FEATURE: Dreams, Machines and Wonderful Scenes: The Best Electronic Albums of 2018

FEATURE:

 

 

Dreams, Machines and Wonderful Scenes

PHOTO CREDIT: @thomashabr/Unsplash 

The Best Electronic Albums of 2018

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AFTER this piece, I am going to do one or two...

 IN THIS PHOTO: Jon Hopkins/PHOTO CREDIT: Pitch Perfect PR/Getty Images

more lists that collate together the best albums from particular genres. Today, I am looking at Electronic albums of 2018 and the ones that thrilled the critics. Electronic music has changed radically through the decades and it is always great charting its changes and evolutions. 2018 has been a big one and produced some truly stunning albums. Here are the essential Electronic albums that you need in your life and prove what a...

 IN THIS PHOTO: Helena Hauff/PHOTO CREDIT: Julian Bajsel, courtesy of Panorama

SUPERB genre it is.  

ALL ALBUM COVERS: Getty Images

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Jon Hopkins – Singularity

Date of Release: 4th May, 2018

Label: Domino

Producer: John Hopkins

Review:

“Details are where this album is most rewarding: every moment is deeply considered. Hopkins intended for it to be heard in one go, and there’s every reason for listeners to set aside an hour and let themselves be carried off into his mesmerising world. ‘Feel First Life’ comes close to a religious experience by harnessing the transcendent power of sacred choral music (Hopkins trained at the Royal College of Music as a teen). Then there’s the warm come-down of piano tracks such as ‘Echo Dissolve’ and ‘Recovery’, which he recorded on two separate pianos – a grand and an upright – and cut together to combine their timbres. The former, something like Nils Frahm’s ‘Felt’, is so intimate that you can almost hear the keys brushing against one another as they’re pressed.

Perhaps the clearest example of Hopkins’ painstaking hypnotic mastery is ‘Luminous Beings’, a 12-minute, glitchy warp-field: first he envelops the listener in a muted, arrhythmic clattering, then, like some beneficent Willy Wonka, sets them adrift in a cloud of bubbling synths, and draws them momentarily above cloud level on a pillow of keening strings before letting them loose again. Like the rest of the album, it’s magic, and when closer ‘Recovery’ ends – on the same note upon which the album started – you’ll want to start the trip all over again” – NME

Stream: https://open.spotify.com/album/1nvzBC1M3dlCMIxfUCBhlO?si=EIBvE3M-RsWObq35CjpK-A

Standout Tracks: Singularity/Everything Connected/Luminous Beings

Finest Cut: Emerald Rush                                                               

Aphex Twin – Collapse EP

Date of Release: 14th September, 2018

Label: Warp

Producer: Richard D. James

Review:

“The elastic percussion rolls and stutters, recalling the fluid beat structures of Second Woman, before reaching sonic overload. Yet after all of that, it doesn't end up sinking the rhythm or melody, which continue on their merry way. "1st 44" features shredded, scratched-up samples of old-school jungle over scrambled electro beats, referencing the past without sounding like a retro throwback. "MT1 t29r2" includes harp-like tones which recall Aphex's classic 1993 single "On," but this track is more fractured and hyperkinetic than angelic. Concluding track "pthex" (inexplicably left off the EP's vinyl issue) is another exhilarating blend of atmospheric pads and adrenalin-rush beats and glitches which threaten to overpower everything, but the track maintains it composure. Somewhat ironically titled, Collapse ends up being one of Aphex's stronger post-2000 releases” – AllMusic

Stream: https://open.spotify.com/album/3SbGxJVC8fHv41RFKCGIl3?si=8DSGQhufQbCjID16S9ab1A

Standout Tracks: 1st 44/MT1 t29r2/pthex

Finest Cut: T69 Collapse                                                                  

SOPHIE – OIL OF EVERY PEARL’S UN-INSIDES

Date of Release: 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, Faceshopping and 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=BzRwVC44TAa1nal5SQgQ3A

Standout Tracks: Ponyboy/Faceshopping/Not Okay

Finest Cut: It’s Okay to Cry                                                            

Oneohtrix Point Never – Age Of

Date of Release: 1st June, 2018

Label: Warp

Producers: Daniel Lopatin/James Blake

Review:

“Lopatin, AKA Oneohtrix Point Never, has become increasingly collaborative in recent years, producing for David Byrne, writing for singers FKA Twigs and Anohni, and composing an eerie soundtrack for the Safdie brothers’ 2017 film Good Time. As such, Age Of is a collective effort, employing Anohni’s choral vocals on the distortion-heavy Same, noise artist Prurient’s screams on Warning and James Blake’s keyboards on the pixelated melodies of Still Stuff That Doesn’t Happen.

Lopatin entices the listener through sweeping orchestrations, such as those of the title track and Manifold, and then abruptly manufactures discordance. Expectations are subverted, as when the opulence of the harpsichord is manipulated beyond recognition or a piercing shout infiltrates a rhythm. Since every composition holds this tension within its structure, it feels like an aesthetic choice rather than a gimmick. The more time you spend with Age Of, the more Lopatin’s instrumentations reveal depth” – The Observer

Stream: https://open.spotify.com/album/05A41BF3z2E5F0tnTyWRNh?si=QhzT_YocTc-GCmOpB2Sm9g

Standout Tracks: Babylon/The Station/RayCats

Finest Cut: Black Snow                                                                    

Gaika – BASIC VOLUME

Date of Release: 27th July, 2018

Label: Warp

Review:

“Unsurprisingly, the album is a melting pot of musical references. “Black Empire” has echoes of dancehall whereas the title track offers a distorted vision of R’n’B, steeped in reverb. On the pulsating “Hackers & Jackers”, on the other hand, a heavy beat forms its back drop while choral chanting fleshes out “Seven Churches For St Jude”. If this sounds chaotic, it isn’t. Basic Volume is one of the most cohesive and meticulously thought-through albums of the year.

Throughout the record, GAIKA’s vocals enter under various guises of distortion. The result could at times seem stark, but instead produces an entirely unique industrial soundscape. You wouldn’t be wrong to detect a dystopian slant both lyrically and musically overall. But it is not a dystopia of GAIKA’s own creation; rather Basic Volume serves as a mirror to the one we have already created. Gaika is not just the artist we want, but the artist society desperately needs” – The Line of Best Fit

Stream: https://open.spotify.com/album/6Cn4sBJRdjOhl5201IwAIF?si=CR-smUR7SHWjo-srBrGzeg

Standout Tracks: Seven Churches for St Jude/36 Oaths/Yard

Finest Cut: Born Thieves                                                                 

Objekt – Cocoon Crush

Date of Release: 9th November, 2018

Label: PAN

Review:

“Track five, “Deadlock,” is the album’s heaviest cut, but it’s also the slowest: a bare-knuckled hip-hop instrumental that sounds like classic Def Jux rendered in retina-burning high definition. Even on “Runaway,” the album’s only true club cut, he refuses to play it straight. In the middle, he removes the beat for nearly a minute, layering tentative piano chords and gurgling synths over the sounds of a children’s playground. When the beat finally returns, it’s stronger, as if recharged by a meditative walk around the block. It’s like a diagram of the creative process itself.

The closer, “Lost and Found (Found Mix),” is a rework of the intro, but it’s no mere coda. A more customary producer would have floated an ambient intro and then wrapped up with the dancefloor version, but Hertz takes the opposite approach: The closing is a seven-minute deconstruction of the opener that jettisons almost all trace of conventional beats. It’s no coincidence that the version subtitled “Found Mix” is the one that ventures furthest from the familiar: To find the essence of Objekt, Hertz has ventured well past techno’s borderlands. Four years later, Flatland still sounds ahead of its time, but Cocoon Crush is leagues beyond it. It shows a total disregard for club music’s strictures, concerned primarily not with floor-filling, but world-building” – Pitchfork

Stream: https://open.spotify.com/album/2mMr1UCtck27p1xPJzqrLL?si=IfrwSEMQRwCnnW_KD7hlXg

Standout Tracks: Nervous Silk/Runaway/Secret Snake

Finest Cut: Deadlock                                                                        

Marie Davidson – Working Class Woman

Date of Release: 5th October, 2018

Label: Ninja Tune

Producer: Marie Davidson

Review:

“Throughout, Davidson refuses to be pigeonholed into any one corner of the club – with each track, she flexes her songwriting muscles in fascinating ways. The dreamy ‘Lara’ is a mind-melting composition, while the twinkling final track ‘La chambre intérieure’ acts as a remarkably human closer: “I feel empty in the summer breeze / In the mountain facing me“. ‘So Right’ is a bouncy club bop where the poppier edges rear their head, but it’s the pulsating beats of ‘Workaholic Paranoid Bitch’ and ‘Burn Me’ that will drill down into your brain longest.

