air. We got to see the biggest acts of the day producing these equally vivid and eye-opening videos and the giddiness of 1994 was pure and immense. A great Hip-Hop scene easily slotted in with the big Alternative and Rock scene and, as Billboard state in this article; the longevity and sustainability of the music is evident:

“What separates '94 from the rest of the '90s is that there was perfect balance in the system: hip-hop (Nas' Illmatic, Biggie's Ready to Die, Outkast's Southernplayalisticadillacmuzik) and alternative rock (Alice in Chains, Weezer, Stone Temple Pilots, Nine Inch Nails, Nirvana) began to appeal to the masses through FM radio and MTV without selling out. And much like a school dance chaperone who turned off Boyz II Men's II, before anyone could make out, they kept pop music in check...

But proof of 1994's musical power lies in its longevity. Twenty years after the fact, Warren G's "Regulate" is eternal in its excellence. R. Kelly's "Bump N’ Grind" feels wonderfully timeless. Hootie & the Blowfish are forever tied with the heyday of David Letterman. To the extent that there's rock music on the radio, it's most likely tributes to Soundgarden, Nirvana, or Green Day. Even “Cotton-Eyed Joe” by Rednex, our good ol' fashioned American Macarena, has played in more Yankees home games than Derek Jeter. And when it comes to making out? There was only one choice”.

There was this spirit in the air that urged listeners to hope for the best – music was much less insular and guarded than it is today. D:Ream chanted that things could only get better whilst Pop gems like Saturday Night by Whigfield (guess it is not to everyone’s tastes!) were getting us all singing along! Articles such as this present songs that show 1994’s muscles and strengths and there were other reasons why the year was so pivotal. This article from LA Weekly talked about women having a bigger say; tremendous debut albums coming through and popular culture bleeding into the music.

 IN THIS PHOTO: The cast of Friends in 1994/PHOTO CREDIT: NBC/Getty Images

There are some great comedies and films around now but 1994 was a year when two of T.V.’s biggest and most-loved comedies enjoyed great success. Friends began life in 1994 and would go on to become one of the greatest sitcoms ever. Even that first season in 1994 was getting people talking and providing us with six New York residents who easily won our hearts. Frasier was in its second year and hitting its stride whilst The Simpsons’ had its fifth and sixth seasons on the air during 1994. Some say those seasons are the very funniest periods from one of the best comedies ever. Iconic 1994 films like Four Weddings and a Funeral, Pulp Fiction and Clerks were inspiring and cheering us all whilst there was the introduction of big shows like Party of Five. It is inevitable music and popular culture intertwined and there was this reciprocal sense of hope. It was an exciting and hugely important time that we have not really seen since. The reason I am arguing the case of 1994 is how different music is now. We do not have the same Dance scene and there have been few Pop bangers that you can match with 1994’s best. I think the country was more stable back then but we have more at our disposable in terms of sounds and technology.

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 IMAGE CREDIT: Getty Images

I do wonder whether we can ever return to such a heady day; a time when music and popular culture were providing legends and pure genius. I think, in many ways, music is at its lowest ebb. Certainty, we are hearing too many downbeat and depressed songs. I can understand why artists want to be true to themselves and honest but I think so much fun, optimism and togetherness has been lost. We need music to be alive and vibrant right now and, instead, there are so few tracks that have a genuinely positive grin and will stay in the mind for years. Any time period is capable of shining and 1994 was not in any sort of privileged position. Maybe it was this rare period we will never see again. In many ways, it is quite sad looking back and wondering why this has been this real downturn. I feel musicians of today can learn a lot from 1994 and a time in music where there was so much invention, progress and optimism. I know it is dangerous to look back and want things to be as they were but there is a definite gulf and vacuum that needs to be filled. I feel the only way music from today can endure for years and decades is if there is more joy and positivity. One can say the gloomier records of 1994 have endured too but, as I said, I feel even they had something about them that got under the skin and stayed with us. I think a resolution for next year should be injecting something happier into music and, if artists of today need guidance then they should look back at the epic, blissful and...

INSPIRING 1994.

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

FEATURE:

 

 

Music Sounds Better with You

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IN THIS PHOTO: Sea Girls/PHOTO CREDIT: Phil Smithies for CLASH

Ones to Watch 2019: Part IV

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WE are almost at Christmas...

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IN THIS PHOTO: IAMDDB

and people are going to be thinking about next year. This year’s music has been fantastic and varied and I am sure there will be a lot more coming up. It is always tricky deciphering which artists will make a splash and who will rule the roost in 2019. I am excited by the wealth of artists emerging and I think next year will be one of the most diverse and bold years for music. Have a look through this rundown of hot artists on the move; those who are either making big footprints or have the potential to shake things up next year. I am sure they will all, in their own way, do great things and you definitely need to get behind every act assembled. Before you think about Christmas and wind down for the year; I have brought together a collection of artists who are likely to help shape music...

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IN THIS PHOTO: Confidence Man

AS we walk into 2019.

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

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LENN

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ILL

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Stella Donnelly

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One-Way Song

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Harry Pane

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Normani

Stealing Sheep

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Sports Team

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Woodes

Sophie Hunger

Gazelle Twin

SIIGHTS

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Taliwhoah

The Young Fables

Sea Girls

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IAMDDB

Summer Walker

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King Princess

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bülow

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Grace VanderWaal

Alicai Harley

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Riva Taylor

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Kweku Collins

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Novelist

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Joshua Luke Smith

Confidence Man

INTERVIEW: Luca Schreiner

INTERVIEW:

Luca Schreiner

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I have been chatting with Luca Schreiner...

about his latest track, Over You, and what its story is. I ask the Electronic artist/producers what comes next and what it has been like working with some of music’s biggest names – he reveals how he got into music and what advice approaching musicians should take to heart.

Schreiner reveals an approaching musician to watch and tells me whether there are gigs coming next year; what Christmas present he wants this year and whether he gets time to chill away from music – he selects a great song to end the interview with.

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

Hey, guys. I’m super-well! I’ve had an amazing week. I played my first ever show in Bahrain and just got back home. 

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

Sure. I’m Luca Schreiner; a twenty-four-year old D.J. and producer from Germany. I’m signed with Ultra Music and released official remixes for artists such as James Arthur, Alessia Cara; Clean Bandit and many more.

 

Over You is your new track. Is there an inspiration behind it?

I’ve written Over You together with some amazing guys, including Neil Ormandy, who is one of the best songwriters of right now. I think the track perfectly shows my current style, which is a crossover between Dance and Pop elements.  

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

Definitely! I’m constantly working on new original music as well as new remixes for some huge artists which hopefully get released soon!

When did you get into music? Were there particular artists you looked up to?

I got into music when I was sixteen-years-old. I remember watching videos of Tiesto performing in front of thousands of people! That was really inspiring me to start working on my own music and explore the whole electronic music industry!

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You have remixed for some big artists. Which has been your favourite collaboration?

I loved working with James Arthur and his team. They were all super-nice and his voice is just outstanding! My remix of his track Say You Wont Let Go is still my most successful remix that I worked on.

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

Playing at Marquee in New York was definitely one of my favorite memories! I opened for 4B that night, who is playing pretty different compared to what I’m playing; but the people were really into it and just enjoyed every track that I played.  

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

Music is super-important to me! I grew up in a family were music always played a big role. My dad owns a music distribution that also introduced me to the particular genre of Electronic music.

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

If I could ask for a non-material present/gift, I think I would choose health for me and my family. No matter how talented you are in music, if you don’t feel good in your body or have health issues then you can enjoy life.

What advice would you give to new artists coming through?

If you’ve just got started, don’t stress yourself. Start exploring and see what genre and what style fits the best for you. I always experimented at the beginning of my career and still try to be as creative with trying different styles in the studio every now and then to just get inspired.

I think, as soon as you have found the right style, you just have to go for it and have fun producing new music. Labels will automatically reach out to you once your sound is right so don’t worry.  

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

Yes. I’ve already got some shows confirmed for next year, which I’ll announce soon!

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 IN THIS PHOTO: James Carter

Are there any new artists you recommend we check out?

I just really love what James Carter (from the U.K.) does! He’s still kind of underrated for all the amazing stuff he’s releasing! So, definitely check him out!

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

Yes. I always try to take time to chill and get inspired again! I think surrounding yourself with people that understand what you do and help you get inspired and chilled is super-important to be able to work on new music again.

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

I love the new Chainsmokers song, Beach House. So, I would choose this one. Absolutely love the melody of the main part and their songwriting in this one

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Follow Luca Schreiner

TRACK REVIEW: One-Way Song - Billy Fisher Fitzgerald

TRACK REVIEW:

 

One-Way Song

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Billy Fisher Fitzgerald

 

9.4/10

 

 

The track, Billy Fisher Fitzgerald, is available via:

https://www.youtube.com/watch?v=Jfy7Kv6UAko

GENRE:

Alternative-Rock

ORIGIN:

Manchester, U.K.

The E.P., Passionate Leave, is available via:

https://open.spotify.com/album/5J9zUInFhkNzyYdmVdKLOu?si=Ch9k0ASWRvyvRAR3SlsQLw

RELEASE DATE:

27th November, 2018

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I am not sure how many reviews I will do...

before next year - but I am still finding little treats that prove 2018 is certainly not over. I will talk about One-Way Song in a bit but, before then, I wanted to look at bands who take a more poetic and literary approach to music; influences and sounds that should come back into music more; northern sounds and why we need to re-shift our focus; a bit about unique songwriting – I will end by looking at the 2019 of One-Way Song. I have reviewed a lot of music this year and it has been great to see all the different sounds poking through. I do not feel like I have really touched the surface and I wonder whether it is ever possible to truly know what new music sounds like. There is such a wealth and range out there – spread around the world – that it is daunting and impossible to tame. I hope to step things up next and focus on the bigger artists around but it has been rewarding getting to see some smaller artists making early steps and showing real promise. I love what One-Way Song are doing because there is an originality to them that sort of stands aside. Actually, before I continue on this point; I do wonder whether there is any sort of way we can funnel and organise music so that people like me can specifically target the sounds we want to feature. I have pitched this before but rather than wading through a sea of music; have a website that acts like a search engine where we can put in our criteria – ‘New York’, ‘Hip-Hop’ would be one example – and narrow down our focus to a very particular sonic and physical location. I mention this because, through no fault of the artists, I have been sent a lot of the same stuff. I have not really reviewed much Hip-Hop or Grime; been remiss when it comes to whole swathes of new music but, unless you know where to look, it can be really tough to find those artists. I digress but, in a way, it brings me to One-Way Song. One could not accuse them of being a Hip-Hop act but their music certainly is different to what I have been assessing lately.

One might see the words ‘poetic’ and ‘literary’ tied to music and shudder at what could come through – something rather arty and pretentious with no real substance and meaning. Some artists do create that way but, when looking at Manchester’s One-Way Song, they can balance the accessible and familiar and heighten that through a literary prism. Rather than solely write about love and ordinary heartache; they study these characters and figures that seem relatable and like us but have that extra edge to them. It is hard to explain without bringing a song into play but you get something quite fantastical. It is no surprise seeing as band member Luke Gifedder is a playwright himself! He can bring this sort of dramatic and evocative edge to the songs and, with his bandmates, concoct these potent and multifarious tales. It is hard to stray away from the trodden path of anxiety and heartache and I understand why artists are sticking to it like a wet tongue on ice. If you go through the breakups and have inner strains then you will want to project that on the page. I get that but it is the dogged over-reliance on this subject that frosts my cake. It is hard for some people to inject any form of optimism and expression into songs that are, let’s be fair, a bit of a drag. I want to discover music that makes me forget about my own troubles and concerns – One-Way Song manage to achieve this. I am not suggesting for a minute that every artist rations themselves when it comes to love and themes like that. I wonder where are the songwriters who could leave those sort of topics at the door and come into the studio with a more open and curious mind. I am reminded of one sadly-departed and missed songwriter, Mark E. Smith. It is no coincidence I mention his name: Keiron Melling produced One-Way Song’s Billy Fisher Fitzgerald and it seems like there are some touches of The Fall in the song. There is not quite the same spit, edginess and accent as one got from Smith but track the lyrics and a certain wit in the song and it is easy to make those parallels.

Smith, in my view, is one of the last real songwriting pioneers who has paved a way for the new generation. The trouble with only writing about love and that sort of thing is that people are not going to be motivated and inspired by it. Fewer new artists are taking the lead of Mark E. Smith and figuring their own blend of his style. Some might say it is sacrilege to drink at the feet of the late genius but I am not suggesting people rip him off wholesale. I have heard a few One-Way Song songs and, in each moment, I can sense the spirit of Smith in the music. Maybe it is the vocals and a distinct northern perspective; a fresh way of writing that seduces the mind or a sensation that gets into the blood and stays in the mind. Whatever it is, I feel like more new bands/acts should follow One-Way Song and what they are doing – or at least straying away from a cliché road and experiment more in 2019. Next year is an exciting and hopeful one and I would like new acts to shape up. There are some brilliant ones who are exempt from my concerns but far too many who lack spirit and original content. One-Way Song are one of these bands who have a loyal and small following but will build on that because of their striking and unusual style of songwriting. I have mentioned how they have a poetic and literary approach to songwriting but maybe it is more character-driven. Perhaps it is a northern way of writing that we also need to shine a light on. I want to stick with influences and different sounds before I move onto a new subject. Let us consider those special and away-from-the-popular-crowd songwriters and wonder why few are trying to follow their lead. I have mentioned Mark E. Smith and, if the band does not object, I will stay at his side…

Maybe it is going to be hard for any new act to adapt what they do and become more Fall-esque. One-Way Song do not have the same jagged cynicism and gruffness as The Fall’s leader but there is a quality that puts me in mind of their music. Maybe Melling’s producing has pointed my mind that way but there is a lot about One-Way Song I can compare with The Fall. The guys have a fondness for history and poetry; they prefer to write about characters and sides of life that do not often make their way into the mainstream and there is a nice combination of humour, intelligence and interesting angles. I will end the review by speaking about the band’s future and why they can make big strides in 2019 but they have already accomplished a lot. It is hard to really touch on any other influences of One-Way Song but I get little elements of certain artists. Maybe that freshness is a good thing and you certainly do not grope too heavily in the direction of others. The band’s E.P., Passionate Leave, is out and it is filled with wonderful songs that warrant repeated spins. The band, on the E.P., have channelled the Vorticism (an art and poetry movement around the time of the First World War) and they have reimagined how they would write if they lived in this century. That in itself is a unique starting point so it is wonderful digging into the songs and pulling them apart. I am reminded of someone like Paddy McAloon, actually – a man I have been mentioning a little bit lately. The Prefab Sprout lead is another one of those northern songwriters who can study characters and take a less personal but more original approach to music. McAloon is bringing out some new music next year and, on all of his albums, he has delighted and stunned people with his incredible songwriting gift. There is nobody like him but, in a slight manner, I can detect the influence of songwriting leaders like McAloon in newcomers such as One-Way Song.