Davidson’s ‘Working Class Woman’ is smart, intriguing and deserves to be heralded as one of the year’s most inventive releases – Lord knows she’s worked hard enough for it” – NME

Stream: https://open.spotify.com/album/5AG8Dvo3N4y9ZlCjU06yXh?si=SkCG5LwfSranvl1H18E3og

Standout Tracks: Work It/Lara/Burn Me

Finest Cut: Your Biggest Fan                                                         

Gwenno – Le Kov

Date of Release: 2nd March, 2018

Label: Heavenly Records

Producer: Rhys Edwards

Review:

“There wasn't a song on Y Dydd Olaf as catchy and simple as the bouncy duet with Gruff Rhys, "Daromres Y'n Howl," or one as epic and deep as "Den Heb Taves." They layer guitars, synthesizers, piano, and drums in a very psychedelic manner throughout, keeping things murky and warm like a humid summer night. Gwenno adds her vocals on top of the mix in a number of ways, intoning breathily ("Hy a Skoellyas Lyf a Dhagrow"), cooing sweetly ("Jynn-Amontya"), billowing in wispy clouds of harmony and reverb ("Aremorika"), and sometimes adding some bite ("Eus Keus?") or melancholy yearning ("Koweth Ker") to the proceedings. While the diverse musical settings she and Edwards cook up for each song are impressive, Gwenno's vocals are a dream throughout. It's clear that she feels strongly about the words she is singing, and she inhabits every song fully. The music, words, and voice come together on Le Kov like fragments of the past put back together and made into a satisfying new whole that works as a lovely tribute to Cornish culture, while also solidifying Gwenno's place as an important artist” – AllMusic

Stream: https://open.spotify.com/album/1jEsE25YERUfbs5ZFsPqlf?si=vgHxdxv5S4ep_BZnJlKnYg

Standout Tracks: Herdhya/Den Heb Taves/Hunros

Finest Cut: Tir Ha Mor                                                                     

Smerz – Have Fun

Date of Release: 6th March, 2018

Label: XL

Review:

“On “Oh my my,” Stoltenberg punctuates every few lines with a sardonic reading of the title phrase, muttering about “basic bitch problems” over a shuddering, vacuum-like effect. You’re left wondering exactly what constitute “basic bitch problems” in the Smerz extended universe: is switching from dairy to almond milk making them feel bloated, or are they being sucked into a cold, blank void? The contrast is profound enough to make you giggle, especially since it’s obvious Smerz are in on the joke” – Pitchfork  

Stream: https://open.spotify.com/album/1ua8lJy0UubynYUU8AEf8q?si=QRW4JVAmRYCDBTujekdq9w

Standout Tracks: Worth It/Oh my my/Fitness

Finest Cut: No harm                                                                         

Leon Vynehall – Nothing Is Still

Date of Release: 15th June, 2018

Label: Nina Tune

Review:

“Leon Vynehall’s evolution as a producer has been fascinating. ‘Nothing Is Still’ retains the sultry atmosphere and warm synths of his previous work; but departs from Chicago house nostalgia for a melting pot of jazz fusion, ambient sound collage and trip-hop.

The outstanding distinction is a preference for atmosphere over song structure. On ‘Ice Cream’, ‘It Breaks’ and ‘Birds On The Tarmac’, synths and loops hover dreamily over field recordings of nature and everyday life. In sound, it is far closer to Basinski or Tim Hecker than Pepe Bradock.

Louder moments, however, are thrilling. ‘Envelopes’ is a particular highlight, with shades of Portishead in its slow, accented beat and dramatic strings. House appears in flashes, on ‘English Oak’ and ‘Drinking It In Again’, but the mixes are fuller and more psychedelic.

Many may still see Vynehall as a specialist in euphoric house, but this album has a richness and depth that transcends the dancefloor” – CLASH

Stream: https://open.spotify.com/album/6WeIO0CpDMiMXTglv0KuLr?si=Wis0XVAsSwOsCBAUm6fjag

Standout Tracks: Julia (Footnote IV)/Envelopes (Chapter VI)/Ice Cream (Chapter VIII)

Finest Cut: Movements (Chapter III)                                         

Vessel – Queen of Golden Dogs

Date of Release: 9th November, 2018

Label: Tri Angle

Review:

“There’s clearly a lot of erudition behind this project – although how Gainsborough’s slightly obscure name-dropping enriches the listening experience is hard to gauge. What anybody can quickly glean is that this is an album intent on sustaining a constant state of flux. Sometimes the change is gradual – Arcanum (For Christalla) opens with a tune played on what sounds like a lute that begins leisurely and ends up frighteningly frantic. Elsewhere, it’s more stark, as when Argo’s spritely strings are greeted by disorientingly syncopated percussion. But for an album that veers between the hallmarks of happy hardcore and ghostly choral incantations, Queen of Golden Dogs makes a surprisingly satisfying whole. That’s largely thanks to Gainsborough’s efforts to maintain the balance between entertainingly jarring and modernity-evoking erraticism and a gratifying sense of beauty and peace that feels age-old” – The Guardian

Stream: https://open.spotify.com/album/4wVHohBynJ5eFHw6Cc1WzD?si=MSFVurrNTy-QfsqyEJ3afA

Standout Tracks: Good Animal (For Hannah)/Glory Glory (For Tippi)/Sand Tar Man Star (For Aurellia)

Finest Cut: Argo (For Maggie)                                                     

Helena Hauff – Qualm

Date of Release: 3rd August, 2018

Label: Ninja Tune

Review:

“‘Qualms’, and its sister production ‘No Qualms’, on the other hand, use this slow progression to their advantage, maintaining a romantic melody that lends itself beautifully to the initial beatless piece and to its bouncy electro evolution. ‘No Qualms’, in many ways, is a therapeutic hike through an otherwise distorted dreamscape.

In ‘Panegyric’ we see a complete meandering from the raw aesthetic of the record. Helena’s post punk influences shine through on a track that sounds like it has come from the past, all be it with a distinctive futuristic edge.

We reach the climax of the record with another moody statement in the form of ‘It Was All Fields Around Here When I Was A Kid’. I’m unsure if the title of track is a direct inspiration, but given its wording you can almost see a time-lapse unfolding before you as concrete emerges from what once lay bare.

With ‘Qualm’, Helena Hauff has created the record we both wanted and needed. It’s a statement of romantic infatuation amongst an otherwise hash, twisted and raw landscape. A glance into the past and a look to the future. There is nothing apologetic about this record, and that’s what makes it so great” – CLASH

Stream: https://open.spotify.com/album/2hYmcjIinZoVCog5sP4k0H?si=xtg6aslfTdCVkNx6XLzkIw

Standout Tracks: Barrow Boot Boys/Fag Butts in the Fire Bucket/No Qualms

Finest Cut: Qualm                                                                             

INTERVIEW: Saint Lo.

INTERVIEW:

Saint Lo.

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FOR today’s interview...

I have been speaking with Saint Lo. about their new track, Wounds, and what its story is. They reveal how they got together and what is coming up in 2019; what the scene is like in Canada right now and which rising artists we should watch out for.

The band talks to me about their favourite musical memory and albums; what sort of music they are drawn to and what they would like for Christmas this year – they end the interview by selecting a couple of very cool tracks.

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

It has been good! We released our video for our single, Wounds, last week and played a lovely show in Montreal this past Sunday. It’s been a good week. It's also approaching -20° in Montreal so we're keeping warm.

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

We are Saint Lo. We are an Indie Folk Pop-Rock band from Montreal. Our band members are Bashu Naimi-Roy, Marc Richard; Laura Glover, Isabella Harned - and our most recent addition is Jory Strachan.  

Wounds is the new track. Is there a story behind it?

Yes. Wounds was inspired by heartbreak/pain that came from the ending of a three-year-long relationship and the strength that came from sitting with and acknowledging pain and then turning it into art. Wounds grew from an experience that was deeply rooted in the process of healing. The lyrics were co-written by Bella and Laura and the whole band collaborated on instrumentation and arrangement. In the direction of our music video, we really wanted to capture that heartbreak does not occur in isolation; it is marked by many intersecting systems of power.

We wanted to challenge the male gaze by depicting our actor moving through suffering, sadness; playfulness, creativity and, ultimately, healing - on her own.  

How did Saint Lo. form? Is there a secret behind the band’s name?

Saint Lo formed in 2013 in the Mile End area of Montreal. We came together serendipitously through mutual connections. We noticed a certain magic when we played together and we’ve been nourishing it ever since. We were previously known as ‘St Lawrence Warehouse Company’ after an old building.

You are a Canadian band. Is there a strong and growing music scene in the country?

Our band members come from all across Canada - Nova Scotia, British Columbia and Ontario. We recently toured British Columbia and it was a beautiful experience. We think the Canadian music scene is super-strong and supportive - we have felt nothing but love in all the places we’ve played. We are also very smitten with many other Canadian musicians whom we’ve met in Montreal and on the road. Super-proud to be part of the Canadian music community, for sure.  

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

We are a band with many individual and collective influences: among them are Fleetwood Mac, Sylvan Esso; Arcade Fire, Haley Heynderickx; Janis Joplin, Emma Ruth Rundle; Andy Shauf, Phoebe Bridgers; Godspeed You Black Emperor, Cat Power and Broken Social Scene, to name a few.

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

A complete transition to sustainable energy systems! And dark chocolate is nice too.

Do you already have plans for 2019?

Yes! We have a few surprises that will be announced in the New Year. We will also be releasing our debut L.P. in 2019. Stay tuned!

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

In a small mountain town in British Columbia, there's a siren that goes off at a certain time every night for one hundred years now. It's ear-splittingly loud, very close by the venue we were playing and nobody thought to tell us about it. It went off in the middle of our show. Thankfully, we didn't panic.

The promoter admitted afterwards that she didn't warn us because she likes to see the look of complete incomprehension on visitors’ faces. The siren also happened to be perfectly in key with the song we were playing in that moment. So, that memory and memories of being hosted by beautiful warm people all along our tour.

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

Bashu: Lift Your Skinny Fists Like Antennas To Heaven by Godspeed You! Black Emperor. I was fourteen and it was the first album I bought. I didn't know you were allowed to make music like that.

Bella: Joni Mitchell’s Blue. My earliest memory of loving a whole album was lying on the couch with my mum (I think I was nine or ten) singing the lyrics at the top of our lungs to the entirety of it. Still to this day my favourite album of all time.

Jory: Tournament of Hearts by the Constantines. I don't think any album compares to the song structures and brilliance in writing. Very formative album.  

Laura: Julia Jacklin - Don’t Let The Kids Win. I’m super-inspired by Julia Jacklin’s writing.

Marc: Joel Plaskett - Three. I learned what I know about song structures by listening to this prolific album.

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

It would be sweet to play with Mountain Man or Big Thief. Our rider would probably involve an elaborate snack plate.

What advice would you give to new artists coming through?

Believe people when they believe in you.

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

We have some exciting announcements coming up soon! You can hear them by liking our Facebook page or following us on Instagram (at @sttt.lo.)

IN THIS PHOTO: Saint Sister/PHOTO CREDIT: Lucy Foster Photography

Are there any new artists you recommend we check out?

Bashu: My two favorite new and hard-to-Google bands are Someone and Pronoun and they are both very worthwhile. I've also recently been moved by Fenne Lily, IDER; ANIMA!, Saint Sister and Andy Shauf's new band Foxwarren.

Jory: I'd highly recommend keeping an eye out for housepanther and JayWood out of Winnipeg, MB in 2019. Also Montreal's yoo doo right are doing exciting things.

Bella: I’d recommend checking out Victoria BC’s, Looelle - incredible velvety harmonies.

 IN THIS PHOTO: Looelle/PHOTO CREDIT: Mike Graeme

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

We like to go to shows, spend time with our pets; be outside and host improbably-themed house parties.

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

Bashu: Thanks for having us! I'll choose Abigail by Richard Garvey

Bella: Tomberlin – Self-Help

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Follow Saint Lo. 

Official:

http://saintloband.com/

Facebook:

https://www.facebook.com/saintloband/

Instagram:

https://www.instagram.com/sttt.lo/

Twitter:

https://twitter.com/saintloband

Spotify:

https://open.spotify.com/artist/1XdUjBVeT2UiK7xo8Rgbir?si=K-sdBa4rQPGR0ccJ-ilr6w

YouTube:

https://www.youtube.com/channel/UC8OPHsD4bKLhI7jbbqpdPaw

Bandcamp:

https://saintloband.bandcamp.com/

SoundCloud:

https://soundcloud.com/saintloband

An Alternative Christmas: Some Untraditional and Rarer Christmas Songs

FEATURE:

 

 

An Alternative Christmas

IN THIS PHOTO: Katy Perry/PHOTO CREDIT: Nadia Lee Cohen

Some Untraditional and Rarer Christmas Songs

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MOST of us are familiar with the ‘classic’ Christmas tracks...

 PHOTO CREDIT: @jeztimms/Unsplash

and we are hearing a lot of Mariah Carey, Wham! and Slade right now. I love the golden oldies and always-reliable Christmas tracks and, whilst The Pogues and Kirsty MacColl’s Fairytale of New York takes some beating; we have all heard it over and over and pretty much know it word for word! Maybe it is that routine and reliability that we like but, if you look a bit harder, you will find these alternative Christmas songs that are interesting and fresh. You may be familiar with some but I think there are a lot that do not get an airing. To give you a more rounded look at the Christmas songs out there, I have compiled a selection of new and older Christmas tracks that often play second fiddle to the big guns. Have a listen to an alternative take on Christmas and I know there are plenty in there that will...

 PHOTO CREDIT: @freestocks/Unsplash

CHARM and entice.

FEATURE: Horns, Improvisations and Wonderful Glitches: The Best Jazz and Experimental Albums of 2018

FEATURE:

 

 

Horns, Improvisations and Wonderful Glitches

PHOTO CREDIT: @jensth/Unsplash

The Best Jazz and Experimental Albums of 2018

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I have a couple more of these features to put out...

 IN THIS PHOTO: Julia Holter/PHOTO CREDIT: Gabriel Green

and I am keen to explore Pop and a couple of other genres. I think Jazz and Experimental music is not given the same appreciation as other genres - and Jazz especially is still seen as one of these niche and rather if-you’re-in-the-right-mood types of music. The modern crop is much more accessible and varied than some of the older Jazz icons. I have loved seeing the best of Jazz in 2018 but there have also been some great Experimental albums released too. It might seem odd putting these genres together but they do share similarities and, as I say, both sides of music that are not given as much love and plaudit as you’d like. To honour that, here is a selection of Jazz and Experimental albums that have helped make 2018’s music scene...

 IN THIS PHOTO: Kamasi Washington/PHOTO CREDIT: Getty Images

RICH and truly stunning.  

ALL ALBUM COVERS: Getty Images

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Kamasi Washington – Heaven and Earth

Date of Release: 22nd June, 2018

Label: Young Turks

Producer: Kamasi Washington

Review:

“Earth opener ‘Fists of Fury’ is a fantastic entry-point on this epic journey. It is easily the most immediate track on this record to hook the listener into the next two and a half hours (should you have the time to sit through it all in one sitting) with a brilliantly funky groove and a melody line that will become instantly lodged into the synapses. Meanwhile, Heaven opener ‘The Space Traveller’s Lullaby’ instantly creates the spacey, spiritualised side of the record to a head, with a beautiful vocal-choir performance rising and falling with the music. ‘Street Fighter Mas’ features an irresistible funky beat, helped no less by Washington’s long-time collaborator and the other current hot jazz pioneer (though coming at it from a completely different angle) Thundercat.

Heaven & Earth is ultimately yet another example of Washington’s incredible prowess behind the saxophone but also as a composer. Hopefully Washington’s music is a launch pad for a jazz revival in which the whole genre enjoys success, as it is worth remembering there is an incredible slew of talent out there to discover. This writer included, after recently witnessing this sheer power of Washington and his band The Next Step, there’s a whole world I am excited to discover. But for now, Heaven & Earth is a pretty damn great place to start” – Drowned in Sound

Stream: https://open.spotify.com/album/5mG7tl4EW2xrTy5rI8BgGL?si=nOfb2NL8T3S5kybmHdzIGg

 Standout Tracks: Testify/Street Fighter Mas/The Psalmist

Finest Cut: Fists of Fury

Meitei – Kwaidan

Date of Release: 30th January, 2018

Label: Meitei

Review:

“‘Kwaidan’ is a spellbindingly curious study in the “lost" art of Japanese ghost story-telling and horror folklore, marking the sublime first release on Singapore’s bijou Evening Chants imprint.

Inspired by living in Kyoto for the past two years, ‘Kwaidan’ - a form of Japanese ghost story - is focussed on musically crafting a form of “Japanese Mood”, or Meitei. Taking this word as his moniker, Meitei becomes his subject in a pointed effort to revive or at least keep this artform alive, using a combination of frayed, enigmatic backdrops to tactfully limn a specific mood.

The delicate approach and febrile, shapeshifting results recall to our ears the subtly suggestive sound sets of Sugai Ken as much as Jan Jelinek at his dreamiest, conjuring winding passages of crackle and shimmering subaquatic chords, finding beauty lurking in the low key and peripheral, spectral and metaphysical realms...” – Boomkat

Stream: https://open.spotify.com/album/0COOSP2TWDQQLdLE1HdGlO?si=h9cLiXybTQOt5uZ0uCHoSQ

Standout Tracks: Curio/JIZO/Shoji

Finest Cut: SAZANAMI

Sons of Kemet – Your Queen Is a Reptile

Date of Release: 30th March, 2018

Label: Impulse! Records

Producer: Shabaka Hutchings/Dilip Harris

Review:

“Kinetic and thrilling as the uptempo blasts are, where Your Queen shines is on the slower pieces, revealing that Hutchings can purr, murmur and wax lyrical as well. With another up-and-coming British jazz star Nubya Garcia, the two twine around each other on “My Queen Is Yaa Asantewaa” (for queen mother of Ejisu in the Ashanti Empire if you’re not up on your black studies) each pushing the other to range further and deeper, every line a mix of fire and eloquence. The drums slow to a sacred, nyabinghi heartbeat on “My Queen Is Nanny Of The Maroons” and Cross’s tuba wades deep into dub bass territory as Hutchings offers up his most poignant solo, one that need not rise above a whisper to prove that this Jamaican national hero and Your Queen as a whole is worthy of national worship” – SPIN

Stream: https://open.spotify.com/album/4pxnDGBdoGu88h8ZInX5f5?si=tdRtFmGKQcuGPwyrT2G1dA

Standout Tracks: My Queen Is Ada Eastman/My Queen Is Anna Julia Cooper/My Queen Is Nanny of the Maroons

Finest Cut: My Queen Is Yaa Asantewaa

            

Park Jiha – Communion

Date of Release: 2nd March, 2018

Label: Mirrorball

Review:

“Both the title track and ‘The Longing Of The Yawning Divide’ have a crystalline sense of magic realism about them, their musical lineage resting neither in the folk-tradition of their instruments nor fully in the world of the varied styles they occupy.