Perhaps it is something in the water but I am finding the more able and interesting songwriters are coming from the North. It might be the way they can shout above the London crowd or a natural reflection of the local people and the way they speak. Perhaps there is more commercial pressure in the South but there is something wonderful happening in the North. You can say this is nothing new and, when you look at the most fascinating and original songwriters from the past few decades – from Mark E. Smith and Morrissey through to Paul Heaton and Alex Turner – they all have called the North their home. I do feel like there is a divide when it comes to creation and the style of music. It has been the way, for a long time, the mainstream and press have gravitated towards the South. Maybe it is easier to bond with music that is perhaps a little less challenging. Northern artists have a spirit and mannerism that is all theirs and I feel they expend more effort when it comes to songwriting nuance and personality. Look at a band like One-Way Song and you have a continuation of this rich and inspiring northern tapestry. Their name comes from a poem by Wyndham Lewis (who founded Vorticism) and One-Way Song incorporate video and theatre into their live performances. The guys match art and theatre with music to create a more immersive and memorable experience. I love gigs that are traditional and straight-forward but it is good to see artists trying something new and providing a more captivating show. This year has seen Talking Heads’ leader David Byrne take his latest album, American Utopia, on the road. There is dance and lecturing at his shows; an almost theatrical approach to music and, as such, reviewers have been blown away. His multimedia, sense-moving show brings us the hits new and old but there are other layers that mean you are not just witnessing a music show – it is almost like a religious conversion!

Maybe One-Way Song are a way off of doing something similar but they do have a similar approach to a live show. Other artists like St. Vincent and Christine and the Queens have pushed the boundaries of live performances and, in an age where there is mass competition and lacking focus, they have caused a storm. I will end this section by combining northern sounds and the live experience. I think we are too beholden to artists in London and it can be a bit sad seeing so many great northern artists neglected. One-Way Song are making their way and doing fine but they are still in an area of the world that is not getting the acclaim and parental guidance it needs. There are a load of brilliant acts coming from cities like Manchester and I know for a fact what a stunning and varied scene there is right now. I speculated how northern artists have a different personality and musical perspective compared to the rest of the music landscape. In 2019, I think the media needs to open up their eyes and point their telescope the way of the North. Maybe not as extreme as focusing all their energy there but at least keeping focused on what is coming from there. I do feel like a lot of the future stars are making music in the North right now and maybe the press attention is not as hot and loyal as we’d like. I shall move on from this point in a bit but I feel One-Way Song have a great locker of colours and gems that will see them succeed and get into the mainstream. I have mentioned fallen gods like Mark E. Smith – we need songwriters that have that strange and wonderful edge that would make things a lot more interesting. Let us move to a great song from their E.P., Passionate Leave, and celebrate a unique band who are primed for some very good things before too long.

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One gets some futuristic echoes and electronics that open up Billy Fisher Fitzgerald. I was expecting this old-age character that lived in the early part of the last century and was known for his rather lugubrious and addictive personality – someone who can often be found walking the street drunk and ‘delighting’ the crowds. Maybe that is a rather harsh predication but one has their own views and impressions when faced with that name. We experience something warped and tripping that beckons this rather strange and wonderful song. I have mentioned The Fall and one half-expects Mark E. Smith to come in with his distinct drawl and unique take on life. What we do get is something more unexpected and, perhaps, more accessible. There are two skies, as the lead says, and the song transforms from this warping and cosmic slow to something rushed and pummelling. The song’s hero is someone who has a very alive and distinct personality and one of those people who sticks in the mind. There is a truth and reality behind the song but one is free to imagine and discover their own story. I was thinking about someone who liked a drink but had a charming heart. Maybe there is a deeper truth and darkness but one is hooked by the song. I was transfixed by the energy and sheer boldness of the song but it is when we get some echoed and Fall-like vocals that the hairs really stood up. The lead is announcing himself as the song’s hero and meeting our acquaintance. From the spacey and weird opening to the rush that follows – we are not slowed right down and the song goes in a new direction. I loved listening to the isolated and echoed/augmented vocal that punctuates the song and treats things like a story. We have had a foreword and now the first chapter has begun. There are backing vocals that support Luke Gifedder and the whole song has a real unity and sense of togetherness.

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The guitars strut and swagger and allow the song breathe and run. The percussion is solid and physical and the combination is heady and wonderful. The vocals, one might feel, would not match the composition but there is a natural blend that means everything hangs together wonderfully. The professional and assured production shines and highlights every aspect but keeps things dirty and not too clean. A conversation takes place and we hear Fitzgerald join the fray. He has already introduced himself and there is development. Our man has a rather original and memorable personality and does not seem to care what people think of him. One-Way Song have created this song that is like a play; a scene that brings in distinct characters and lets the listener conspire and dream. It is hard not to think of The Fall when the fuzzed vocals have an element of Mark E. Smith. There are two skies still and two-tone shoes; the news says that Billy is back in town and people are being made aware. It is almost like this big event seeing the hero come into town. The band mix the odd and standout dialogue with a sound that is more traditional and familiar. When the song races and campaigns, you get sensations of 1990s Alternative and there is a clear quality that rings in the ears. It is wonderful seeing the two rather distant worlds clash in this epic song. On the one hand, you have a fresh and peppy sound that is singalong and catchy and then there is something weirder that brings in this figure that has lived quite a life! Everyone will have their own impression of what Billy Fisher Fitzgerald looks like and why he has such a reputation. I was amazed at how easy it was to drift away and think about this figure that is on everyone lips.

He has left town and might have had a sworded past but I’d like to think there is a lot of good in him and he is one of those people easy to love. Whatever the real truth is; one cannot overcome the charm and appeal of the song. You listen to it time and time again and pick up things that were missed the first time around. I kept going back and was amazed at how the song stays in the mind and you will be humming lines. One-Way Song have been playing a little while and they sound utterly focused and united throughout. Here is a band that stands aside from the crowd and really do have a wonderful way of doing things. I think they will go onto do a lot of good in 2019 and they can really clean up. There is nothing like them right now and I feel a lot more people will want to hear songs like Billy Fisher Fitzgerald. The song is fourth on the E.P. and gives Passionate Leave a real spark and sense of personality. Not that the rest of the songs lack that but I was more drawn to this number – it has its own skin and an impact that is really interesting and potent. You will listen to Billy Fisher Fitzgerald and want to come back time and time again. Perhaps it is suggestions and elements of The Fall or the way the lyrics project stories and wonderful visions. I was attracted to so many things and love how One-Way Song do things. You will want to get behind the band and follow them into 2019. Here, on this one song, they show what a force they are and are very different to everyone out there. In a music scene that is packed and busy; it is rare to see a band stand out and shine so brightly. Let’s hope this momentum, focus and sense of quality continues next year. I also hope the media gets behind One-Way Song and ensures they get one step closer to the mainstream. The guys deserve that and, I feel, they are primed for very good things. It is very exciting seeing this young group grow and blossom into something very strong and dynamic.

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I have talked a lot about the North and various aspects that are particular to One-Way Song. Passionate Leave is a fantastic E.P. that is full of body and life. I think there is a lot more this E.P. can give and I need to listen to it a lot more. What amazes me about the band is their approach to performance and how they are mixing art alongside music. This year has been defined by a more political approach to music – the best albums – and the finest live performances have gone beyond the basic stage-band set-up and transformed what a musician can do. I think One-Way Song have the promise to match the likes of David Byrne with their shows and the music has a very wondrous and captivating quality. Billy Fisher Fitzgerald is part of a five-song E.P. that is solid, rounded and detailed. There are some nods towards conventional avenues but what separates One-Way Song from the rest is the way they can put characters and eye-opening personalities into the fold and create their own world. Many bands might try this sort of approach and fail in their ambitions. There is a tightness and focus within One-Way Song that makes the music solid and nuanced without losing focus. You swim in this ocean of imagination and wonderful images and are helpless to resist. I feel there is a lot more to come from the Manchester band and they are turning heads right now. Make sure you investigate the group and check out where they are headed. I have experienced a lot of great new music in 2018 and it is fitting to end (almost) this year with a solid and special band that go beyond the familiar and routine. I think it is the original tones and angles that makes the band so appealing and promising.

Maybe mentioning The Fall’s Mark E. Smith was a rash decision but I feel there are similarities. Look at the way Smith wrote songs and the sort of people he brought in. Maybe they were slightly grubbier and more personal than One-Way Song but I applaud any artist that steps away from the mass of the traditional and does something bold. I want to experience music that brings something new to the plate and nourishes my mind in a new way. It is good to see One-Way Song progress and I can see them going a long way in the industry. Things are almost done in 2018 and they will want to rest for a little bit. It is a well-deserved rest because the guys have been busy indeed. They have performed local shows and taken their music to the people; their E.P. has garnered some great reviews and people are starting to respond in a very direct and passionate way. It would be remiss of me to make big predictions but there is nothing to suggest the band will remain local for much longer. It is a tough industry with lots of fish in the sea but those who have sharp teeth and can swim fast are primed for glory. By that, I mean One-Way Song have a sound and style all of their own; they are hungry and ambitious and I can see all of that effort paying off. I am predicting which acts are going to storm things next year and can easily put One-Way Song in that group. It has been a successful year for the band and I think they will take even bigger steps next year. Maybe there will be an E.P. or album but I hope they continue to create great songs and get their music to the people. Many here in the South will want to see them and I feel there will be ample demand for their music here. I am excited to see where they head and what the next move is. I know the guys will already have plans but I think the media needs to react to their work and start looking more closely to the North. It is still deprived and overlooked (compared to the South) and that is a huge shame. I have found so many great northern treasures this year and feel like they all deserve their place. Maybe things will change in 2019 – and the media will correct things – but I think the likes of One-Way Song are going a long way to putting northern music into focus. I shall end things here but suggest people listen to their E.P., Passionate Leave. It has been a wonderful 2018 for One-Way Song and I know they will continue to build on this. Get behind them and ensure you do not let these excellent musicians...

PASS you by.   

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Follow One-Way Song

FEATURE: Sad Endings and New Beginnings: The Finale of Shaun Keaveny’s Breakfast Show

FEATURE:

 

 

Sad Endings and New Beginnings  

IN THIS PHOTO: Shaun Keaveny (who delivered his final breakfast show (he moves to afternoons in January) for BBC Radio 6 Music from the ‘legendary’ Maida Vale Studios, London on 14th December, 2018 after eleven years in that slot)/PHOTO CREDIT: BBC 

The Finale of Shaun Keaveny’s Breakfast Show

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YESTERDAY was a pretty memorable and special day...

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 PHOTO CREDIT: @monaeendra/Unsplash

that will be etched into my mind for years to come! It did not start too well, mind. I only got three hours’ sleep the night before – the heating was a bit f*cked – and was determined not to sleep through my alarm! I eventually crawled out of bed at 05:30 and made my way to Wood Green station (all glamour and loveliness that time in the morning!). I took the Tube to Piccadilly Circus and then transferred to the Bakerloo Line where I connected to Warwick Avenue (singing Duffy all the way) – making that fateful and lovely stroll to Maida Vale Studios on Delaware Road. I has stressed myself into thinking the London Underground would grind to a halt on the day I went to see a radio hero of mine say goodbye to his breakfast show. I caught the Tube fine and everything was smooth. I got to Maida Vale in the freezing cold and was one of the first in line when I arrived at Maida Vale. There were a few other people there who were listening to the start of Shaun Keaveny’s last-ever breakfast show – it started at its usual time of 7 A.M. but we were let it from 8 – and it was a jovial mood. Some had come from as far afield as Scotland and I was chatting to a woman, whose name alludes me, who was the last-ever Small Claims Court guest. She did it live in the studio and was excited to be there…

 IN THIS PHOTO: The exterior of the ‘legendary’ Maida Vale Studios/PHOTO CREDIT: Getty Images

The people there ranged from the likes of me (who had followed the show for about four years) to the die-hard Keaveny fans. It was a mix of sadness and happiness as we stood outside awaiting the call. People started chattering and speculating as to what the show would entail and what the insides of Maida Vale would look like. I had only just written a piece about the legendary space; so it was strange to be there! It is sad it will close its doors and facilities will be moved to East London so it was extra-special to be one of the last members of the public to see the insides! I was overjoyed when I got the email to say I was among the select audience to see Keaveny’s last show and this piece might have helped clinch it. I brought along a musician who is also a big fan, Nick Byrne, and we both wandered in and were seated in the small studio. It was almost zoo-like filing in and seeing the ‘main attraction’ up-close and personal. That might sound strange but, for the most part, we see BBC 6 Music presenters like Shaun Keaveny as disembodied heads - and we rarely ever get to meet them!

I have met and chatted with Matt Everitt before – we had breakfast/brunch once; more on him later – and was aware of him as a person. Keaveny, on the other hand, was this hero on the airwaves who I have always been keen to meet. Being seated so close to him was a real buzz! I am not sure how many people were in the studio but there was a balcony above me and a few rows of seats on the floor. I was seated to the left of the desk – Keaveny was to the north-west of me – and I was a matter of feet away! Matt Everitt made his return to the show after spending a bit of time away (he had a daughter and she was ill for a little bit). Georgie Rogers, as Shaun Keaveny said earlier in his last show, did a brilliant job and carried the baton very well – with huge grace, professionalism and appeal. She was also sat in the audience and it was great to see Keaveny and Everitt rekindle their radio romance for the big occasion. There was no music news yesterday (as it was a special show…) and, instead, some lighthearted banter and lots of emotion too. It was good to see the two back together and they will resume their partnership (alongside Georgie Rogers) when Keaveny takes to the afternoons in a few weeks.

The last broadcast was fascinating to watch as it gave me a glimpse into what a ‘typical’ Shaun Keaveny broadcast contained. Off of the air – when music and news was played – he was chatting to the audience, swearing a ‘bit’ (telling us not to f*cking swear!) and some delicious brioche-type goods were handed/thrown out. There was a lot of laughter and it I got to see producer Phil Smith handing out paper/emails and calling the shots. Zahra – his assistant/co-producer – was there and the whole team were doing the usual show but a select few of us had the pleasure of seeing the cogs turn. When the music was playing, Keaveny was wandering a bit; going to the toilet and bantering. Matt Everitt was there with his new daughter (and girlfriend) and there were laptops out and it was all wonderful! The entire day was dedicated to celebration and cheer and a rare opportunity to see all the beloved BBC Radio 6 Music personalities united and under the same roof. Things, naturally, were focused on Shaun Keaveny and his very last show. It was both an honour and an emotional experience knowing I, and a select few, were watching some truly wonderful.