Communion closes on a high with ‘The First Time I Sat Across From You’. A (supposedly) improvised flute passage whirls and winds as the dulcimer pulse behind it becomes ever more chaotic until at last it dissipates, leaving us only with the touching, mysticising sounds of plucked strings.

Park Jiha has composed, performed and produced an album that treats clarity with the utmost respect, in that it realises that with lucidity comes an understanding of calamity and disorder. The world she has created succeeds because of that understanding. So much music that tries to fuse the traditional with the contemporary fails because of an idolisation of its parts; Communion idolises nothing, and is all the more tangible and engaging for that” – The Quietus

Stream: https://open.spotify.com/album/5cOsXBUTKytilc5odrPtpk?si=sQ5GHX2cSIGXu3qYhti-YQ

Standout Tracks: Accumulation of Time/Sounds Heard from the Moon/All Souls’ Day

Finest Cut: Communion

 

Amnesia Scanner – Another Life

Date of Release: 7th September, 2018

Label: PAN

Review:

“To end where Another Life begins, “AS Symetriba” sounds like the pixelated din emanating from that notorious video of cyber goths dancing under a bridge, their tassels twirling over the neon gas masks and jet-black goatees. The devious gesture Amnesia Scanner are making in this sonic contiguity here — and more generally throughout Another Life — is a wry one, at least as old as Duchamp: a mockery of authorship and a robbery of the value that it conducts between concept and object.

But this is a shitty simile — and Amnesia Scanner know it. While Duchamp’s toilet stood on a pedestal in a gallery unused and unusable, Amnesia Scanner’s toilet invites us to dance like those goths and their fingerless gloves, invites us to use it, invites us to shit in it. If the art kids with the bowl cuts and the dangly earrings don’t want to let loose when the beat explodes into clattering syncopation and flanged exuberance, then let them keep their distance, let them hold it in, let them shit their pants while the toilet bowl gleams right in front of them” – Tiny Mix Tapes

Stream: https://open.spotify.com/album/5xYZZk3w1qqSUPokXTQvLr?si=YB9ToHtXQnSMBCoAMu4cig

Standout Tracks: AS A.W.O.L/AS Too Wrong/AS Faceless

Finest Cut: AS Symmetribal

Eartheater – Irisiri

Date of Release: 8th June, 2018

Label: PAN

Review:

“The ability to turn her voice into a chimera of sound helps Drewchin explore her own embodiment as a site of various inhuman pleasures and intensities that is built on the back of her dance and video performances. On the “ghost track” video only release of ‘Claustra’, Drewchin contorts her own body into a crab-like humanoid, scuttling around a graveyard, while on the video trailer for Irisiri, she is digitally portrayed as a weird animatronic centaur. Throughout Irisiri Drewchin is preoccupied by her body’s component and functions, such as on “inclined” here she talks of “piercing without penetration, before demanding you to “suck her bile”. She compares herself to a snowman on ‘Inhale Baby’, licking herself till she melts before declaring in a roboting manner that “there’s so much stuff coming out of my skirt”. The final tract, ‘OS In Vitro’ takes the amalgamation of body and technology to a near pure cyborgian level. Yet Drewchin still insists on retaining her body as something that is not a quantified object as her digitised voice declares: “Computer, this body is a mystery / These tits are just a side effect / You can’t compute her/ You don’t decide for my chemical”.

Irisiri is an album that explores the concepts of femininity, technology and the how many non-conforming bodies end up falling between the cracks in the seemingly implacable poles of gender, sex and the human, all her songs display seemingly disparate contrasts of surrealist wordplay, with organic, fragile tones and cold, machinist grind, as she pieces and stitches them into idiosyncratic little monsters that at times bewilders, but ultimately beguiles you with their curiosity and playfulness” – The Quietus

Stream: https://open.spotify.com/album/2G176tUq4Qc60xbUW3qB9i?si=LYy9GVzWQPScdbT3XvutwQ

Standout Tracks: Not Worried/Curtains/Slyly Child

Finest Cut: Peripheral

 

Julia Holter – Aviary

Date of Release: 26th October, 2018

Label: Domino Recording Company

Producers: Julia Holter/Kenny Gilmore

Review:

“The majority of Aviary is designed to be mused on mindfully, but there are a handful of more immediate moments. The spellbindingly brilliant I Shall Love 2 builds gradually into a chamber-pop ballad, whose droning quality and sense of childlike disarray recalls the Velvet Underground. Whether is a jaunty piece of electrified post-punk, while Les Jeux to You features jolly staccato singing in broken English that resembles odd Euro-pop from the 1970s. Holter doesn’t drop quite enough of these joyful crumbs to cajole the listener through the entirety of this 90-minute epic – yet there remains a glut of beauty and braininess in store for those willing to stick around” – The Guardian

Stream: https://open.spotify.com/album/6icpwcJQWK4nq9Xilk4yRu?si=49AUdVp4T9SGaEtJAGBv6g

Standout Tracks: Voce Simul/Another Dream/I Shall Love 1

Finest Cut: Turn the Light On

Tony Bennett & Diana Krall – Love Is Here to Stay

Date of Release: 14th September, 2018

Labels: Verve/Columbia

Producers: Dae Bennett/Bill Charlap

Review:

“Their rapport is established on ’S Wonderful, with Bennett chuckling softly at Krall’s accented phrasing and Krall quietly scatting beneath him on their return chorus. Charlap even tosses in a cheeky quote from Clap Yo’ Hands. The discursive piano playing on the bluesy My One and Only draws some tasty jazz phrasing from both singers, who also give a warm maiden reading of I’ve Got a Crush On You.

There are two solo tracks. Accompanied only by Charlap, Krall sings But Not For Me with unforced fragility. As with the best interpreters of this ballad she understands how its lyrics use humour to push home the pathos. It’s a spine-tingling performance. Bennett does Who Cares? with his usual elan, effortlessly varying tempo and texture. Like Gershwin, Krall and Bennett’s lovely music is here to stay” – The Times

Stream: https://open.spotify.com/album/7dj3N9Ue8kXeMjXyxesD2t?si=Hs3yr5twQmWlCDoBvLxHOw

Standout Tracks: My One and Only/I Got Rhythm/Do It Again

Finest Cut: Love Is Here to Stay

Cécile McLorin Salvant – The Window

Date of Release: 28th September, 2018

Label: Mack Avenue Records

Review:

“Salvant has found a fine match in Fortner, a New Orleans native who has played with the likes of Wynton Marsalis, John Scofield, and Paul Simon. He doesn’t accompany her so much as join in the conversation she’s having with these songs, occasionally even arguing with her about them. He toggles between the blues and jazz and classical figures with dizzying fluidity during “I’ve Got Your Number,” while his tectonic bass chords for “By Myself” make it seem like the ground is constantly shifting beneath Salvant. And when it comes to songs, it is: Salvant sings with the understanding that no tune is ever set in stone, even one as frequently sung as “Somewhere.” On The Window, she excels at keeping every possibility open all at once” – Pitchfork

Stream: https://open.spotify.com/album/2XClSOjimwtkeWYPo53mHG?si=1r573kOaQ622NB7Ih4eAXg

Standout Tracks: By Myself/Obsession/Wild Is Love

Finest Cut: One Step Ahead

 

Brad Mehldau Trio – Seymour Reads the Constitution!

Date of Release: 19th May, 2018

Label: Nonesuch

Producers: Brad Mehldau

Review:

“The influence is especially felt on the aptly named Mehldau original "Spiral," in which the pianist lays down a descending circular theme in a roiling time signature that has the dreamy feel of riding on a train with your eyes closed. They conjure an equally Jarrett-esque vibe on their sophisticated reading of Sam Rivers' classic "Beatrice," with Mehldau moving in and out of tonality during his kinetic, serpentine solo. As intense as that track can be, it never gets out of hand. In fact, much of the album has a balmy, laid-back quality as if it were recorded during a sunny afternoon at home. That sunny atmosphere is also at the core of the title track, in which Mehldau and Grenadier often share the melody, bumping up against each other in a bluesy dance. Elsewhere, they launch into a sprightly rendition of the Lerner & Loewe standard "Almost Like Being in Love" and offer up a bright, waltz-like take on the Beach Boys' "Friends," the latter of which is so friendly you can almost sense Mehldau and his bandmates smiling at each other” – AllMusic

Stream: https://open.spotify.com/album/2lPb2KYIudWUQcaL0vAlUm?si=SypNEzBESe2MezqXSeGojg

Standout Tracks: Spiral/De-Dah/Great Day         

Finest Cut: Almost Like Being in Love

 

Heather Leigh and Peter Brötzmann – Sparrow Nights

Date of Release: 26th October, 2018

Label: Trost Records

Review:

“Peter Brötzmann has spent more than 50 years repping the aggro fringe of free jazz. But the saxophonist behind famously abrasive Sixties sessions such as Machine Gun has always been a more nuanced player than his reputation as an air-raid-siren screamer would suggest. That’s why Sparrow Nights is a revelation. The 77-year-old German improviser has rarely sounded more vulnerable than he does on this set of atmospheric studio-recorded duets with American-born pedal-steel guitarist Heather Leigh, his frequent foil in recent years.