Songs were played and emails read out; there was that live Small Claims Court and there were lots of special appearances. I have only been in a radio studio once - for BBC Radio 5 in 2017 when taking part in a show dedicated to the fiftieth anniversary of The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band -, so was not overly-sure that the sensation was regarding the off-mic chats and how a show comes together. Seeing that transformation of the serious yet funny Keaveny on the air and speaking with the listeners to a looser and less censored off-air version was really fascinating! It was all part of a magical and eye-opening experience at Maida Vale Studios! Included in the final breakfast show was spoof psychic/futurologist Clinton Baptiste (Phoenix Nights). Hewas there to predict the future for Shaun Keaveny and his show – he got lots of laughs and love – and I enjoyed seeing the mullet-overloaded Baptiste in the studio. Mark King of Level 42 was there - and Ed Harcourt was the special music guest. Harcourt performed a cover of The Pretenders’ 2000 Miles (It Must Be Christmas Time) and there was a great story behind that choice…

 IN THIS PHOTO: Ed Harcourt was the special musical guest for Shaun Keaveny’s final breakfast show/PHOTO CREDIT: Getty Images

Harcourt was actually on the phone with Chrissie Hynde (The Pretenders’ lead) and he mentioned he’d be going on the last-ever breakfast show. He asked if he could cover the song and she was cool with it. Harcourt performed a stunning version of the song and I was a mere few feet behind his piano. BBC Radio 6 Music D.J.s such as Chris Hawkins (hungover) and Mary Anne Hobbs were there and, throughout the all-day Christmas celebration at Maida Vale Studios; so many BBC Radio 6 Music presenters were there in a rare coming together. Whereas some of the shows were taking part in the Christmas festivities; Shaun Keaveny was ending his breakfast tenure after eleven years and eight months. Lauren Laverne, who takes over breakfast from January, was there (in a very sparkly and cool dress) and was interviewed by Keaveny – she suggested there might be a new feature, House Music, that matches the noise of household appliances with recognisable songs (could be cool!). It was a bit cryptic but she stated how excited she was and what an opportunity it was going to be. The fact it is the last time Keaveny and Laverne will ‘hand over’ to one another – Laverne follows Keaveny’s show and, as Mary Anne Hobbs is sandwiched between them, they will no longer follow one another – made it a bit sad! They had some very kind words to say about one another and Laverne was presenting her usual show from a different studio.

 IN THIS PHOTO: Lauren Laverne moves from her mid-morning/early-afternoon slot and takes over from Shaun Keaveny from January/PHOTO CREDIT: Getty Images

The final minutes were emotional and, with a potent and touching last speech, Shaun Keaveny signed off. He did not put a foot wrong – there was a slight hiccup earlier – and his last show was very fun and incredibly affectionate. When the show was over and the applause rang out; everyone started to pile out and there were photos taken. A cake was brought in earlier and I was chomping on it as we all started to slowly move out. It was almost like meeting a Royal in the sense there was a neat line and each of us had our moment. I did not get to chat with Georgie Rogers or Matt Everitt – they were busy or with other people/Everitt’s baby – but I got to shake Shaun Keaveny’s hand and have a little chat. I asked whether his decision to move to afternoons was motivated by tiredness and a need to regain his human side – he said, after all these years, he was barely able to put a sentence together.

IN THIS PHOTO: Matt Everitt and Shaun Keaveny live for the last show at Maida Vale Studios on 14th December, 2018/PHOTO CREDIT: @MissSamSingh

A lot of people I spoke with - Keaveny included - were excited to see this new afternoon show but nervous about the shift. It is odd we will not hear the morning show with the usual jingles and beds; the Small Claims Court segment and everything we have grown accustomed to. I know there will be lots of great things coming into Shaun Keaveny’s afternoon show and it was a great honour to see the man before he exited the building. I left Maida Vale Studios, with Nick, in a daze and stunned by everything that had gone down. A new line was outside waiting to see Stuart Maconie’s show there – Lauren Laverne’s crew were already seated and listening to her show – and it was strange to be in the outside world...

 IN THIS PHOTO: Georgie Rogers and Shaun Keaveny sharing a tender moment at Maida Value Studios on 14th December, 2018/PHOTO CREDIT: @GeorgieRogers 

What a fitting goodbye to Shaun Keaveny’s breakfast show but, as he says, it is more like a Cabinet reshuffle. He is only moving to a new slot and nobody is losing their jobs. It will be a hard transition but things will be great and everything we know and love about him, I am sure, will remain unblemished. I will end by talking about the reason I started listening to his show but Shaun Keaveny himself has written a piece and reflected on his eleven-plus years at the BBC Radio 6 Music breakfast helm. In his blog post; Keaveny talked about the start and what the reality was like:

“I will certainly never forget how lonely it was to begin with. Before they are won, the audience is a wary animal, a bit like a deserted pet…where has my owner gone? (Phill) and who the fuck is this Herbert? He knows nothing of Laurie Anderson or deep cuts reggae, he seems to be a Dire Straits fan…(lest we forget what a cabal of true purists 6 Music listeners were in the early days). In those first days weeks and months, the first 18 months in fact, the hell ride was intense. 

But, there is something a bit different about doing an early morning show for a long time. There is something vulnerable about us at that first point of the day. Its “before we have our armour on” as someone clever once said to me. We’re like crabs without a shell. Totally sensitive and as-yet-unprepared for what the day will bring. We’ve often been spat into consciousness by a violent alarm from a deep sleep, we’re full of weird subconscious fears that were percolating in dreams or sleeping thoughts. AND NOW WE HAVE TO PRESENT OUR SELVES TO THE WORLD. It’s hard being a human, and the darkest hour can be before the dawn”.

There was a particular ‘hairy’ case of ‘over-efficient producing’ that caught everyone by surprise: 

“HILARIOUS DOUBLE-BOOKING MOMENTS- REMEMBER THE MORNING when our wonderful now-passed (he’s not dead, just living in Hong Kong) producer Nic Philps booked an absolute shitstorm of talent by accident all on the same day? I tell you what, you’ve not experienced true adrenaline til you realise that you’re interviewing Stephen Fry live, Bret Easton-Ellis is sitting in the ante-room through the glass reading the New York Times waiting patiently to be grilled, and then you notice in your peripheral vision that maverick and occasion loose-cannon comic Sean Hughes has also arrived for a chat!!”

Some of the kindest and most affectionate words were reserved for his long-suffering radio husband, Matt Everitt:

“…I love him. He makes me absolutely piss with LOLS every day. He thinks he understands binary. He basically hates all taxi drivers. He thinks Hendrix is over-rated a bit. His face is only marginally longer than a normal one yet I have made it a “thing”. He is very patient with me. He has been my sunshine when skies were grey, and administered lager when stuff was great. He has a ridiculous car that costs as much as a Spitfire to run but he’s so daft he won’t sell it. He is by some distance the most respected broadcast music journo I know. He knows every one, and they all love him, because he is totally professional yet a darling to chat to. He’s brought us so many great exclusives I can’t count them, and I would say about 3 massive laughs a show. He is my wind. Beneath my wings”.

 IN THIS PHOTO: Georgie Rogers (who stood in brilliantly for Matt Everitt whilst he was away from music news duties on BBC Radio 6 Music)/PHOTO CREDIT: Getty Images

There was kudos put to Zara and Phil; a great tribute to his radio hero, Sir Terry Wogan, and selected highs and lows. I urge you all the read the article and get a real insight into how the long-running breakfast show started its life; producers coming and going and why it was time to move on. There will be years and years of Shaun Keaveny magic to come on BBC Radio 6 Music but there are reasons why I love his show. I sort of half-joked, in a tweet to the show, how the first show must have been a bit like Dr. Frasier Crane starting his first show on the air (on the U.S. sitcom, Frasier). That show saw Crane trying out ‘voices’ for radio and dispensing advice and goodwill to his troubled listeners as best as possible.

The finished and final-show Frasier Crane was dignified and was seen delivering his goodbye speech by family, friends and his radio family. Not that Shaun Keaveny’s start was as troubled and conspicuous - but could he have imagined he would end the show with such applause and fanbase?! (His and Frasier Crane’s radio tenure is almost the same length!). I am a relatively late convert but first noticed the humour and voice. Before then, I listened to Absolute Radio (shite, repeated music and presenters who grate...no idea why I listened!) and Keaveny was an introduction to this new way of listening!

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 IN THIS PHOTO: Matt Everitt and Shaun Keaveny finding the funny side of things at Wogan House/PHOTO CREDIT: BBC

I had not heard too many northern accents on radio (he is from Leigh, Lancashire) and would soon discover Lauren Laverne (from Sunderland). The wit and self-deprecation charmed me and I soon fell in love with this very real and accessible personality. I followed him until his last breath on the morning slot and I cannot believe he managed to keep such a high standard through the years! He would refute that and be his usual self-flagellating self but one cannot deny his admiring fanbase and reputation is no fluke! The fact he managed to stay awake all those years and deliver any sort of show is amazing: the fact his breakfast show was constantly amazing, funny and addictive shows how perfect a match Keaveny and BBC Radio 6 Music. I also follow him because is that comfort and ambition. One of my dreams is to appear on BBC Radio 6 Music and am envious of the guests that come on and get one of the epic and kind introductions. Maybe I have to get my skates on if I want to be worthy enough to appear om his show but his voice, great delivery and incredible sense of allure makes everyone in the music industry up their game and aim high – so we might appear alongside him one day. In fact, my dream is to be a music presenter on the station so it might be a very long time until that happens!

 IN THIS PHOTO: Shaun Keaveny and Matt Everitt in cake cutting action/PHOTO CREDIT: BBC

I also love the fact Shaun Keaveny seems to be like his listeners. I have had a difficult year in 2018 as I have adapted to living in London and working here (still looking); a new way of life and navigating a very busy and unforgiving city! It is a challenge and pretty hard going but I listen to Shaun Keaveny and hear someone I can relate to. His life is more successful – he has two sons, a girlfriend and a great career – but he makes you feel like he is the same; like he gets it and someone you could easily lift a beer with. So many D.J.s seem distant and not like us at all; too rich or uncaring to some extent. Part of Keaveny’s magic is being able to connect with every listener without ever meeting them. That is not something that can be necessarily taught or picked up: it is a natural part of his aura and personality. The other reason I love him is because he seems to channel his radio hero, Sir Terry Wogan. Sir Terry would be proud of Keaveny and his show. He would be proud how he composed himself at Maida Vale and what a great (adopts Sir Paul McCartney voice here) final show he delivered – we are all very proud of him.! Wogan, naturally, is someone we cannot replace and is a unique comet in the radio galaxy. The fact I am reminded of Sir Terry Wogan when listening to Shaun Keaveny is no light praise – I would not be surprised to see Keaveny enjoy the same career and, maybe, move to BBC Radio 2 in years to come.

 IN THIS PHOTO: The late, great Sir Terry Wogan (a hero of Shaun Keaveny)/PHOTO CREDIT: BBC

Keaveny’s natural respect and love of his listeners means reciprocation is easy and warranted. Here is someone who has opened his heart and mind to his loyal following over eleven years and it is great he is still with the station. I am not sure whether his cartwall of sound effects will follow him to afternoons and whether we will get the same features and dynamic as mornings. Some things have to change and there will be a different feel; many things will remain and, lucky as we are, we have a refreshed and excited D.J. we know can deliver the goods time and time again. I imagine there is chance for live sessions and, alongside Everitt on the music news; it will be a chance to venture into new ground. The upset and strangeness of a new breakfast presenter – Lauren Laverne will be amazing – will take a while to get over and waking up to someone new and non-Keaveny is a rather strange realisation. Like everyone who was fortunate enough to be in attendance yesterday at Maida Vale Studios; we witnessed something very special in a once-in-a-lifetime-thrill. It was a sobering, amazingly vivid and uplifting experience that was bittersweet: the mutual love and joy that engulfed the room coupled with the understandably sad goodbyes and tears. I hope, in some capacity, I get to talk with Keaveny (and Matt Everitt and Georgie Rogers) next year. The man loves Madonna (an artists who can cause two straight men to drool and worship her like a goddess) and he is a big Beatles fan; he seems like someone you can bond with for hours and, through his long career, he has achieved so much and continues to grow. It has been a wonderfully strange, beautiful and unexpected last couple of days with a mix of emotions. Shaun Keaveny and his team move as part of the line-up shift and January will see a different show from the man we all know and love. Best of luck to him and his loyal team! As we reflect on eleven years of brilliance and predict what will come next; it is probably best I end with a Christmas song...

FROM the great man himself.

FEATURE: Groovelines: Madonna – Vogue

FEATURE:

 

 

Groovelines

IMAGE CREDIT: Getty Images 

Madonna – Vogue

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THERE are so many periods of Madonna’s career one can explore...

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 IMAGE CREDIT: Getty Images

but I wanted to look at a rather epic time for the Pop queen. It is impossible to look at Vogue and not explore the dance/video. I will come to that later but to me, Vogue arrived at the peak of her career. Many will know it from the David Fincher-directed video and, in many ways, it is one of those songs that could have easily been nestled and lost. It is from the 1990 film, Dick Tracy, and the film itself was not exactly a blockbuster! By 1990, when the track came out, Madonna was already the established Queen of Pop. That ‘moment’, to me, arrived around about the time Like a Prayer (album) arrived in 1989. She was on a steady incline but, in many ways, Like a Prayer shot her to the heavens and meant she ended the decade as the true Pop leader. Michael Jackson was two years away from releasing Dangerous and, to be honest, had probably peaked. Prince enjoyed various rises but many argue his best work was achieved by the middle of the 1980s. There were other 1980s Popstars but none that had the sustainability, reputation and gravitas as Madonna. It would have been hard to sustain the interest and manage the pressure after Like a Prayer. It was an album that truly announced Madonna’s intentions and showed what an incredible writer she was – she co-wrote every track on the record.

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 IN THIS PHOTO: Madonna in 1990/PHOTO CREDIT: Getty Images

Reaction at the time of Like a Prayer’s release was intense and fevered but there has been plenty of retrospective acclaim. This Pitchfork review raises interesting points regarding the album’s confidence and emotional blends:

“While Madonna was no shrinking violet during the first chunk of the ’80s—the decade of Madonna wannabes, MTV Video Music Awards-ready wedding dresses, and “controversial” her officially recognized prefix—Like a Prayer does showcase her growth as a pop artist, from the gnarled guitar that opens its title track all the way through its warped-tape closer “Act of Contrition.” She takes more chances lyrically and musically, and while they don’t always work, they do give a glimpse at her restlessness and increased willingness to take musical chances, whether she’s bringing in Prince or letting her voice’s imperfections into songs or taking on heavy, personal-life-adjacent topics.

The emotions on Like a Prayer aren’t all fraught. “Cherish” is a feather-light declaration of devotion that calls back to Cali-pop outfit the Association while updating Madonna’s earlier exercise in retroism “True Blue”; “Dear Jessie” engages in the reaching toward sounding “Beatles-esque” that was in vogue at the time, pairing fussy strings and tick-tock percussion with images of pink elephants and flying leprechauns. “Love Song,” meanwhile, is a synth-funk chiffon co-written by none other than Prince, one of Madonna’s few pop equals at the time. The two of them feel locked in an erotically charged session of truth or dare, each challenging the other to stretch their voices higher while the drum machines churn. Prince also played, initially uncredited, on “Like a Prayer,” the sauntering pop-funk track “Keep It Together,” and the album-closing “Act of Contrition,” a two-minute maelstrom that combines Prince’s guitar heroics, backward-masked bits from the title track, heavy beats, and its title inspiration, the Catholic prayer of… confession”.