Many Brötzmann collaborators have engaged him in gladiator-style combat, as heard on another recent release from the saxist’s aptly named power trio Full Blast. Leigh instead emphasizes negative space. Set against her echoey, meditative swirls or harsh, pealing distortion (textures she combines with otherworldly vocals on a new solo album), Brötzmann — blowing hoarse laments or rough wails on a bevy of reeds, from bass sax to contra-alto clarinet and his customary tenor — often sounds like he’s interacting with the elements. The setting’s sparseness foregrounds the forlorn existential-blues pathos that’s been at the heart of his performances for decades. If Machine Gunwas Brötzmann’s steely catharsis, Sparrow Nights is the haunted aftermath” – Rolling Stone

Stream: https://open.spotify.com/album/0xBfH9Gp7hu2YeK3E3qSos?si=xFLEupPkTI6GmbI-UqDWVA

Standout Tracks: Summer Rain/Sparrow Nights/At First Sight

Finest Cut: This Word Love

FEATURE: Legends Have It: Throwing the Spotlight on the Artists Who Have Endured and Continue to Amaze

FEATURE:

 

 

Legends Have It

IMAGE CREDIT: @GlastoFest

Throwing the Spotlight on the Artists Who Have Endured and Continue to Amaze

__________

I have written a few pieces this year regarding ageism in music...

 PHOTO CREDIT: @kylieminogue/Getty Images

and the fact we treat it less passionately than sexism. Any discrimination is bad and should be abolished - but how many of us take ageism as seriously as other forms of discrimination?! I feel like radio stations and festivals are rather cavalier and crude when it comes to age and the type of artists they feature. A lot of the radio stations in the country – and throughout the world – have definite age barriers and, depending on where you look, you have a set demographic and ‘sound’. One is less likely to see an artist over the age of, say, fifty on any of the younger stations…and there is a definite compartmentalisation. Festivals are culpable too and you do not often see a lot of middle-aged and older artists given big billing. Maybe some of the bigger festivals’ headline slots go to the icons and legends but what of any of the less-known older acts?! The reason I am writing this piece is the fact Kylie Minogue has been booked to play the ‘legend’ slot at next year’s Glastonbury. The Guardian have proved the details:

“Kylie Minogue will perform the Sunday teatime “legend” slot at Glastonbury festival 2019.

The heritage act slot on the festival’s main Pyramid stage tends to draw the biggest crowd of the weekend, and has been filled in recent years by Barry Gibb, Lionel Richie and Dolly Parton. Festival organiser Emily Eavis said she was “delighted” with the booking, adding: “We cannot wait”...

It will be the first time Kylie has played a solo set at Glastonbury. She was due to headline the Pyramid stage in 2005 but had to cancel following a breast cancer diagnosis – Basement Jaxx replaced her, and fellow headliners Coldplay performed a cover of Kylie’s Can’t Get You Out of My Head in tribute. She also made a guest appearance with Scissor Sisters in 2010 for a performance of their song Any Which Way.

The only other act to have been announced for the sold-out festival is Stormzy, who will headline the Pyramid stage on Friday night”.

We have seen one headliner, Stormzy, announced for next year but I suspect the other two headline slots will be occupied by new acts too. There is talk of Sir Paul McCartney playing – more on him later – but one suspects he might be another booking in the legends category – accompanying Minogue at 2019’s Glastonbury. It is important to give big stages to newcomers and those coming through but I think, to a degree, we overlook those who have given so much to music. Consider someone like Kylie Minogue and how she has reigned since the 1980s. I grew up listening to some of her earlier hits and the infectious, giddy delight of songs like Hand on Your Heart and more modern cuts like Can’t Get You Out of My Head - they are hard to beat!

 PHOTO CREDIT: @kristsll/Unsplash

The fact those lucky enough to see Kylie Minogue at next year’s Glastonbury means they will get to hear her big hits alongside some newer material. I think she is someone who continues to provide magic and, even though Golden (her latest album) is a more Country-sounding offering, it is the sign of an icon adapting and not standing still. Whilst there has been a lot of praise regarding Minogue getting that booking; others are accusing Glastonbury of going with cheese and lacking any sort of cool. If they book artists that are deemed ‘fashionable’ and ‘in’ then that is very boring and exclusive. You cannot have festivals overloaded with the new or predictable. It would be a shame if Glastonbury booked newcomers for their headline slots next year or they just went with bands/acts that are currently trending. If you like Kylie Minogue or not then you cannot argue against her legacy and popularity. She has remained and inspired for decades and, in an industry where it is hard to survive, she is a guiding light for artists coming through. Ensuring she has that stage to shine on and remind people why she has remained in the heart for all this time is very important. I have been thinking about other Pop artists who have created a legacy and might not be the first in mind when it comes to the big festivals.

 IN THIS PHOTO: Christina Aguilera/PHOTO CREDIT: Getty Images/Christina Aguilera

Consider other female acts like Britney Spears, Madonna and Christina Aguilera. I think all three are working on new material and tours – Spears is heading to the U.K. soon and Madonna is writing a new album – and they have each made their mark. I recall Spears and Aguilera coming into music in the late-1990s and early-2000s and being fresh and unexpected. It was a period where we needed those anthemic and bold artists to provide a sense of balance and fresh life. I am a bigger fan of Britney Spears’ work and love how she evolved as an artist. Both are huge American Pop pioneers and, although they are in their thirties, they are not going to be courted by the likes of Glastonbury or Coachella. I do think there is a definite sense of shelf life and festivals need to focus on what is modern and currently popular. Artists like Britney Spears and Christina Aguilera continue to make great music and, even though their music is more mature than it once was, recognising what they have given music is essential. I am not sure which other legends will be playing Glastonbury next year but I think more space and focus should be given to acts that have helped changed music. Go even further back and think of all these icons we grew up around. I know Paul Simon has just retired from touring but think about some of his peers – such as Paul McCartney - and I think we should be giving these musicians as much time as possible.

 IN THIS PHOTO: Paul Simon/PHOTO CREDIT: Getty Images

I think festivals are too dependent on what is considered to be mainstream and relevant; relying on newer acts or, when they go further back, not really celebrating older artists. Festivals such as Reading and Leeds have booked bands who were popular in the 1990s but think about the musicians who were ruling before that and how many get a proper platform? Maybe we have festivals, like Glastonbury, who have stages for legends but I think there should be natural consideration for the icons and pioneers – even if their glory days are in the past. Consider the recent excitement caused by Sir Paul McCartney when his Beatles bandmate, Sir Ringo Starr, took to the drums at one of his gigs – accompanies by a Rolling Stone, Ronnie Wood. How can you beat a moment like this:

“...And not just any friends - the 76-year-old was reunited with Sir Ringo Starr, 78, on drums and joined forces with Rolling Stone guitarist Ronnie Wood, 71. The supergroup lined up to perform The Beatles' 1969 hit Get Back at London's O2 Arena and close the UK leg of Freshen Up tour. Sir Paul stunned the sell-out crowd before the encore of his show on Sunday night, saying: "We've got a little surprise for you. It's a surprise for us, actually - it only happened today."

After the performance, Sir Ringo said: "I don't know about you, but that was a thrill for me.

"I'm just going to let that moment sink in," McCartney added as the two musicians left the stage”.

I hope Sir Paul McCartney gets a chance to play Glastonbury and the fact we have so much love and respect for these legends leads me to believe there should be more of a balance at festivals. Whether we are talking about Pop legends or the big bands who dominated in the 1960s and 1970s; it is not merely nostalgia having them on bills. I feel many people are too primed by what is recommended on streaming sites and digesting what is new and at the forefront. It is all very well dipping into the past and recognising the big musicians who have helped progress the industry – I feel like they warrant a lot more fondness and appreciation. Consider radio stations and how so many artists gets ignored when they get to a certain age. The likes of Kylie Minogue, Madonna; P!nk and Pete Waterman have spoken out against ageism and recognised that music, for the most part, is dedicated to the young. Even when you get to thirty you have to look over your shoulder and wonder whether you are going to be seen as relevant and ‘with it’ Some of the iconic artists in their fifties and sixties are producing their richest and most personal work to date. The music industry owes a debt of gratitude to artists who have survived and campaigned for decades and helped inspire the new generations.