IN THIS PHOTO: Madonna shot in 1990/PHOTO CREDIT: Patrick Demarchelier

There is no denying how much power Madonna wielded by the end of the 1980s. She started in the decade and started, in 1982, as this promising artist. By 1989, she was riding high and had no peers. The 1990s was a decade that evolved and developed from the 1980s and was different in many ways. Madonna would court controversy by 1992’s Erotica and come back with an exceptionally mature response (1994); she had a great rebirth on 1998’s Ray of Light and would continue to create fascination and huge reviews until the end of the decade – her first real creative misstep did not really occur until 2003’s American Life. Many artists would take a few years off after an album as biblical and lauded as Like a Prayer but Madonna’s next studio record would be along in three years – a year after Like a Prayer, the Queen of Pop would grace the screens alongside Warren Beatty in Dick Tracy. In terms of the musical content; the film was a mix of Swing, Pop and Jazz and saw Madonna embrace a showgirl personality (on the soundtrack, I'm Breathless: Music from and Inspired by the Film Dick Tracy). The film was set in the Untouchables law enforcement days and Madonna sang accordingly – even smoking for the film so she could portray the vocals of her character, Breathless. Before moving on to look at the film’s starring song; here some background and details regarding the film and Madonna’s role:

“In 1990, Madonna was part of the film Dick Tracy starring as Breathless Mahoney, with Warren Beatty playing the titular character.[1] Madonna told Premiere magazine that initially she had waited for Beatty to call her for the film. But when he did not, the singer decided to involve herself voluntarily.[2] She pursued the part of Mahoney, but offered to work for minimum wages to avoid favoritism.[3] Principal photography for Dick Tracy began on February 2, 1989 and ended three months later.[4] The filmmakers considered shooting the film on-location in Chicago, Illinois, but production designer Richard Sylbert believed that Dick Tracy would work better using sound stages and backlots at Universal Studios in Universal City, California.[4][5] Other filming took place at Warner Bros Studios in Burbank, California.[6] Beatty often encouraged dozens of takes of every scene.[4] The film was released in the United States on June 15, 1990,[7] and was the third-highest opening weekend of 1990.[8] Dick Tracy was the ninth-highest-grossing film in the US in 1990, and number twelve globally.[8][9] The film also received positive reviews from critics. Roger Ebert from the Chicago Sun-Times praised the matte paintings, art direction and prosthetic makeup design, stating: "Dick Tracy is one of the most original and visionary fantasies I've seen on a screen".[10]

 

Beatty had realized several positive aspects of hiring Madonna as an actress for the film. She would be inclined to develop the soundtrack for Dick Tracy and the film studio would see this as a promotional opportunity before the release of their product, since Madonna was popular as a recording artist. This would also benefit Warner Bros. Records, who would get a reason to release a new Madonna record. According to J. Randy Taraborrelli, author of Madonna: An Intimate Biography, by the 1980s record labels started to release albums which were closely associated with a film, thereby gaining double promotion. These were mostly termed as soundtracks although many of them were not related to the film. After the shooting for Dick Tracy was over, Madonna started working on the soundtrack. She had begun recording three songs by Stephen Sondheim for the film—"Sooner or Later", "More" and "What Can You Lose"—which would be part of the album, but also had to write and develop new songs comparable in style to the previous.[11] In her favor, she produced the entire album, including the Sondheim songs. "I want people to think of me as a musical comedy actress. That's what this album is about for me. It's a stretch. Not just pop music, but songs that have a different feel to them, a theatrical feel", she said at the time[12]”

The twelve songs that feature on I’m Breathless (soundtrack) are a good representation of Madonna’s character and it is good to see her step away from the tones and themes of Like a Prayer. It is no shock to find the Pop queen transform so quickly and effortlessly but, in terms of quality, you cannot compare I’m Breathless with Like a Prayer. The film soundtrack did boast the odd good song – such as the cheeky Hanky Panky – but it is the finale, Vogue, that strikes a move and steals the show. One might think a song as iconic and unique as this would not fit into the film but it completely does. Warner Bros head, Craig Kostich, approached Shep Pettibone (who would co-write with Madonna on 1992’s Erotica) regarding a collaboration. The track was completed for only a few thousand dollars and was done very quickly. Pettibone wrote a Philly-inspired backdrop and sent it to Madonna who wrote the lyrics and came up with the title. Madonna flew to New York and recorded her vocals in a very small basement studio on West 56th St.; in a booth that was converted from a closet. The verses and chorus was recorded quickly with very few takes and Pettibone suggested the famous rap – where Madonna name-checks icons and style stars. Madonna flew back to L.A. whilst Pettibone tweaked the song slightly – including the addition of the House piano line and bassline part.

The musical direction of Vogue, unlike other songs on I’m Breathless, are inspired by House and have Disco influences. The deep House groove and throbbing beats captivated listeners and critics and many rank Vogue alongside Madonna’s finest tracks. The sleek and stylish song seems to define Madonna and who she was at the time. This Pop icon was at the top of the world and renowned for her incredible fashion choices. I feel Vogue is underrated as a song and often falls outside top-ten lists when we think of her finest moments. Listen to a lot of the House tracks that emerged in the 1990s and you can track it back to Madonna’s Vogue. The icon was always inspiring and changing music but Vogue not only cemented her reputation as the Queen of Pop but it took her to a new level. There is sheer confidence and panache that explodes from Vogue. This confidence would continue into Erotica and there was no stopping the pioneer. The sixteen celebrities mentioned in Vogue were either dead or nearing death. The last surviving icon, Lauren Bacall, died in 2014:

“The death of famed actress Lauren Bacall, the husky-voiced starlet known for her sultry sensuality, not only meant the loss of a true Hollywood legend, but also the end of a golden era of icons.

As first reported by Slate, all of the 16 Hollywood icons named in singer Madonna's pop song, "Vogue," have now died after the passing of Bacall on Tuesday...

 

The song, released in March 1990, was inspired by the New York City dance community. Voguing is a stylized dance that evolved from the Harlem ballroom scene in the 1980s.

One section of the song contains only spoken words in which Madonna quickly lists off 16 celebrities that are considered part of the golden era of Hollywood: "Greta Garbo, and Monroe / Dietrich and DiMaggio / Marlon Brando, Jimmy Dean / On the cover of a magazine / Grace Kelly; Harlow, Jean / Picture of a beauty queen / Gene Kelly, Fred Astaire / Ginger Rogers, dance on air / They had style, they had grace / Rita Hayworth gave good face / Lauren, Katharine, Lana too / Bette Davis, we love you".

The song itself is a fantastic thing but so much of Vogue’s legacy revolves around its video and dance choreography. The term ‘voguing’ has been a part of the lexicon for a while but many name Madonna as someone who managed to push it into the mainstream. Stephen Ursprung, in this piece, examined the term and Madonna’s role:

“Voguing has left its mark on the world largely due to the commercial success of the Madonna song of the same name.  On the surface, voguing appears to be the dance of black gay men that has been appropriated by popular culture.  However a close examination of the form reveals that voguing gives a voice to the oppressed: the gay, lesbian, transgendered, bisexual, black, latino, female, and otherwise marginalized subcultures of American society.  Although characteristically American in its geographic roots, Voguing has evolved in a community that pays homage to global culture and celebrity.   Furthermore, voguing continues to hold relevancy thanks to an ongoing reciprocating exchange of influences with commercial entertainment”...

 

By bringing voguing into the limelight, Madonna created a market for voguing in the commercial entertainment world.  As interest in voguing spread, the popularity of the already critically-acclaimed Paris Is Burning skyrocketed.  Other dancers outside of the the house of Xtravaganza also highlighted in the film catapulted to fame.  One of those dancers, Willi Ninja, whom I have previously mentioned, became one of the most recognizable vogue dancers, choreographers, and modeling coaches in the world.

As the global obsession with voguing fell out of the limelight, the focus of the ballroom scene shifted.  While still emphasizing community-based support and striving for innovative new dance steps, ball culture has devoted itself to rebuilding the community in the wake of AIDS.  As chronicled in Paris Is Burning, many participants in ball culture make their livings in the sex industry and risk infection and violence.  Even now, decades after the hight of the AIDS crisis, voguing legends continue to succumb to the disease.  Most recently, Willi Ninja passed away at the age of 45 after a long battle with AIDS-related heart failure.  By forging a long-standing relationship with the Gay Men’s Health Crisis and various HIV/AIDS organizations, ballrooms have focused on providing sexual health and lifestyle education to newcomers too young to have experienced the outbreak of AIDS and the immediate loss of a generation of gay men.  How Do I Look? documents this shift towards health education”.

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 PHOTO CREDIT: @peterhershey/Unsplash

I have tried to ‘master’ the Vogue dance and cannot get the hang it to save my life! It is a pretty cool thing to pull off and so many people were hooked on the video – the famous black-and-white promotion directed by David Fincher. The video was shot in Burbank, California in February of 1990 and was the result of a huge casting call – hundreds of dancers were auditioned in Los Angeles. The video matches the song’s themes and images of classic Hollywood and the lure of the screen icon. The video features many of the dancers who would appear on Madonna’s then-upcoming Blond Ambition Tour and is seen as one of the best music videos ever. The video has a rare and very eye-catching setting:

“The black-and-white video, set in Art Deco-themed 1920s and 1930s surroundings, starts off showing different sculptures, works of art, as well as Madonna's dancers posing. Along with this are images of a maid and a butler cleaning up inside what seems to be a grand house. When the dance section of the song starts, Madonna turns around, and, similarly to the lyrics, strikes a pose. The video progresses, and images of men with fedoras, Madonna wearing the controversial sheer lace dress and other outfits, follow. As the chorus begins, Madonna and her dancers start to perform a vogue dance routine, where she sings the chorus as her dancers mime the backing vocals. After this, other scenes of Madonna in different outfits and imitations of golden-era Hollywood stars progresses, after which there is a scene with Madonna's dancers voguing. Finally, after this scene, Madonna can be seen wearing her iconic "cone bra", after which she also performs a dance routine with a fellow dancer. As the rap section begins, different clips of Madonna posing in the style of famous photographs or portraits of Hollywood stars, begins, ultimately followed by a choreographed scene with her dancers and backup singers...

The legacy and impact of the video cannot be understated – even if it did court some controversy (which was not unusual for Madonna!):

“MTV placed the video at second on their list of "100 Greatest Music Videos Ever Made" in 1999.[49] In 1993, Rolling Stone magazine listed the video as the twenty-eighth best music video of all-time. Also, the same magazine listed "Vogue" as the #2 music video of all time in 1999 second only to Michael Jackson's Thriller.[50] It was also ranked at number five on "The Top 100 Videos That Broke The Rules", issued by MTV on the channel's 25th anniversary in August 2006.[51] It was the third time Fincher and Madonna collaborated on a video (the first being 1989's "Express Yourself" and the second being 1989's "Oh Father"). About.com listed as the best Madonna video.[50]

There was some controversy surrounding the video due to a scene in which Madonna's breasts and, if the viewer looks closely, her nipples could be seen through her sheer lace blouse, as seen in the picture on the right.[38] MTV wanted to remove this scene, but Madonna refused, and the video aired with the shot intact.

"Vogue" music video received a total of nine MTV Video Music Awards nominations, becoming her most-nominated video at the award show. It won Best Direction, Best Editing and Best Cinematography.[52][53][54] The video was voted #2 on MTV's "100 Greatest Videos Ever Made"[55]”

Vogue was included on the Rock and Roll Hall of Fame’s 500 Songs That Shaped Rock and Roll and has often been voted as one of the best songs of the 1990s. Madonna helped bring ‘voguing’ into the mainstream and popularising it. Beforehand, it has been confined to bars and discos in New York’s underground gay scene. The popularity of Vogue not only married sounds like Disco and House but it helped shine a spotlight on gay culture and helping bring about greater inclusiveness. The song’s hedonism is about togetherness and everyone getting together. It is rare to hear a song like that today but not rare to hear it from Madonna. Some say the song was not inclusive enough regarding race whilst others say it was a commercial pitch to get Madonna noticed – rather than being concerned with bringing the underground gay scene into the forefront. Vogue not only helped confirm Madonna’s status as the Queen of Pop but it brought House music to the mainstream. Who knows how many great Dance tracks of the 1990s would have been lost were it not for Madonna! There are so many fascinating aspects to Vogue. Not only are there the name-checked celebrities but the dance itself; the idea of positivity and bringing people together and the momentum Madonna had at that stage. Her career would change and take on a new life when Erotica came along but, after the blockbuster Like a Prayer; it would have been easy to rest on her laurels or take a break from the limelight. Instead, she struck a pose, got her groove on and created...

THE monumental Vogue.

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

FEATURE:

 

 

Sisters in Arms

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IN THIS PHOTO: Kelli-Leigh 

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

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THE weather is properly chilled today...

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 IN THIS PHOTO: I Am Karate

so it is time for another female-led playlist! I have been excited by the sheer weight and quality of music coming out this year and, to me, the very best has been made by women. This is true in the mainstream and the underground alike. We all need to be warmed up and have that teasing flame of music fill the body. Given that desire; here is another rundown of female-headed sounds that are guaranteed to convey the complexities of winter. There is the beauty and serenity to be found but a rawness and immediacy that definitely gets into the blood! Have a listen to these fresh – there are a couple of older songs – releases that are properly good. It is bad outside so you won’t want to go out – stay inside with this music instead! Here for you is some of the best female-led music that offers the warmth and energy we need to forget...

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  IN THIS PHOTO: Shaylen/PHOTO CREDIT: @piperferguson

ABOUT the rubbish weather.  

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

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PHOTO CREDIT: Conor Kerr Photography 

VOKXEN – Crystal Eyes

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PHOTO CREDIT: Declan Haughian

Bess Atwell – Grace

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Shaylen – Isn’t You

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PHOTO CREDIT: Carl Farrugia

Panic Pocket – Mrs Santa

Bibi Bourelly – Xmas Trees

I Am Karate – Work It Out

 
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Hannah Grace (ft. Gabrielle Aplin) – December

PHOTO CREDIT: Sebastian Barros Photography

BABYTEETH – Cocoon

Tiger Mimic – I Took Off My Body                           

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Iris Gold – Keep the Light On

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Antonioni – Easy Listener

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Moonlight Breakfast – Look Up

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PHOTO CREDIT: Joe Eastwood

Exhibitionist – Vicious Love

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Monica Martin – Cruel

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Runrummer – Soul Wrinkles

Grace Weber – Joy to the World

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Delaney Jane – Psycho

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Avril Lavigne – Tell Me It’s Over

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Wallis Bird – The Ocean

PHOTO CREDIT: Aaron Wynia for FADER

Charlotte Day Wilson – Nothing New

Woman’s Hour – Don’t Speak

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Rothwell – Darling

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Hockeysmith – Tears At My Age

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Lennon Stella – Fortress

PHOTO CREDIT: Helen Boast Photography

Kelli-Leigh – Nothing More

PHOTO CREDIT: Samuel Henger 

Katey Brooks – In Your Arms

Chloe Foy – In the Bleak Midwinter          

PHOTO CREDIT: David Ryder Prangley

Desperate Journalist - Cedars

INTERVIEW: Katey Brooks

INTERVIEW:

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Katey Brooks

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THE awesome Katey Brooks...

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has been telling me about her latest single, In Your Arms, and what its story is. I ask what she has planned next year and whether we will see more from her; which albums are most important and some rising artists we should follow and investigate.

Brooks tells me about a bittersweet musical memory and where we can catch her play; who she would support on tour if she had the chance and what advice she would offer artists emerging – she selects a great track to end the interview with.

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

Hi! I'm good, thanks. How are you? My week has been really wonderful thanks...and busy!

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

I'm a singer-songwriter/producer originally from Bristol (U.K.) living in London. I've been writing, releasing and touring music for over a decade now and have been fortunate enough to see many parts of the world because of it. My back catalogue spans a variety of genres but my current vibe is Indie/Folk-Pop with hints of Gospel and Soul. Is that enough of an intro? I'm a bit awkward; can you tell? (Smiles).

In Your Arms is your new single. What is the story behind it?

I went through a very painful breakup over the summer. I parted with the woman I loved very dearly and one day I just picked up my guitar and decided to tell her how I felt, in song. I had always felt like she never quite believed me when I told her I loved her and this was my way of really saying it. I'm happy it came out this way because I think, or at least hope, there's something in the lyrics we can all relate to - that pure, sweet, unconditional love for someone.

Will there be more material coming along? How far along are you looking?

There absolutely will. I'm just finishing the production on the second single - which will be out in late-January - followed by third and then the album in the spring! In between my original music, I'm also going to be sharing some covers of my favourite songs so watch this space (smiles).

In terms of artists; who do you count as idols?

Neil Young, Joni Mitchell; Annie Lennox, Tracy Chapman; Otis Redding, Jeff Buckley and John Martyn...god, the list is endless!

Do you already have plans for 2019?

Yes. Gentle ones. I was on the road relentlessly for a few years until this time last year and, as amazing as that was, that's not how I want to do things these days. I've discovered I'm actually more of a home-bird than I ever wanted to admit. So, I'll be releasing a lot of music (including my album Hearing Voices in the spring) and playing some special concerts in venues I love. Past that, we shall see!

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

Ooh, there are a few. Singing at the Bethlehem Live festival in Palestine and London 2012 are up there, but I'm going to say all the way back in 2007 at the Bordeaux Fête le Fleuve. I was a youngster on the main stage both opening and closing this beautiful festival. It was both a very exciting and extremely painful moment for me. My mum had literally passed away two days before but I had promised her I would go and play the festival. 

As hard as it was, I wanted to keep that promise. I thought about her and mentally dedicated it to her as I sung my song You Will Be Free. It was a very powerful moment and, to be honest, I felt her presence. I'll never forget that.

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

As both the receiver and the creator, it's everything. It's literally saved my life at certain times. It gives meaning when there is none; it makes sense when there is none and it gives joy without ever wanting anything in return. Music is just beyond words amazing, isn't it?!

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

Rumours by Fleetwood Mac

Just because it's perfection.

Tracy Chapman – Tracy Chapman

That record inspired me to write and sing.

Blue by Joni Mitchell

My friend Patrick Duff mentored me a little when I was younger and he recommended I listen for my development. Exquisite album which definitely influenced the way I sang at the time.

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

Oh, that would be telling...it's quite soppy. Can I keep you posted? (Winks).

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

It would be someone like Matt Corby because then I could really enjoy his set afterwards. I adore his voice/music and his presence on stage. 

My rider is always pretty simple: just a nice bottle of Malbec, decent veggie food and somewhere private, quiet and comfy to chill out before and after I play. Anything more than that is a bonus but to be honest wouldn't be on my mind before I play.

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What advice would you give to new artists coming through?

Just make music you love, work hard and be gracious. Look after and respect yourself. The rest is up to the gods.  

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

There are shows to be announced but, in the meantime, I have two special shows coming up in these lovely venues:

Friday, 1st Feb at Landmark Arts Centre - London

Saturday, 2nd Feb at Arnos Vale – Bristol

Tickets are available from my website.

 IN THIS PHOTO: Ash Radford

Are there any new artists you recommend we check out?

Ash Radford. Beautiful music, beautiful man. I think he's going to do big things in 2019. Fraser Anderson for all the same reasons. His voice is gold.

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 IN THIS PHOTO: Fraser Anderson

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

My answer to that question used to always be ‘no’. Haha.  But, nowadays, I'm trying to keep the balance. I like to just hang out with friends and family eating nice food and having the odd glass of wine or two. I love movies and have been known to indulge in many Netflix binge sessions. I'm trying to get back into sports too as I know how much my mental-health thrives from it. Climbing is at the forefront of my mind at the moment. I just need to find the 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).

Oh, thanks! Let's go with Fraser Anderson - Only a Boy. It's my favourite of his and features the beautiful bass playing of Danny Thompson (John Martyn, Nick Drake)

Nice chatting to you (Smiles).

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Follow Katey Brooks

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FEATURE: The December Playlist: Vol. 3: Before the Big Day Comes…

FEATURE:

 

The December Playlist

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IN THIS PHOTO: Ariana Grande 

Vol. 3: Before the Big Day Comes…

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THERE is not a lot more to come…

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 IN THIS PHOTO: Drenge

from this year and I am keen to collect together the very best that is around. It is by no means a poor week for music but not the same solid and epic collection we are used to. Artists are winding down and thinking about 2019 and, alongside a few Christmas songs, there are some more traditional numbers. It is interesting seeing what is out there and investigating the songs that are ending 2018 with a bang. From Drenge and Ariana Grande to Ian Brown and Maggie Rogers; there is plenty to get your teeth into! Have a listen to the latest collection of December tracks and I am sure there is plenty in there that will take your fancy. Even though this year is almost over, artists from every corner of the music are showing there is still...

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 IN THIS PHOTO: Maggie Rogers/PHOTO CREDIT: Olivia Bee

PLENTY of life left in them.

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

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PHOTO CREDIT: Caitlin Mogridge

The Modern Strangers – Red Strip Lights        

PHOTO CREDIT: David Ryder Prangley

Desperate Journalist – Cedars

Broken Bells – Shelter

Against the Current – The Fuss

Drenge – Autonomy

Janelle Monáe - Crazy, Classic, Life

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Allie X – Last Xmas

Amanda Palmer – Drowning in the Sound 

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PHOTO CREDIT: Craig McDean

Ariana Grande – imagine

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Bibi Bourelly – Xmas Trees

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PHOTO CREDIT: SHOT BY PHOX

Grace Carter – Ashes

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Joshua Homme & C.W. Stoneking - Silent Night

 

Ian Brown – Black Roses

Kelli-Leigh – Nothing More

Papa Roach – Elevate

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PHOTO CREDIT: Amber Pollack

Sundara Karma – The Changeover

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The Chainsmokers – Beach House

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PHOTO CREDIT: Michael Doyle Olson

Monica Martin – Cruel

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ZAYN – There You Are

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Matt Maeson – The Mask

Maggie Rogers - Tim McGraw (Recorded Live at Spotify Studios N.Y.C.)

Carlie Hanson - Numb

Mokita – London

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Mitchell Tenpenny - Goner

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PHOTO CREDIT: An Bezzi

Bianca Rhoden – Out of Words

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Grace Weber – Joy to the World

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Delaney Jane – Psycho

Cass McCombs – Estrella  

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I Am Karate – Work It Out

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Tamzene – Last Song

Avril Lavigne – Tell Me It’s Over

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Russ – Missin You Crazy

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Kodak Black – Testimony

gnash – t-shirt

TRACK REVIEW: Passive - Like This

TRACK REVIEW:

 

Passive

Like This

 

9.3/10

 

The track, Like This, is available via:

https://open.spotify.com/track/4zywxd6AMLoj8ewX8btYjK?si=HqmgDBAeTGWsaDX6b4-TlQ

GENRE:

Alternative-Rock

ORIGIN:

Watford, U.K.

RELEASE DATE:

30th November, 2018

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AS we are coming to the end of the year...

I wanted to look at what trends we might see in 2019 and why bands will make a revival. I will also investigate subjects in songs and why it is important to redefine and remould; a quick check at releasing music and why it is best to put quality over quantity; artists who are playing outside of London but get the best of both worlds; why next year will be an important one for music – I will end by looking ahead and seeing where Passive might head. There are a lot of impressive aspects regarding Passive but, perhaps, their name is not one of them. It is short and simple but it also happens to be very hard to Google. I can understand why they wanted something punchy but, not only are there other bands called Passive, but it is incredibly difficult to narrow down the guys on a search engine. There is not a lot they can do about it now but I do wonder whether their name is the best representation about who they are and how they stand out – one would not heard the name and instantly think about a unique and sparkling band who are doing things their own way. Maybe I am not seeing their side of things but it is just as well the band produce fantastic music. Their creative name and identity stands out a lot more than the one-syllable, Google-unfriendly name they have chosen to emblazon their uniforms with. I mention the name thing because, in order to get ahead and make the biggest stride, you need to distinguish yourself and be as visible as possible. In terms of the mainstream sounds; I think solo artists will continue to rule and there will be an increase in the artists who are talking about politics and social issues. The underground, mind you, will be very different. Things are not quite the same there.

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I think Passive will be among the chasing pack and there is going to be that need for bands to come through and make a statement. Whilst I think it is great solo artists are having more influence and they are the ones who are creating the biggest albums; bands have started to fade out in the mainstream and take less of a role. I have explored this before and wondered why this shift has happened – 2019 will be different regarding the underground and that imbalance. Whilst there are a lot more solo artists than bands in new music; I feel that desire for band-made music will change this trend. I feel we will clamber after bigger sounds and a sense of unity. Given the fact the U.K. is divided and isolated right now; that psychological issue – being alone and wanting to go solo – will have an effect on music. I am seeing some great bands emerge and make terrific music but it is solo artists who are getting most of the acclaim. I am seeing many pining for something bigger and a solid musical unit. I like solo artists a lot but do miss the days when bands were leading and what we were all listening to. Perhaps we have come too far to see that scene return but it is what bands are saying – or what they are not saying – that is giving solo artists the edge. Solo artists have the ability to be more diverse with their material and they can be a lot more personal. I think bands have got caught looking at rather general themes such as love and have not dug as deep as solo artists. The reason I think bands in the underground will make a claim is because of the way the world is changing and how music needs to react. We cannot stand by and see how things are shaping up without taking note. Passive talk about conventional subjects like relationships but they seem to have that desire to go further and write something important. They want to be discovered and loved and, to do that, they need to follow the likes of IDLES when it comes to subject matter. I do not think bands can strictly narrow their focus in a market that wants to see them succeed, push forward and rise to the top.

The band’s latest cut, Like This, redefines what youth is and puts a new spin on things. It is not, as you might expect, immature and generic but it goes a lot further and explores different angles. Maybe Passive are a few years off getting mainstream attention but they need to follow the same path as the biggest bands out there. In terms of lyrics and themes, Passive are doing the right thing and are not rigidly sticking with broken hearts and the same complaints. That is not to say heartache and strain is not valid and desired, but I think too many artists get fixated and do not understand the need to widen their horizons. If we are all listening to the same music and the same words, it means we are not being challenged and we go looking elsewhere. I think bands, as I say, will do a lot better in 2019 in terms of the underground and the subjects talked about will contribute to that heavily. The band, now, are discussing youth and a unique take on that but I think they will go even further and keep pushing things. I feel they can tackle subjects like politics and what is happening in the world but also stay closer to home. I am not one who feels relationships need to be ignored and we should forget them but too many people get fixated. Passive impress me because they combine an original set of lyrics and pair that with music that has so much colour, diversification and nuance. You can hear one of their songs and discover new light every time you investigate things. I do not think it is a coincidence artists who have made this year’s best albums are standing away from love and are looking at the wider world. I have some suggestions for bands like Passive and how they can succeed in 2019.

I have been a bit down on their name – their song titles are more striking – but they can do something about the lyrics and themes. They have already made a big impact regarding their voice and songbook but now, more than ever, we want bands to create music that is stirring and takes a political stance. We have lived through a hectic and chaotic year and are more separate than ever. I am not sure what next year will hold and whether we will be more stable than 2018. I doubt things will improve anytime soon and, because of this, we are looking to music for a sense of guidance, unclouded truth and escape. Bands who want to succeed and get into the mainstream need to think about music in these terms now. They need to provide some fun and light escape but also balance that with songs that study fresh angles and have a conscience to them. Alongside that, it is vital groups need to be the political voice and have to lead our hand. It might be impossible to achieve all of this but the desire for bands has waned because there are few who are striking the heart and opening the mind. The mainstream has seen a few great bands take big strides and resonate and I think this will translate into the underground. I think Passive opened their music account with a bang and, although they talked about angst, they are already growing and expanding their horizons. It is all well and good providing a blast of noise and anger but that will not last and impress if there is a samey and predictable message at work. General tension, angst and anger is useless if others cannot relate or a deeper message is not at play. We have seen bands perform for decades and the new crop needs to be aware of this. Passive have taken a big leap on their new single and are not solely talking about their own lives and are showing more maturity, awareness and boldness.

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The guys are balancing the demands and appeal of London with the different scene and identity of Watford. I think Watford is a great place for music and has that proximity to the capital. What gets me is how there is that focus on London and nowhere else. We know cities like Manchester and Leeds have a great scene and we are not placing a lot of attention there. London is vital but I feel you can take advantage of the city and not live there. The guys of Passive have played shows around Watford and are creating a legacy there but they are close enough to London and can get advantages from there. I do think it can be expensive and risky basing yourself in London and not always ideal. If you have a base that is close enough to commute but you do not have the same pressures and strains then that can benefit the music. I think Watford is a very up-and-coming place that needs to be explored more and many of us overlook. It is not as popular and bustling as Liverpool or Leeds but there are some great acts coming through. Passive have played some great local gigs but they have the ambition to head to London and conquer the city. They are playing in Hoxton tomorrow and are on the stage at nine. It is good to see them gain attention and traction in London but I feel they can base themselves in Watford and not lose focus. If you live in London, it does not mean you will have an advantage over anyone else and it can cause some damage. Being too engrossed in the city and being in the rush has an excitement but it can wear you down. The ability to have some personal space to create and that convenience to commute to the capital seems to be working for a lot of artists.