 IN THIS PHOTO: Stormzy (the first confirmed headline act for next year’s Glastonbury)/PHOTO CREDIT: Shirlaine Forrest/WireImage

I am pleased Glastonbury have booked Kylie Minogue and the fact she will prove a more popular draw than their confirmed headliner Stormzy shows why we need to respect these legends who have done so much. It is, as I say, not just about looking back and getting that nostalgic blast. The modern output of the likes of Kylie Minogue, Sir Paul McCartney or someone like Johnny Marr (The Smiths’ former songwriter and guitarist) is hugely important and should not be written off. The only way the fans and musicians of the future will get to know where music came from and how it has changed is to see these titans in their element on the stage. We have streaming sites and can buy records of the legends but ensuring there is a stage where they can perform is crucial. It is always disappointing to see great artists excluded and marginalised by certain radio stations when they get older. Their legacy and role in music is being diminished and, again, so much attention and spotlight is given to the new and ultra-cool. I feel every station and festival should provide equal weight to the unsigned/newcomers, the modern mainstream and the legends of the past. Maybe music is so busy and packed that it is impossible to give an equal billing to everyone!

 IN THIS PHOTO: Bruce Springsteen/PHOTO CREDIT: Danny Clinch for Variety

I think we need to think about ageism and ask whether we give as much to the icons and legends as we should. From Minogue to McCartney through to Bruce Springsteen and the more recent Pop progressors – I feel having their music on stages every year is a no-brainer. If you head to Glastonbury and are lucky enough to see the legends play (I am not sure who else is going to be confirmed) then you get that wonderful blend of their new material and all the hits. I have looked back at Glastonbury festivals and, in recent memory, performances by Nile Rodgers (and CHIC) and Barry Gibb (the Bee Gees) have proved more popular than the headline acts! I have nothing against the new breed at all – and feel we need to show them as much love as we can – but due respect and warmth needs to be given to those legends who have managed to put out great music for so long. I know festivals around the world give a stage to the legends but more can be done. I would like to see radio stations being more inclusive and less ageist; festivals integrated legends more every year and, unless the greats of the past are given the chance to keep performing on the big stages then we risk a generation passing them by entirely. It is a long way off but I know there are thousands out there who have their Glastonbury tickets that are looking forward to Kylie Minogue taking to the stage and belting out her golden hits to the...

 PHOTO CREDIT: @v_well/Unsplash

ADORING and delighted masses.

FEATURE: An Edge That Cuts Deeper: The Best Hip-Hop and Rap Albums of 2018

FEATURE:

 

 

An Edge That Cuts Deeper

PHOTO CREDIT: @ohthehumanity/Unsplash  

The Best Hip-Hop and Rap Albums of 2018

__________

EVERY year produces some exceptional Hip-Hop and Rap albums...

 IN THIS PHOTO: Noname/PHOTO CREDIT: Getty Images

and 2018 has been no different! There have been some truly wonderful offerings from genres that are still confined to the borders. I think artists in Hip-Hop and Rap are producing some of the finest music around and they deserve a lot more acclaim. In any case; here is a look at the best albums from the genres – proof of the intent, potency and quality of the very best artists out there. As we head in 2019, I feel the Hip-Hop and Rap genres will continue to delight and provide the sort of strength and firepower...

 IN THIS PHOTO: The Carters (Beyoncé and Jay-Z)/PHOTO CREDIT: Getty Images

OTHERS cannot.

ALL ALBUM COVERS: Getty Images

________________

Cardi B – Invasion of Privacy

Date of Release: 5th April, 2018

Labels: Atlantic/KSR

Producers: Various

Review:

“That presence, which anchors Invasion of Privacy, breaks with the rap game’s minimization of women to amplify a multifaceted female MC who is enamored of her own sex appeal and disinterested in the rules. A loud-mouthed Afro-Latina who refuses to be silenced in a world that has historically penalized black women for speaking their minds, Cardi B has changed the trajectory of the hip-hop narrative by upending longstanding street lore about how to earn wealth and respect in the genre and supplanting her male peers by daring to make herself the star of the story.

A woman with no need to rely on a more prominent male counterpart is the protagonist at the controls rewriting the rules, teaching other women how to get to the bag and challenging the men to keep up. Her presence proves that rap is only made better and more compelling by a diverse crop of female talents that do not fit neatly into any particular boxes or gender roles and are not shrinking violets. Cardi B is the real deal. Only thing fake is the boobs” – Entertainment Weekly

Stream: https://open.spotify.com/album/4KdtEKjY3Gi0mKiSdy96ML?si=XhtycAb_S02lxUa7ovVkrQ

Standout Tracks: Be Careful/Money Bag/She Bad

Finest Cut: Bodak Yellow

J. Cole – KOD

Date of Release: 20th April, 2018

Labels: Dreamville/Rock Nation/Interscope

Producers: Jermaine Cole/Ibrahim Hamad/BLVK/Mark Pelli/Ron Gimore/T-Minus

Review:

“Most compelling of all is "Once an Addict," a regretful reflection on struggling as a child and young man to cope with the toll heartbreak and alcohol took on his mother. Cole's few departures from the narrative method are sometimes for the worse, such as the point on "KOD" where he gets combative about the lack of guests on his records and deflates boastful rationale with some of his weakest wordplay. Two other instances conversely make for highlights. "Brackets" sharply turns from a millionaire bleating about paying taxes to a detailed treatise on who does and doesn't benefit from the process. Finale "1985 (Intro to 'The Fall Off')" is straight talk directed at a certain sect of younger commercial rappers, mixing sharp cultural commentary with condescension and guidance: "These white kids love that you don't give a fuck/'Cause that's exactly what's expected when your skin black." As the value of Cole's witticisms, and the intellect required to decrypt full meaning of his verses, continues to be debated, the increased strength in his clear-cut writing evinces promise of greater work ahead” – AllMusic

Stream: https://open.spotify.com/album/4Wv5UAieM1LDEYVq5WmqDd?si=dnozvPOaRYGl8grm7OFSrA

Standout Tracks: Photograph/ATM/BRACKETS

Finest Cut: 1985 – Into to “The Fall Off”

cupcakKe – Ephorize

Date of Release: 5th January, 2018

Labels: (Self-released)

Producers: Def Starz/Turreekk

Review:

“The album isn't flawless. While LGBTQ support has long been a key component of Harris' voice and perspective, her songs voicing it can still feel a tad clumsy and overstated. 'Crayons' finds her characteristic cleverness replaced by a well-intended jackhammer, repeating “Boy on boy / Girl on girl”, with CupcakKe pointing out she has a gay stylist. It's hard to find any fault with her, giving much needed voice in a homophobic musical arena, but one hopes she finds a way to more naturally graft it into her songwriting.

It hardly detracts from the project overall, and on 'Post Pic' she's back to imagining men masturbating to her pictures, while 'Meet and Greet' brings the aggression back, offering the gem, “Only time a bitch can tell me 'Have a seat' / is if I'm on the Ellen Show.” CupcakKe's confidence and complete lack of a filter remain her greatest allies on Ephorize, with the album feeling like an arrival. Queen Elizabeth may have made some noise, but here, she drowns out the competition. Her position has become undeniable, leaving room for only one thought: what's next. She's sure to be eating on the couch for a while” – The 405

Stream: https://open.spotify.com/album/5vnAsJiYwz1Cb3lydVGN9W?si=Zqp8hpccTNq4ugebJbrIYA

Standout Tracks: Duck Duck Goose/Crayons/Self Interview

Finest Cut: 2 Minutes

The Carters – EVERYTHING IS LOVE

Date of Release: 16th June, 2018

Labels: Parkwood/Sony/Roc Nation

Producers: Various

Review:

“Everything may lack the emotional depth of Beyoncé’s last two solo records, but it more than makes up for it in holy-shit-Beyoncé moments. Throughout, Jay doesn’t really try to compete with her, which is probably its most revealing insight into their marriage. The past few years have seen a flood of megawatt, full-length team-ups, but only Jay’s own work with Kanye (and Drake and Future’s collaborative 2015 takeover of rap radio) even approach what the Carters have done here, at least as far as fusing their disparate personae into an appealing whole. Both have built vast personal myths across their sprawling discographies, filled with recurring characters and motifs, mothers and hometowns and tragedies. They bring all of that and more into Everything Is Love, an album that deliciously fills in backstory (Jay brought a friend to their first date?), raises the specter of every beef the two have ever had (apologies to Nasir), and demands art history explanation alongside tabloid speculation” – The A.V. Club

Stream: https://open.spotify.com/album/7jbdod8XNRfe2nIhppht46?si=8yVxqbBcQ-GQk5Qkd_euxw

Standout Tracks: BOSS/713/BLACK EFFECT

Finest Cut: APESHIT

Buddy – Harlon & Alondra

Date of Release: 20th July, 2018

Label: RCA Records

Producers: Various

Review:

“As ever, this much variety is a risk. But there's a delicacy in the approach that ties everything together. Where other sample-based producers might just loop up and check out, the team here – from Bruno Mars collaborator Brody Brown to master sticksman Roofeeo – craft arrangements that are intricate and deliberate. A barely-there string quartet closes "Real Life Shit"; a Wurlitzer purrs in the background of Young; every bit of close harmony and double-tracking is crisp and considered.

And the rapper cum singer has the vocal equipment to join the dots. Spitting 'Dear Diary' scrawl or political polemic, singing gospel or R 'n' B, Buddy leans into each style without losing a thread of idiosyncrasy. There are simply no duds.