Passive have said the reason they are a band and playing together is because of the gigs. Live experience and getting that instant reaction is the most important thing to them. That makes sense. If you are in a band then you need to be seen and have people watch you connect. The way to do that is to get onto the stage and bond with the audience. Because of that, Passive are getting themselves out there and want that acclaim. They are doing well in Watford and gaining a name for themselves there but London is a harder game. We have more competition and it is trickier getting up that ladder. Passive are taking the right course and their exceptional live show, combined with their subject matter and natural bond means they are making waves and getting moving. I think it will be a while before they can command the biggest stages and gain the acclaim they need but the guys have focus. There are a few reasons why the guys are getting ahead and being talked about. We live in a time where people are updating their Instagram account hourly and they need to post everything they eat. The same goes for social media. We get fixated with exploring and sharing every facet of our lives and that desire to be seen all of the time. It can be quite a negative culture and that blends into music. Many assume that, unless you are putting out new material each month, we will look elsewhere. There is truth in some of that argument. I do not feel artists should leave a huge gap and be quiet for too long – that can be quite a mistake. Rather than leave years between albums; I think a new song every few months is not too excessive or lacking. Passive feel that there is this need to always shove songs out into the world or you will not get noticed.

They realise it is better to have that quality and pace things a bit rather than rush into the world. I have seen artists who have put out music every month and they worry people will look elsewhere if you are away for a while. It is more important to have songs you believe in and stand up rather than rushing into things. I hear artists who have a catalogue of songs and they all sound fairy alike. Maybe they mean well but there is little risk leaving a bit of a gap. So long as you do not leave an enormous gap between songs and E.P.s then you are okay. People will buy into the music and stay with you if you have the quality and potency. Passive have managed to step from their debut and have grown between releases. I feel like they have learned a lot and are keen to produce music that is more stirring and enduring. Rather than look at love, anger and vague issues; they have brought us a new song that explores youth and puts a new spin on it. Like This is a great song that gets into the blood and shows its quality. The band has spent time crafting a song that is natural yet powerful and they have managed to make that leap. I think there is this wider concern new artists risk being lost and overlooked if they are not constantly in the spotlight. Passive have taken the risk, however small, and are placing quality over quantity. I know they will continue to stick with this practice and continue to make great music. I will look at what 2019 holds for Passive but, right now, they are ending the year will a big statement. Many will want to see an E.P. from them very soon but I know the band will want to make sure their sound and material is solid before they commit.

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Given the fact Passive can be quite explosive and bold; many might not have expected something quite tender and soft in the opening of Like This. We hear of a raw and eager tiger in the hand; sandwiches and someone on their break. There is this fusion of images and unique lyrical viewpoints that get the mind working and made me wonder what the song was about. I know the band is talking about youth and things around that but there is oblique quality in the opening lines. You are posting and conspiring opinions but the images lead the imagination in various directions. One hears a lot of melody and texture through Like This. Rather than go for the throat and throw too much energy into the song – like many bands would – there is an accent and personality that emerges from the song. The hero will keep doing what he does and, at every stage, there is some mystery behind the lyrics. I get the impression there is a particular relationship being document but, rather than cast blame and talk about something negative, something larger than the relationship itself is being explored. Our hero wants to fix things and look at the positive sides. If you are young, it can be hard to keep things together and show that maturity. Many make bad mistakes or let things crumble too soon. I get the sense the lovers are hoping for the best to an extent and they are not sure the best way to make things last. Maybe there is a temptation to walk away but, rather than play to the natural course of youth, there is something more adult and strong-willed emerging. The hero is talking about limbo and stepping out of it. Maybe this is a rough patch and things are not as clear as they used to be. A lot of songs about relationships are either concentrated on blame and sorrow or the lust side of things. It can be quite boring hearing the same thing over and over.

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Passive have taken a different angle and they are showing great heart. The lyrics to Like This are not your usual fare and are very matter-of-fact. There is no disguising the fact the couple are drifting a little and unsure but the hero wants them to move in the right direction. The composition supports the words with comfort and guidance but never seems too thin. In many ways, I am reminded of Arctic Monkeys and their more settled and explorative work. Passive take the sound down a bit but that does not mean there is a lack of passion. They only recently released their debut single – I interviewed them about that – and it is good to see a variety and evolution come into their work. I feel a lot of bands feel like they need to be too heavy and frantic regarding the composition but Passive are showing more grace, intelligence and emotion. As the percussion riffles and the lead talks about blame and conscience; the cooing and harmonised backing vocals remind me of Supergrass. It is a nice combination of influences and sounds that makes Passive’s new track a winner. A lot of new bands would rush in and produce a song that was very gutsy and raw. Instead, Passive are able to explore issues around youth and how to handle a bad situation. Every listener will get their own viewpoint regarding the song and have their own take. It is not obvious whether the two survived and who is really to blame for the friction. Perhaps they have been together a long time and it just a case of things naturally starting to come away at the seams. Our hero is resolute and showing some positivity but there are a lot of different issues that need to be resolved and discussed.

I was drawn to the very mature yet evocative sound put out and how much personality there is. The voice is not drowned by the composition: our man is able to discuss the situation and win over the heart with a very effecting delivery. It is rare to see a band explore maturity and relationships in a song like this and that is a positive for Passive. I am not sure whether they will look at politics and social subjects next year but I think the only way they will grow and challenge the best is to think like that. It is good hearing about relationships but we do not always want to hear about them. It can be very boring and depressing and, in a fractured world, there are more important things to look at. Passive know this – I hope they do step out of a comfort zone in 2019 – and have crafted a great song that gets into the head and takes a different stance. It is wonderful hearing Like This unfold and the way it strikes the imagination. Even though they are talking about something that is quite common and routine; there are new considerations and a fresh approach. The guys know the same old clichés and angers will not cut the mustard and have produced a song that is both relatable and original. This is a hard trick to pull off so kudos should head the way of Passive. I like their sound and the fact they are not following everyone else. You get grace, tenderness and something more stirring in Like This. There is explosion and force but it is more lyrical and suggested rather than volume-based. You can tell they have worked hard on the song and really spent the time to craft something pure and meaningful.

It has been a good and prominent year for Passive. The guys formed last summer so they are fairly new to the industry. Their rise and popularity has come off of the back of a fresh and raw sound that fuses with memorable lyrics. Anti Romantic was a good debut but they have come a long way in a short space. Rather than repeat a song that looks at a feeling of disconnect and anger; there is something more mature and original with Like This. I feel the guys are making big statements and they are going to have an exciting 2019. Make sure you catch them in London tomorrow but, if not, catch them on the road in 2019. I know they will have London shows but will want to keep busy in Watford. I do hope they manage to balance the relative quiet of their home and be able to commute to the capital a lot. We all get too focused on London music but there is this danger of forcing artists there in the assumption they can only succeed if they are where the action is. It can be hard to get acclaim out of London but good music will stand up for itself. Passive are anything but and are proactive in their ambitions. It is challenging being able to tackle the competition and stay ahead but I opened by talking about bands and how they will get more acclaim next year. Maybe the mainstream will focus more on solo artists but the underground is a different beast. I think we want to see a bigger sound and togetherness. Bands have fallen out of favour to an extent but next year will change. Passive are a group who have made an impact on their debut single and show they are capable of evolution and change. They will not want to release a load of material next year but they do need to think about an E.P.

The only reason people will see them on the stage is a collection of songs and they will want to hear originals. The guys are testing their material and seeing which songs connect and how they are being received. If the songs, through exposure, get popular and applause then that means there is a demand. The first year or so of their career has been dedicated to getting a couple of tracks out and making sure they perform as much as possible. 2018 has been a successful one for Passive but they know there is a long way to go. I think they are aware of the competition out there and are already making sure they stand out from the pack. I am pumped to see what happens next year and whether they will release more music. I feel there needs to be a few singles and, in terms of gigs, they are starting to get focus in London. It is hard to balance the need for economy but being as visible and hard-working as possible. Given the stiff competition and the mass of new artists coming through, Passive’s 2019 will need to be a mixture of well-timed and important singles and as many gigs as possible. I think they can justify touring further afield than home and London and their social media following suggests they have a wide-ranging fanbase. Radio and online sites have shown them love and there is evidence to suggest the guys can go very far. I like that they are throwing out into the world and I have faith they can be among the bands to watch next year. Make sure you listen to Like This and get involved with the band. I am seeing few bands who have the same combination of sounds and qualities – meaning Passive can really clean up and go a long way. It is still early days and they are taking things steady. What they have achieved already leads me to believe they will be just fine and make a success of things. Their career and life is quite fresh but, on the basis of songs such as Like This; I feel the future of Passive...

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IS very encouraging indeed.   

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INTERVIEW: Big Wild

INTERVIEW:

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Big Wild

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AMERICAN producer Big Wild...

has been telling me about his new single, Heaven, and its story. I was eager to know about the upcoming album, Superdream, and what sort of themes inspired it; the kind of music he grew up around the albums he loves the most.

Big Wild talks about his plans and who he’d like to support on the road; a rising artist we should all look out for and whether there are any tour dates in the diary – he ends the interview by selecting a great song.

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Hi, Big Wild. How are you? How has your week been?

I’m doing well! This week has been busy. Just finished two co-headline shows at Bill Graham in San Francisco and WaMu Theater in Seattle. Now, I can finally decompress a little bit.

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

My music is fairly diverse but often falls into Electronic, Indie and Dance genres. I produce, sing and write it myself so my songs are very much a representation of me.

Heaven is your latest track. Is there a story behind it?

Heaven was inspired by a photograph I found online of rain in the ocean with a man floating in the centre with the biggest grin. It seemed as if this person was in total bliss. I wanted to write a song capturing that feeling; of witnessing something so special, euphoric or breathtaking that it feels like ‘Heaven’.

Your album, Superdream, is out in February. What sort of themes inspired the songs?

Superdream covers a variety of topics that are all rooted in my own personal experiences. Existentialism, falling in love and moving across country are some of the things I sing about. The album is largely a reflection of moments in my life.

You have received support from the Electronic duo ODESZA. How important is that support and faith?

Their support early on was really helpful in getting exposure, understanding the music industry better and putting together a live show. Their role in my career was invaluable.

Are there particular artists that inspired you to get into music?

I first got into music by producing hip hop instrumentals. Artists like Dr. Dre, Pharrel, and Timbaland were my favourites and inspired me to have my own unique sound. Since then, my inspirations have evolved a lot but Hip-Hop producers formed my foundation for understanding and producing music.

Do you already have plans for 2019?

Lots of plans. Superdream drops February 1st; I embark on a headline tour in March and then there are lots of shows planned throughout the summer and the rest of the year. I’m also working on some live sessions and stripped back versions of my new songs so people can hear them in a different light and understand my voice a little better.

2019 is going to be a busy year.

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

Co-headlining Red Rocks. Such a beautiful venue and a perfect night. Definitely a life highlight.

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

Dr. Dre - 2001

Tame Impala - Currents

Gorillaz - Demon Days

All three are super unique especially in terms of production. Finding your own production and songwriting style is such an amazing form of self-expression and I feel these albums embody that.

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

A Neumann U 67 microphone. That’s what I used on this record and I love the way it captured my voice. It isn’t cheap though. Haha.

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

I would want to go on tour with Paul McCartney. Give me a fridge full of kombucha and I’m all set.

What advice would you give to new artists coming through?

Before anything else, focus on having a unique style and sound that is true to who you are. The more my career progresses, the more I realize how the ultimate artistic goal is to create art that is a perfect representation of yourself, vulnerabilities and everything. Establish this as your goal and then build your business and success around it.

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

I’ll be at Decadence in Denver on N.Y.E. and then Holy Ship! in January. After that, I’ll be working on the set for Superdream and then starting the Superdream tour for pretty much all March. I’m hoping to begin playing the new set overseas in 2019 as well...

Are there any new artists you recommend we check out?

I’ve recently found this artist named Louis Cole. His YouTube videos are hyper-creative and his music is really good too.

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

Music is both my main source of stress and relaxation, ironically. When I’m truly unwinding though I like to hike and explore nature a bit.

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).

Only You - Theophilus London (ft. Tame Impala)

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Follow Big Wild

FEATURE: The Good, the Rad and the Beautiful: Confirmed and Rumoured Albums to Look Forward to in 2019

FEATURE:

 

 

The Good, the Rad and the Beautiful

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IN THIS PHOTO: Maggie Rogers/PHOTO CREDIT: Jenn Five for DIY

Confirmed and Rumoured Albums to Look Forward to in 2019

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WE are still getting to grips with the albums of this year...

 IN THIS PHOTO: Let’s Eat Grandma released their incredible sophomore album, I’m All Ears, earlier this year/PHOTO CREDIT: Getty Images

and the artists who have defined music. It has been a very eclectic and busy one that has seen some terrific work come through. Whether it is the inflammatory and essential sounds from IDLES and Shame or the terrific Jazz of Kamasi Washington; the strangeness of Let’s Eat Grandma or the Pop of Robyn – I have been delighted by the variation and boldness that has been revealed. Everyone has their own interpretation regarding what defines 2018 but I think the raw and more political/social-minded records have made the biggest impression. We have a few more days to go until things start to wrap up but there will not be any big albums coming along that challenge the best of the year. I know there have been some albums announced for next year and others have been rumoured. I am looking around and seeing what next year is already offering and some of the artists who are making a return. One of the artists I am most looking forward to hearing from in 2019 is Billie Marten. Her 2016 debut, Writing of Blues and Yellows, was my favourite of the year. There have been some changes for her – moving from her family home in Yorkshire to living in East London – but her pure and unique voice remains unchanged. As she told the BBC in this interview; not everything is hunky-dory:

"I'm 19 years old - it's the worst thing about me," she says when asked her age.

Expanding on this, she says: "I guess it's just the reaction when you say you haven't even hit your 20s yet...

"Most people's perceptions of you immediately change because they know you've not been on this planet very long. There's a tendency to say, 'Oh, she's just a girl and she doesn't know what she's doing.'"

"In the city everybody's still grafting and working, heads down, and there's no communal love," she says.

"When I go home we're all miserable but we're all in it together, whereas here you're left on your own a lot. The Tube sucks and it's always dark. It's harder".

Marten articulates feelings many of us have and one of the reasons her debut album and new singles like Mice resonate is because she does not hold back and is completely honest. There is never the feeling everything is doomed and she is using music as a way of venting. Her lush, beautiful and enriching version of Folk touches the soul but tells a lot about the teenage artist. CLASH caught up with Marten and she talked about the changes in her music – the upcoming album was made with Ethan John:

“...On the new record, Billie writes new narratives for the people she sees at a glance. Her storybook pokes fun, draws caricatures and unpicks the irony of the world around us, viewing how we as humans adapt and settle in it.

“I’ve felt more independent musically and that I’ve grown more confidence to be a musician in my own right, something I always felt guilty of before. I’ve properly trusted in my body this time around so the instinctual force has been strong”...

Over the last couple of years, Billie has had a small shift in perspective; she now relishes an open space without a poster, and has become more awake to society, and has found a home living above a bohemian couple in their 70s. The songs capture the small strokes of magic that we search for, and a lot of them didn’t exist anywhere except her mind before being recorded.

“That’s quite nice for me because the songs don’t pretend to be something they’re not, they’re just sweet and small and important,” she smiles. Billie Marten is a songbird, and we should take the time to listen to not just the sweet words and tunes, but to the meaning and the story behind each ones”.

Marten did mention the name of her sophomore record when she was on BBC Radio 6 Music recently but it escapes me! I think it will be one of 2019’s very best and for me personally, it is an album I am dying to hear. That is not the only long-awaited album I am excited about. Madonna has announced she is working the follow-up to 2015’s Rebel Heart and it will be good to hear! She has not long turned sixty and the Queen of Pop has kept her cards close to the chest regarding themes and sounds. Rebel Heart was lauded and marked a bit of a return to form.

 IN THIS PHOTO: Madonna watching Migos perform at Wireless Festival at Finsbury Park on 7th July, 2018/PHOTO CREDIT: Joseph Okpako/WireImage

I think she is at her strongest when not collaborating with the ‘hip’ and ‘cool’ producers and trying to fit into the modern mainstream. Rebel Heart boasted a bit more of the true and unique Madonna. Her post-2000 output has been mixed in terms of quality but you can never predict where she will head and what will come next. I am always thrilled to hear of Madonna material and it looks as though songs are coming quite quick. It was hoped she’d release a record this year but there have been delays – expect something early in 2019. I am pumped to hear the debut record from Maggie Rogers. Like Billie Marten; here is a young talent who differs from everyone out there – even if their styles are very different. The U.S. songwriter brings us Heard It in a Past Life on 18th January and it will be the perfect way to banish the winter blues! Light On and Give a Little were released this year and will form part of the twelve songs on the record. Greg Kurstin works alongside Rogers (there are a few others who contributed to the album) and it seems like things have been moving fast for Rogers. She has claimed much has changed and it has all been a bit scary. If life has been disruptive and predictable then the music she is putting out doesn’t show that strain.

 PHOTO CREDIT: Olivia Bee for DORK

In this interview with DORK back in July, she talked about the album (the release date was not known but has been established) and she talked about collaborators and themes:

“It’s impossible not to name-drop when it comes to Maggie Rogers. On her debut album, she’s working with Greg Kurstin, Rostam, and Ricky Reed. She says, “I learned so much working with these people, that I just feel so lucky to have had collaborators like that for this record.” No biggie.

She’s also doing whatever the bloody hell she wants when it comes to releasing singles and the record. “I’m just like, making decisions when I have decisions to make. Right now I don’t need to know what the third single is. I know what the second is. I feel in the flow; I feel good.

Maggie’s totally rewriting the rules for this album release. Going with the flow and trusting her instincts seem to be her mantras for the process. “When you really settle, you already know the answers to all the questions. Just takes a little time. And trusting it, I think that’s the thing I’ve learned over the last two years. When everything’s so new, it’s hard to figure out what your instinct’s saying. Especially when it’s not always the convenient answer.

“This record is a lot about change and transition and how powerful that can be and how exciting that can be but also like how terrifying it can be and anxiety-inducing. It feels like everywhere I look things are changing these days. Whether it’s social, political, personal. Its just kind of something that, as personal as it feels and as much change as there’s been in my life, it also feels like a greater narrative.”

January will also see the release of Alice Merton’s debut, Mint. Singles such as No Roots and Lash Out show what she is capable of and many, myself included, are excited to see what Mint will provide. The German-Canadian artist is one of the most exciting in new music and someone we all need to keep an eye on. Ladytron’s eponymous album is released on 1st February and is the sixth from the Electronic band.  Singles released so far suggest Ladytron will be grittier and darker than their previous work and it seems like they are taking things in a new direction. Nina Nesbitt is releasing her hotly-anticipated album, The Sun Will Come Up, the Seasons Will Change, on 1st February and it follows the incredible Peroxide (2013). White Lies’ Five is also out on 1st February and will be great to see a new album from them. March looks set to the be the biggest and most exciting months for albums in 2019! A lot of albums are rumoured and have no set release date (I shall come to them soon) but there are some huge releases in March. The Japanese House (Amber Bain) releases her album, Good at Falling, through Dirty Hit - and it follows the singles Lilo and Follow My Girl. Here is an artist who has been tipped for success and it has been a little while to wait for a debut album.

 IN THIS PHOTO: Weezer performing at the Osheaga Music and Art Festival on 1st August, 2015 in Montreal, Canada/PHOTO CREDIT: Mark Horton/WireImage

It is understandable given the pressure and work required but many are relieved we get to see an L.P. from the Buckinghamshire gem. There are a lot of great solo acts around but there is something immediately satisfying and wonderful about The Japanese House. Given the material she has already put out; I expect some big critical thumbs-up come March. Weezer release their eponymous album (another one!) on 1st March and, also known as ‘The Black Album’, it has been on the cards for a little while now:

“Weezer frontman Rivers Cuomo first hinted at the album in April 2016, shortly after the band released their tenth album Weezer (The White Album). "What could stand out more against 'White' than 'Black'? I think it's going to maybe be like Beach Boys gone bad. I'm thinking of swearing, which is something I've never done in songs."[2]

While promoting the band's eleventh album Pacific Daydream in August 2017, Cuomo said "The original plan was the Black Album but Pacific Daydream really came together. The Black Album is pretty much ready, it's coming"[3]

Dido makes an unexpected return on 8th March with her album, Still on My Mind. It is her first album since 2013’s Girl Who Got Away and it is good to have her back on the scene!  It’s only single so far, Hurricanes, is a more Electronic and tougher cut than one would expect and, like Ladytron, might suggest the songwriter is heading in a new direction.

Dido has also announced tour dates – she has not taken to the stage for many years – and many are curious to see what her upcoming album will contain and whether it mixes in a new direction with elements of previous albums such as No Angel. It seems female artists are defining the sound of 2019’s first-quarter and a new Lana Del Rey album backs that up! Norman Fucking Rockwell is out on 29th March and looks set to make waves. She only release an album last year – the excellent Lust for Life – and the single Venice Bitch shows she is in incredible form. This article from Variety (from this September) announced the album and a few details:

“Lana Del Rey’s career is filled with eyebrow-raising moments, and we got another one on Tuesday when she announced on Beats 1 that the name of her new album will be “Norman F—ing Rockwell.”

She told host Zane Lowe how the title of the album, a collaboration with Bleachers frontman Jack Antonoff (Lorde, Taylor Swift, St. Vincent) as well as her usual crew came about.

“Working with Jack, I was in a little bit of a lighter mood because he was so funny,” she said. “So the title track is called ‘Norman F—ing Rockwell’ and it’s kind of about this guy who is such a genius artist, he thinks he’s the sh– and he knows it and he won’t shut up talking about it. So often I ended up with these creative types — or not, or whatever — and they just go on and on about themselves and I’m like yeah, yeah. But there’s a little bit of merit to it, also. They are so good. I just like the title track so much that I was like OK, I definitely want the record to also be called that”.

We know The 1975 will bring us Notes on a Conditional Form – date is not known yet – and only just released the epic A Brief Inquiry into Online Relationships. It is surprising to see the band release too albums so close to one another but it is evident they are in exceptional and career-defining form. The reviews that followed A Brief Inquiry into Online Relationships were staggering. SPIN recently provided their thoughts and there are many similarly-impressed reviews:

“How often does your carefully curated persona misalign with your actual personality? How much suffering could you avoid if you gave up the game entirety? And why the hell should you believe Matt Healy when he offers the same alternatives to meaningless sex and screen time that you ignored from your parents: Honesty is the best policy, dare to be great, give yourself a try. It holds weight because the 1975 are living proof, even if he doesn’t always take his own advice. Try and find the earliest video of “Sex,” with their severe haircuts, black-and-white branding, and Johnny Cash posters. This was a group of young men trying so damn hard to be perceived as austere and cool, while critics claimed to see right through them. Six years later, the critics are on their side, and it doesn’t even really matter. The 1975 are still whoever the hell they want, and completely themselves”.

 IN THIS PHOTO: Adele (photoed in 2015)/PHOTO CREDIT: Alasdair McLellan

There are no album titles of confirmed dates yet but we know 2019 will see new albums from The Raconteurs, Adele and Coldplay. Sheryl Crow also promises new material and it seems like there is a lot to get excited about. It will be interesting to see how both The Raconteurs and Adele sound after a fairly long gap – The Raconteurs’ previous album, Consolers of the Lonely, was released in 2008; Adele’s 25 was released in 2015 – and whether they will make a big splash! This article from Monster Children brings in a few other rumoured albums that are worth looking forward to:

“In October of 2016, the world received a truly magical gift: Solange’s third full-length album, A Seat at the Table. Oh, what I wouldn’t give to pull up a chair at one of Solange Knowle’s dinner parties. I bet she’s a fantastic cook, too, because is there anything she can’t do? She even managed to rock hives at her wedding. Seriously, the amount of cool she omits is almost offensive. Anyway, earlier this year, New York Times journalist Ayana Mathis published an article saying we should expect a Solange release “this fall, probably sometime soon.” Alas, fall has come and gone, so Solange updated her Instagram bio last week to respond to the increased speculation. It reads: “prolly next year.” Suddenly 2019 can’t come soon enough...

IN THIS IMAGE: Tom Waits/IMAGE CREDIT: Peter Ochabski  

Okay, so I’ll admit that this one might be more of a personal wish than a well-informed rumour. BUT, hear me out. In April of this year, Chris Douridas of LA-based KCRW radio announced on his show that Tom Waits is “at work on a new album.” I know because I listened to the audio posted here. Is a ten-second audio clip enough evidence to make such a declaration? No, but I’m doing it anyway because there’s only so many times I can listen to “Bad As Me” before I quite literally go crazy.

Speaking of musicians who take their sweet-ass time to release records, remember when we all waited 14 years between D’Angelo’s Voodoo, and his 2014 follow up, Black Messiah? It turned out that D’Angelo was dealing with some pretty serious substance abuse issues throughout that time, and Black Messiah was totally worth the wait anyway. It looks like we won’t be cooling our knees for much longer though, with the soul singer cancelling a performance earlier this year because he was “deep in the recording process”. Fans have put the rumour mill into overdrive ever since, and I’m not too ashamed to admit I’ve been caught up in the hopeful hysteria”.

A lot of new releases and announcements will come along pretty soon but, from what we have heard already, it seems there will be some big records out! Whether you want a bit of Madonna or Billie Marten; a great debut from The Japanese House or another album from The 1975 – a lot of variety and anticipated albums are coming our way. 2018 has been a huge year for music and we have seen some of the best albums of the past twenty years released this year. There is no reason to suggest 2019 cannot match that quality and it many are already looking ahead. Keep your eyes and ears peeled but, from what is announced and rumoured, it seems that 2019...

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 IN THIS PHOTO: Billie Marten in 2016/PHOTO CREDIT: Dannye Payne for The 405

WILL not disappoint!

FEATURE: Too Many Cooks: Should Artists Be More Singular and Self-Reliant?

FEATURE:

 

 

Too Many Cooks

PHOTO CREDIT: @iamjohnhult/Unsplash 

Should Artists Be More Singular and Self-Reliant?

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MAYBE there is a lack of necessary talent and skills...

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 IMAGE CREDIT: Getty Images

but I am finding so many albums overloaded with producers and writers! Albums throughout time have been stuffed with engineers, producers and songwriters and I wonder, really, whether there is any need. This year has been no exception. Take a record like Isolation by Kali Uchis. It is a fabulous album and one that I feel should be regarded as one of 2018’s very best. Whilst I love what Uchis does and think she has a great sound; her album has twenty-two producers! There are fifteen songs on the album and it seems like there are far too many people working on it. Some might say this marks a lack of ability from the artist but I actually feel Isolation – ironic in title! – would be stronger is Uchis took more control. Tommy Genesis’ exceptional eponymous album has about thirteen producers and it looks really offputtng when you see it. I know being a ‘producer’ in today’s music can mean an artist who collaborated and had minor input but I would like to see more focus and streamlining in music. Although some of this year’s biggest albums – from the likes of IDLES, Kamasi Washington and David Byrne – had a few producers on them; it is still a much more muscular and focused look. Maybe three or so producers is not so bad and it offers perspective and range. I would argue a single producer would create a more cohesive and tight record but that is my opinion!

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 PHOTO CREDIT: @pawelj/Unsplash

What bugs me is how busy and crowded records are. If an artist wants to collaborate with a few different musicians then that is fair enough. It is this idea that those collaborated are producers and warrant that sort of credit. You have these albums that arrive and the central artists is buried in a sea of producers and writers. Even modern-day icons like Beyoncé have endless producers on her albums and it seems unnecessary and ridiculous. Many might say the records are as memorable and celebrated because of the different voices but who is to say the artists themselves could not have handled the responsibilities? It is more an issue with solo artists but I hate seeing song credits and having an army of writers and producers. Not to sound like an old man but all the best and most enduring artist of the past had very few cooks in their kitchen. They might have had a producer and sound engineer but, when it came to the writing and creative side, there were very few others involved. I know icons from across time have suffered this bloated approach to music – including Pop legends like Madonna – but it seems to be happening a lot today. One reason why the mass of producers and writers piling in annoys me is because it takes something away from the artist.

 IN THIS PHOTO: Madonna/PHOTO CREDIT: Getty Images

If there are so many others calling shots and having their say then it is much more of a group effort than a solo project! I admire those who seek out new producers and can collaborate with others but that can be done economically and without packing too many into the studio. There is this argument between getting the sound right – even if that does involve a lot of other people – and ensuring the central artist has their role and does not have a minor role. Look at the best albums of this year and, largely, they are slim and muscular when you look at the producers and writers. Most genres are culpable and I was shocked a while back when Ed Sheeran released Galway Girl – an awful racket! – and there were nine writers listed! I mentioned this a while back but how can you have NINE people writing a song?! It is almost like they all pitched a few lines or a few words each! Given that it (Galway Girl) is not a Pink Floyd epic or Bohemian Rhapsody; one wonders why it takes so many people to write such a thing! Ed Sheeran is someone who does not have too many others write his songs but on his last album, ÷, I counted eight producers! It is very rare to hear the unique and personal voice of an artist if you have so many different people pulling their own way.

I am trying to think of an occasion when an album has been so chocked with names and it has stood the test of time. Maybe the likes of Madonna are rare exceptions but I feel the best and most resonating music is that which is largely controlled by the artists themselves. It is good to have a couple of co-writers but is modern music defined by a raft of other bodies! Look at two very good and different Pop albums. The stronger effort, Robyn’s Honey, had about five producers and the co-writing credits are quite slender. A less challenging and nuanced record (but still very good) is Rita Ora’s Phoenix. There are, would you believe, twenty-eight producers listed! Each of the twelve songs, bar one or two, are crammed with co-writers and it makes me wonder why so many people were needed! I have listened to the record and the lyrics are not that demanding; the production is solid but hardly the work of Tony Visconti! Do we truly need SO many human beings to make such easy music? The only way I would ever feel comfortable reading a list of producers so long is if an artist sampled others and was crediting them. Maybe there is that thing where modern artists and producers are keen to be associated with a big name like Rita Ora – or being a producer or writer requires very little input. The albums I have listed – full of writers and producers – have all been acclaimed and proved popular but that is not to say they would be weak if fewer people were involved.