Even more exciting is the amount of industry support behind him. 2018 is barely halfway through, but Harlan & Alondra will have to be crowbarred out of end-of-year lists come December. An absolute triumph” – The Line of Best Fit

Stream: https://open.spotify.com/album/5djciKtjqkY9ZQ1OhKICXN?si=5Vmo-469RUmzIcvSzxGzag

Standout Tracks: Real Life S**t/Trouble on Central/Young

Finest Cut: Hey Up There

Kids See Ghosts (Kanye West, Kid Cudi) – Kids See Ghosts

Date of Release: 8th June, 2018

Labels: GOOD/Def Jam

Producers: Various

Review:

“For once, Cudi sounds like the one who has it together, the apprentice supporting his former mentor. On an album of highlights, "4th Dimension" and "Freeee (Ghost Town, Pt. 2)" are standouts, as exciting and vital as anything West produced in his early-2000s golden years. Sampling Louis Prima's swinging holiday track "What Will Santa Claus Say," the former features KSG's best flow, which, when the hard beat clicks into step with Cudi's verse, is a thrill; while the latter track builds upon the brief glimmer of hope offered on Ye's "Ghost Town" in a bold and exciting moment of triumph as Westproclaims, "Nothing hurts me anymore/Guess what, baby? I am free." That energy is peppered throughout, from the mantras of "Reborn" ("I'm so reborn/I'm moving forward") to the Kurt Cobain-sampling "Cudi Montage," where the song's namesake repeats "Stay strong/Lord, shine your light on me/Save me please." Kids See Ghosts is everything Ye wasn't, delivering a worthwhile listen in spite of the extended PR disaster that preceded its release. With Cudi as the yang to West's yin, the pair inch closer to finding peace and a light in the darkness” – AllMusic

Stream: https://open.spotify.com/album/6pwuKxMUkNg673KETsXPUV?si=kVulTW-6QnmZBjjMXf9L7A

Standout Tracks: Fire/Freeee (Ghost Town Pt. 2)/Reborn

Finest Cut: 4th Dimension

BROCKHAMPTON – iridescence

Date of Release: 21st September, 2018

Labels: Question Everything/RCA

Producers: Brockhampton

Review:

“The album’s emotional centrepiece, though, is ‘WEIGHT’, an urgent, necessary cleansing of deep-seated doubts from Kevin. He confronts self-doubt (“I’ve been feeling defeated, like I’m the worst in the boyband”), the mental health of his bandmates (“I’m still worried ‘bout when Ashlan [Grey, Brockhampton member] finna put the razor down”), his sexuality (“Every time she took her bra off my dick would get soft / I thought I had a problem, kept my head inside a pillow screaming”), before he simply and softly decides to move on from all the controversy the band have faced, singing: “I don’t wanna waste no more time, I’m ready to go / I live my life on standby, I can leave you alone.”

By confronting the bumps they’ve found in the road over the last year, Brockhampton have found a new sense of unity, and when ‘iridescence’ confronts every single one of these bumps, it proves that the band possess a truly special voice. It was a record Brockhampton had to make - now it’s done, they’re free to move on and become the biggest in the world” – DIY

Stream: https://open.spotify.com/album/3Mj4A4nNJzIdxOyS4yzOhj?si=tkUCAsoIR2GeaSsU1oykMw

 Standout Tracks: BERLIN/LOOPHOLE/HONEY

Finest Cut: WEIGHT

Marlowe – Marlowe

Date of Release: 13th July, 2018

Label: Mello Music Group

Review:

“There are few things I dislike more in hip-hop than annoying transparency, and I love the fact that I have to actively try to figure this record out. I recognize that not everyone shares this opinion, and the fact that Marlowe is just as strange in style means it’s probably not for everyone – but those who will like it will really like it. Brigham’s droning, monotone delivery is perfect atop L’Orange’s dynamic and driving beats, with both always pushing each song along at a meditative pace. I found myself bobbing my head similarly to when I listen to Neu! or Boredoms, and I’m grateful that I’ve finally found a hip-hop record with this sort of rhythmically hypnotic effect. The skits are short, entertaining, nondisruptive; the pacing perfect; the ending conclusive and satisfying despite my never really knowing what was going on. I really can’t say enough good things” – Noise Not Music

Stream: https://open.spotify.com/album/7bqvcSakcw6pS57fMOvlHL?si=evpXEIr8So67aJ96vhzEvA

Standout Tracks: Demonstration/Medicated/Mayday

Finest Cut: Lost Arts                  

Pusha T – DAYTONA

Date of Release: 25th May, 2018

Labels: GOOD/Def Jam

Producers: Kanye West/Terrence ‘Pusha T’ Thornton/Steven Victor/Andrew Dawson/Mike Dean/Pi’erre Bourne

Review:

“Pusha wastes little time on “Infrared” before diving back into his shots at Drake; there’s a Quentin Miller reference and at least one other jab about ghostwriters, and in context, the anecdote about Jay needing that Annie sample to match Grammys with Will Smith seems pointed.

The real venom is saved for Baby and Wayne, though. Pusha thanks Rick Ross—who appears earlier on Daytona—for holding Baby’s feet to the fire for his alleged exploitation of Cash Money artists: “Salute Ross ’cause the message was pure/He see what I see when you see Wayne on tour/Flash without the fire/Another multi-platinum rapper trapped and can’t retire.” It’s withering, and while it’s likely rooted in fact (the details of Wayne’s lawsuit against Cash Money were unbelievably bleak), it serves primarily to cast Pusha as the savvy one, the one who could face boardroom or back-alley obstacles and come away unscathed. That’s not the whole story, of course. But what Pusha has done is carve out his own corner of rap where he can reign as king for as long as he wants” – Pitchfork

Stream: https://open.spotify.com/album/07bIdDDe3I3hhWpxU6tuBp?si=fGp-5TAdRh6mCV596GYHWA

Standout Tracks: The Games We Play/Hard Piano/Come Back Baby

Finest Cut: Infrared

Noname – Room 25

Date of Release: 14th September, 2018

Producers: Phoelix/Noname

Review:

“Meanwhile, In ‘Don’t Forget About Me’ – a tender, wordplay-filled tale of a mother going through chemotherapy – Warner muses on the limited powers of her art, and cracks out the most arresting couplet of the year: “All her hair gone/ Feeling fishy, Finding Chemo/ Smoking seaweed for calm / These Disney movies too close”. Her ponderings on mortality give way to a spiralling string orchestra that wouldn’t sound out of place in the opening moments of Cinderella.

Noname said in a recent interview that hiring that particular 12-piece orchestra (she remains thoroughly independent, an expensive business) blew the entire budget for the project. Unlike many rappers out there, Noname isn’t bringing us a romantic rags-to-riches story; here she acknowledges the pitfalls of fame (as well as the occasional perks) with whip-smart honesty. Just like ‘Telefone’, it’s flawless” – NME

Stream: https://open.spotify.com/album/7oHM3Sj0l2nXAzGAxW0KOt?si=E67SuiECQ2iibSPL-TWMgg

Standout Tracks: Prayer Song/Don’t Forget About Me/Part of Me

Finest Cut: Blaxploitation

Vince Staples – FM!

Date of Release: 2nd November, 2018

Label: Def Jam

Producers: Cubeatz/Hagler/Kenny Beats/KillaGraham

Review:

“Yet, despite the impressive roster, FM! remains the Staples' show, his head-spinning flow and twisting wordplay making every track he touches a must-listen. Unsurprisingly, he hits the same themes that he's known for -- including black pride, street violence, "Norf"side repping, and partying -- all with characteristic bite and wit. Without the harsh drill production of Big Fish Theory, FM! is slightly more accessible -- as summer-breezy as Staples can get -- and hypnotizes as effortlessly as it menaces. "Relay," "Outside!" and "FUN!" are the highlights on an album of standouts, but in reality, every track is worthy of attention. Despite FM!'s brevity, Staples jams so much into every bar that it fully satiates, all while still managing to end so abruptly that it comes as a surprise. The electrifying thrill of FM! is a triumph for the rapper who remains at the top of his game” – AllMusic

Stream: https://open.spotify.com/album/1XGGeqLZxjOMdCJhmamIn8?si=SY42YoMFTYuANmzOyHElFw

Standout Tracks: Relay/FUN!/Tweakin’

Finest Cut: Feels Like Summer

Saba – CARE FOR ME

Date of Release: 5th April, 2018

Labels: Saba Pivot/LLC

Producers: daedaePIVOT/Daoud/Saba

Review:

“While Saba handles the majority of the production on the album, he gets a hand from producers DaedaePIVOT and Daoud. Saba's lyricism on every track reminds me of a mix of Chicago rappers Mick Jenkins and Chance the Rapper; however, on "Life," Saba says "stop comparing me to people, no I am not them," and that's fine. He has his own sound and stands out as an artist, with this album possibly being the one to distance himself from being overshadowed by other Chicago rappers. He does hold it down for showing his upbringing through his music as a Chicago artist in a more authentic way this time around.
 
His rawness is revealed throughout the entire album. He starts off the album with "Busy/Sirens," which reflects on the life situations he's dealt with in the past few years, while touching base on his cousin, who passed away due to a stabbing in February last year. It only gets more personal from there.
 