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 IN THIS IMAGE: The cover for Rita Ora’s new album, Phoenix/IMAGE CREDIT: Getty Images

I am not even narrowing down the argument to mainstream Pop. From credible Rock bands to Hip-Hop and Rap artists; it seems to be the way things are going. That is also not to say modern music is purely about a lack of focus and clarity. So many artists are capable of writing all their own songs or keeping things very uncluttered. It is not only writing and production credits that can make the eyes water. Look at the music that has come through this year and, again, the best tracks are those with few voices in the mix. This is more of a modern problem but we have so many tracks that pile artists together. I have streamed some songs that have had about five or six other names on them! You open a song on Spotify and there is this endless scroll as we see all the other featured artists. When you hear the song, the contribution of others is little more than the odd grumble, word or interjection. I will bring in a few different articles (penned in various different years) that speculate why so many artists bring so many different people into the mix. Last year, the BBC published an article that explored the nature of the modern hit:

“A new study by Music Week magazine shows it now takes an average of 4.53 writers to create a hit single....

The publication analysed the 100 biggest singles of 2016, and found that only four were credited to a single artist - Mike Posner's I Took A Pill In Ibiza, Calvin Harris's My Way; and two separate hits by rock band Twenty One Pilots.

Ten years ago, the average number of writers on a hit single was 3.52, and 14 of the year's top 100 songs were credited to one person, including Amy Winehouse's Rehab and Arctic Monkeys' When The Sun Goes Down.

The best-selling song of 2016, Drake's One Dance, needed eight writers - but even that pales into insignificance compared to Mark Ronson's Uptown Funk, which took 13 people to create, leading Paul Gambaccini to brand it "the most written song in history".

PHOTO CREDIT: @rawpixel/Unsplash

(To be fair, Uptown Funk originally listed a mere four writers, but others were added when it was noticed the song bore a resemblance to The Gap Band's 1979 hit Ooops Upside Your Head.)”.

According to Mike Smith, managing director of music publishers Warner/Chappell UK, it is simply that the business of making music has changed.

"Think back 20 years and an artist would take at least two or three albums to really hone their craft as a songwriter," he told Music Week.

"There is a need to fast-forward that process [which means record labels will] bring in professional songwriters, put them in with artists and try to bring them through a lot faster."

All this unfettered creativity sounds idyllic, but there is a downside. If you have 13 writers on a song, each of them gets a slice of the royalties when it's purchased or played. And the money doesn't get shared equally, which means lesser-known writers who contribute a line or a lick to a hit song may only get 1% of the profits....

PHOTO CREDIT: @blankerwahnsinn/Unsplash

And then there's the issue of homogenisation. If the world's biggest artists all employ the same writers, could your dad actually be right when he claims "all music sounds the same these days"?

For Scottish pop band, Chvrches, that's a real risk.

"People don't make albums any more," synth player Iain Cook told BBC News in 2015. "They make 11, 12 songs, and they put them out as an album but they feel like a greatest hits, or a playlist.

"And maybe out of those 10 or 11 songs, those co-writes that you do, there's a global number one. But it's not yours."

Singer Lauren Mayberry added: "When I listen to our record, I listen to it and think, 'that has a strong identity'”

That is a lot of information to take in but a few points comes through. The lack of identity and using the same writers for different artists; having this rather factory-like approach to creativity – is this what popular music is about? This article (from 2008) looks at the lucrative business of collaborating and investigates the issue of cuts and royalties.

“I sometimes get asked by songwriters what percentage they should ask for when they collaborate with other writers and artists. Some writers that write the so-called "top-lines" (vocal melody and lyrics) feel that they should get more than 50%, claiming that that's pretty much the whole song and the rest is production and arrangement.

I usually respond with the question: "Do you ever want to work with this person again?" If the answer is yes, I strongly advise equal splits all the way. Do you think Lennon and McCartney would have written half the classics they did if they'd spent their time arguing about who wrote what, and trying to get more songs than the other onto each album?”

 PHOTO CREDIT: @neonbrand/Unsplash

Other genres, like Hip-Hop, are a bit more complicated to navigate and explain:

“When it comes to hip-hop (and sometimes R&B) the question of songwriting splits can become even more intricate. Look at the credits of some of those records and you'll see up to ten names on one single track. Sometimes it's due to all the samples they've used, but often it's because producers set up a groove and invite a crew of people to jam on it. Then the publishers tear their hair out, as it's difficult to give a writing credit to "Vernon from Prospect Park" and "Al from around the way" without having any more information than that”.

I will bring in one more article, from 2015, that seems to define the modern-day songwriter and how music has become much more of a machine and business than ever:

 “So they note down a few useless, illiterate lyrics and the ‘music guys’ come in and build a song around them. It’s remarkable how many professional songwriters are people who had a go at being performers and didn’t sell as many records as their talents might have merited. I see that Dan Wilson, once of powerpoppers Semisonic, has been working with the Dixie Chicks, Taylor Swift and John Legend, and co-wrote Adele’s ‘Someone Like You’. And one of my favourite songwriters, Gary Clark, who wrote and sang ‘Mary’s Prayer’ for Danny Wilson and many other songs that should have been hits, now lives in the US and shapes whole albums for the likes of Natalie Imbruglia and Delta Goodrem. As they say, it’s a living”.

PHOTO CREDIT: @danielcgold/Unsplash 

I do realise there are plenty of musicians who do not rely on an army of others to create their songs and we have genuine artists who can write, produce and perform without the need to lean on hired guns and professionals. I do get a bit tired seeing songs crammed with other voices and these credits that take forever to read! The artist gets all the credit and their voice is the main focus but, if you strip away these big albums and songs; do we really have enough of the artist standing out?! I think so many popular albums and acts depend on hired songwriters a legion of producers to make something that should come from their own mind. I think more artists should either tighten when it comes to collaboration or they should shoulder more of the songwriting/production duties. I think music is much more connective and deep when we get more of the artist’s say. Having too many cooks add their ingredients creates this hybrid and synthetic experience that is more about money and formula than it is creative expression. It should not matter how many people create good music but we have a generation coming through who idolise artists and what they are putting out. If we are saying the way to get a big album in the charts is to work with a dozen other people then that seems wrong to me! We should be encouraging artists to be self-reliant and trust their own voice; not have to rely on so many others and, at the very least, work with a very small team. I do not think it is a coincident that the best and more striking music, past and present, has been created by artists...

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 PHOTO CREDIT: @andrewwelch3/Unsplash

WHO do not rely on so many others to make the magic happen.

INTERVIEW: Johanna Glaza

INTERVIEW:

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PHOTO CREDIT: Willie Nash

Johanna Glaza

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THANKS to Johanna Glaza...

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PHOTO CREDIT: Willie Nash

for talking about her epic new single, Albion, and the E.P. of the same name (out tomorrow); what is coming up next year and how the Lithuanian-born, London-based artist mixes those two rather different lands – Glaza highlights a rising musician that we should have a look at.

I ask whether there are tour dates coming and whether she has a favourite music memory; the albums that are most important in her life and who she’d support on tour given the chance – she ends the interview with a great track selection.

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

I’m good, thanks. I’ve been trying to spend more time off line this week and it feels wonderful.

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

I’m an independent, London-based artist, writing long Baroque-Folk songs with an Avant-Garde twist.

Albion is your latest track. Can you reveal the inspiration behind the song?

I intended to compose a song using William Blake’s words just for fun for a friend of mine but ended up writing an eight-minute piece which took me months to complete. The dramatic events of the poem perfectly mirrored my own heart at the time. 

It is from the E.P. of the same name. What sort of themes and ideas influenced the music?

The desire to live and to be alive. I was coming out of grieving for my both parents whom I lost one after the other.

You are from Lithuania but based in London. Is it easy to balance the two worlds?

They merged naturally into one strange world for me. I need both the energy of metropolis and the complete solitude in the wild. The only difficulty is trying to figure out where am I in the first seconds after waking up.

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 PHOTO CREDIT: Willie Nash

In terms of artists; who do you count as idols?

They die in me from time to time. At this moment, I’m still looking for the new one. 

Do you already have plans for 2019?

I fear the word ‘plan’ more than anything. I just hope to keep doing what I’m doing.

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

The shooting of the video for Albion felt like being in a different world. I’d love to relive it.

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PHOTO CREDIT: Rachel Poulton

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

Good question: I never thought about it. Music has always been there in my life. Like oxygen - I didn’t question it. It's my own world I can escape to any time.

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

Björk – Debut

For breaking all the boundaries I knew at the time.

Joni Mitchell – Blue

For being so naked.

Roy Harper – Stormcock

For teaching me that a song is not just a verse-chorus thing.

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

One way ticket to India? Don’t ask me why (smiles).

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PHOTO CREDIT: Rachel Poulton

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

I’d love to support Julianna Barwick for the show in Iceland and would ask them to build us a church made of ice. It would melt as we sung. 

What advice would you give to new artists coming through?

Stay away from perfection.

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

Come and say ‘hi’ to The Finsbury, London on Jan 21. More dates to be announced on my social media soon.

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 IN THIS PHOTO: Vesper Wood

Are there any new artists you recommend we check out?

Vesper Wood is wonderful. 

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

Fetching the water from a well with a bucket for my countryside hut keeps me grounded. 

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

Please play Linda Perhacs – Parallelograms

Thank you for your lovely questions and your support. Have a great week.

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Follow Johanna Glaza

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INTERVIEW: Jim Junior

INTERVIEW:

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Jim Junior

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THE excellent Jim Junior...

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has been telling me about his latest single, Is It the Right Time, and its background. I ask him what is coming next and what music means to him – he selects a few albums that means a lot and recommends some rising artists worth checking out.

Jim Junior discusses his musical background and looks ahead to 2019; gaining a solid reputation in his hometown and what advice he would give to artists coming through – he selects a great song to end the interview with.

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

Creatively fulfilling and exciting as I have discovered a new tonic wine that stimulates my faculties in the studio and makes me feel great.

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

I go by Jim Junior. I am a singer-songwriter and producer and multi-instrumentalist from Toronto, Canada. I have a background that includes House music, Jazz; Country and Hip-Hop. I mostly produce and write my material and people tell me they like it.

 

Is It the Right Time is your new track. Can you reveal the story behind it?

Yes, I can. I wrote it about two years ago in Toronto. I was riding the Subway (your tube) home from my then-day job and had this chord progression spinning around in my head. At some point, the lyric hit me and I arrived home at around 2 A.M. I fired up my computer and started putting it together.

The lyrics just happened. I was feeling intoxicated and excited but also nervous about romantic aspects of my life, not knowing where to turn but also feeling a deep sense of inevitability. I think it’s just that feeling of limbo I was trying to capture in the song.

You are signed to LAB Records. What was the reason behind that move? What is life like under the label?

They offered me the best deal. It’s like having a cool uncle with money who also knows people at Spotify.

Will there be more material coming next year?

Yes, there will. We are potentially seeing some remix type stuff in the short-term; some collaborations in the spring and likely another body of tunes from juste moi. Expect things to get wilder musically...

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

Not really; it was so early in my life that I just always wanted to be playing and singing. I think around thirteen was when I consciously conceived of it as a job - but it was always like water for me.

Is it true you are known in your Canadian hometown for illegal parties?! Did that, alongside your D.J. skills, help spur you to where you are now?

Well. I am known for a lot of things in my hometown. My circle of friends got to putting on events in D.I.Y. spaces starting around 2010 where we sold drinks and provided music. My project kind of blossomed out of that as I got into writing this brand of R&B that I though could sit alongside the House and Hip-Hop that was getting spun. I was usually just the warm up D.J. and mostly played older Disco and Funk records but, when sh*t got going, other guys would spin and I would toast (emcee) on top of the House records, improvising lyrics and even writing whole tunes on the spot sometimes.

So, I learned how to work a club crowd, got more into Dance music - to which I was somewhat new - and my sound changed. I started using more drum machines and synths, changing how I approached my melodies etc. It was a blast.

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Do you already have plans for 2019?

Doing some dates in Canada in the winter. Hoping to put together a full batch of songs for the spring and travelling as much as I can.  

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

No, to be honest. Haha. It’s all been a joyous whirlwind.

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

I don't really exist comfortably without it. It's the centre of my being and the medium in which I am my most natural self.

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

A Love Supreme - John Coltrane

When I was about twelve-years-old, I would put it on every night before bed and find the spot where I had fallen asleep and start from there in the morning. I did this for about three months I think. It was such a pure and brilliant compromise between raw improvisation and composition that it captivated me over and over.

This Year's Model - Elvis Costello and the Attractions

Learned to play bass from this guy.

Lifestylez ov da Poor & Dangerous - Big L

The Hip-Hop record that completely took me in and turned my head out.

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

Probably for Canada to recognize its continued abuse and neglect of its native population and deal with it in more than a cursory way.

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

I would love to support any artist with a fan base with whom my stuff would resonate. I don’t know who that is but my rider would include rum, ginger beer and chicken.

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What advice would you give to new artists coming through?

In terms of the music itself, figure out what makes you shine as an individual and develop that. There are a lot of talented people doing what someone else does, just not quite as well. Don’t fall into that trap. As far as the industry is concerned, I am still figuring it out - ask somebody with real success.

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

I am planning a few dates in Canada in the winter but it’s pending. I expect to be playing in impromptu circumstances and only if the money is right. Otherwise, I am at Handlebar in Toronto in January. Check IG.

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

It’s the only way musicians can really make a living now, so that’s the main thing. I hope we start to see more flow from streaming as we figure out how the whole Internet thing will continue to work; but for now we gotta hit the stage. I have a performance background and I love it the same as I love writing and recording...so it’s a big part of my thing. I think a lot of artists today are lacking in live chops and, considering the circumstances I’ve described, that seems kind of backwards.

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 IN THIS PHOTO: Birthday Boy/PHOTO CREDIT: @mayafuhr

Are there any new artists you recommend we check out?

Birthday Boy and Harrison out of Toronto make some of the cooler Hybrid music with a real back-beat out there. Also from Toronto are Casey MQ and Myst Milano. I love NAO from the U.K.

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 IN THIS PHOTO: Casey MQ/PHOTO CREDIT: Haley V. Parker

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

I force myself to hang out without a recording setup sometimes, yeah. I love to cook and did it for many years as a day job, so I’m pretty decent. Otherwise, I love watching sports and talking politics, history and philosophy.

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).

Let’s put on SAINT off of Birthday Boy’s latest E.P. - cause he probably won’t ask anyone to play it…

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Follow Jim Junior

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