His reflections on living as an artist, depression, relationships, love, death, trust issues, the dangers in Chicago and more show that, despite being a known artist in the industry, he's human. Saba confronts his life by writing every thought possible, storytelling to let listeners be aware that he struggles too, possibly with things he can't seem to escape from. His honesty and melodic, calming choruses and singing are for those who want to hear something real” – Exclaim!  

Stream: https://open.spotify.com/album/6Te111t5gDZ7W94myHRqUt?si=Jd8SCz5fS1K-YFaTa-kUWA

Standout Tracks: BUSY / SIRENS/FIGHTER/SMILE               

Finest Cut: LIFE

INTERVIEW: Banner.

INTERVIEW:

Banner.

___________

MY first piece of the day is a chat...

with Banner., who has been telling me about his upcoming E.P., Years in Shade, and what inspired it. He talks about his musical past and some albums that are important to him; where we can catch him gig and what the music scene is like in the Netherlands at the moment.

Banner. shares his plans for 2019 and recommends a rising act; how he spends time away from music and how he feels his new E.P. differs from his previous work – he gives some useful advice for any musicians coming through right now.

____________

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

I'm doing very well, actually. Just added another year of age to my tally while releasing my track Years in Shade which is the title track for my upcoming E.P. and I celebrated both last weekend. Also, having my sis' birthday a day behind mine means I don't have any reason not to have fun.

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

I was born and raised in The Hague (still live there) and write 'folkish' pop songs. I just turned twenty-three. I taught myself how to play the guitar at the age of twelve and began writing songs when I was eighteen. I'm intrigued by finger-picking and use some alternate tunings. I tend to rely mostly on my guitar for new songs so, in a way, I'm making guitar pieces that more or less stand by themselves.

The E.P., Years in Shade, is out next year. What can you reveal about the songs and ideas that we will hear?

The songs that appear on the E.P happen to be a bit more personal. The tracklist consists of five songs that I put in chronological order of me going through stuff (not to sound dramatic, though, I'm fine.) Most of them have a different presence in the songs in terms of 'how' I play; meaning the tracks have a more 'upright' approach of movability and perhaps have more space for vocals. I'd have to say it would be more 'accessible' yet (could be) easier to listen to. Basically, I could say the songs are built with more of a 'Pop' construction, which enables a certain playfulness on stage while playing with band.

How do you think your latest E.P. differs from your earliest stuff?

The approach to writing the songs definitely differs from the tracks that are on the Over Blue E.P. The first one was me starting out trying to develop a ‘sound’ (if that's what you want to call it) while the second was more about experimenting and finding out if my songs were compatible with different sounds and purposes. I never intentionally started experimenting with these songs. But, also, I sort of did. Meaning that what I was doing while writing the songs was all natural and felt as the right thing to do. 

Part of the process was freeing up some space and take a step back in complexity and let my first mind guide me through the tracks that would later become the Years in Shade E.P. I kind of challenged myself to let go and leave more blanks for the band members to fill in and the whole process itself was a very learning experience. An experience that is going to be helpful for my future me as a musician.

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

The reason I developed a love for music has various reasons, but I can't remember one certain artist that dragged me into the whole songwriting thingy. The thought of music itself was just more appealing to me I think. At first, I only played guitar for a five years and went f'ing around with different genres and also a loop pedal but, after a while, I was sick of not having a product or result which I could identify myself with...until I kind of gradually got into songwriting and it immediately made an impact as I took it more seriously, which was caused because I entered a music competition just two months after writing my first songs and made it to the final. So, that was a very good start and very motivating. 

Do you already have plans for 2019?

I recently got back into writing new songs. So, I might have an idea of what would be part of it. Other than that; it's safe to say that I'll play some in Germany and some more back here in the Netherlands but, as a musician, I'm always looking forward to what might happen in the near future and that makes 2019 no exception with my new E.P coming up and getting more and more opportunities to play live in countries other than the Netherlands.

You are a Dutch artist. What is the scene like in the Netherlands at the moment? Is it growing in terms of its music?

It's easy for me to keep track of everyone’s movement because you're actually in not that big of a boat and you have to share it with others. But, whether Dutch music is evolving? I can't really tell. Everything that's happening nowadays in the music industry is very promising, but I don't see that directly flowing through the Dutch music industry. Tons of Dutch artists might be a bit doomed to get big but just in the Netherlands.

I also don't know whether it's a choice or a curse. You could say getting big is easier here in the lowlands because we're a relatively small country with decent resources to play music - but since it's so small you can easily play every venue in the country in a short amount of time which, in my opinion, is a bit scary when you're working on something new but the places you visit are the same every time you go on tour, that must be a bit repetitive. That's why I tend to focus not solely on Dutch grounds (Not to throw shade at Dutch venues or artists though). Either way, there are lots of colleagues here doing a great job and that doesn't have to be kept a secret. 

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

Tons of memories I have from being a musician and they are mostly all great, but one moment that I keep thinking of is playing support for Newton Faulkner and Villagers. Big crowds being super-quiet and respectful; also fun and kind people to talk to afterwards. People describing what they see and what I do in maybe a bit more technical way is a bit dull sometimes, but people explaining what it does to them and their feelings is what really makes a difference for me as a songwriter.

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

Ben Howard - I Forget Where We Were 

For me, this album was an eye-opener because it showed me how versatile a songwriter could be. Not meaning that he is capable of playing every genre, but as in how deep you could dig into your own music and by doing so having a progressive mindset. Don't know if these were his intentions but that's what I learned from it trying to be progressive songwriter. Also, he just doesn't seem to be bothered anymore by the Every Kingdom era, despite the popular demand. He's a songwriter who earned his stripes with nothing other than making music he wants to make. I really dig Noonday Dreams but I have to give I.F.W.W.W. most of the credits in terms of I approach my own music.

Nick Mulvey - Wake Up Now

Such a sweet-sounding and loving record, which is also how I would describe Nick Mulvey as a person based on seeing him a few times live and listening to his interviews. In these interviews, Nick describes the progress of recording/writing as learning and liberating since he would let go of being in control all the time. Something I felt I was doing while making my new record. One of my favourite songs of all time is on this record and it's called In Your Hands which, in my opinion, is astonishing.

Sticky Fingers - Land of Pleasure 

Been following these guys for a while now, since they released their album Caress Your Soul, and ever since they just kept delivering such pleasant and fun songs. They're so easy to listen to on so many occasions and I can come up with just few bands that keep delivering the way they do, without sacrificing their identity. Why Land of Pleasure speaks to me the most is because I remember them playing bits of that album for the first time and I absolutely lost my head back then. It was at a tiny venue located on the beach with just the most beautiful sunset and I was graduating from high-school, so you could say life was extremely good. Also wondering what some of them Australians have been drinking because there are some true gems coming from the land down under which I can't clarify just yet.

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

I'm pretty content with the stuff that I have. Clothes are always welcome but, other than, that I am satisfied with what I own and I'm hoping that it will stay like this. Just hope people are going to like the record in 2019 and maybe, if I had to make one wish, then I would wish for a job that still enables me to make loads of music. 

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

I think would like to play support for Nick Mulvey, mostly because of what kind of audience he attracts to his concerts. But, other than that, I don't have a strong desire to play support for someone because in music you never know how things are going to be. Being surprised is what kind of makes it exciting.

The rider kind of depends of the tour I would be doing but good care and comfort is actually all I need; maybe a bottle of whiskey which is already on my rider.

What advice would you give to new artists coming through?

There's loads of cheesy stuff to say to people who are just starting out which are true. I'm actually packed with stuff I want to mention but let's try keeping it easy and understandable. Always remember to have fun, don't expect too much and you'll be pleasantly surprised. Results shouldn't be the reason you make music. Of course there are times where you have to take protection in order to do what you love. But, still I think tons of people forget that it's mostly about the music that you make and if you do that properly the rest eventually will revolve around that.  By the way: I'm not talking as if I already made it, but still...

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

There are a few dates in Germany and a co-headline show with Matt Perriment which I really look forward to. Also been busy with another tour which I can't tell you about just yet but it's coming and maybe it's about time that I actually set foot on British grounds for a change.

25th January - Paard, The Hague

26th February – Auster-Club, Berlin

28th March - FZW, Dortmund 

5th April - Tivoli, Utrecht (with Matt Perriment) 

 IN THIS PHOTO: Seoul

Are there any new artists you recommend we check out?

Don't know if I'm cool enough to recommend songs that 'nobody' knows but there's this band from Canada I think who are called Seoul and they make this melancholic, ambient Pop music. For me, a sweet find and definitely worth checking out.

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

Of course I have to make sure that I don't lose my mind when making a lot of music, so I unwind just by hanging out with friends and get a beer. I have also been dancing for fourteen years now and I still enjoy doing that; keeping body and my soul in shape. Now and then I stroll through my hometown, just to clear my mind.

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).

Nick Mulvey – In Your Hands

___________

Follow Banner.

Facebook:

https://www.facebook.com/bannermusicNL

Instagram:

https://www.instagram.com/bnnrboy/

Twitter:

https://twitter.com/v2records

Spotify:

https://open.spotify.com/artist/6TU6LHZGe0YOt58kTD8Sez?si=imQYORkpQGGhmfiGmAd8Rw

YouTube:

https://www.youtube.com/channel/UCxtqQ74YqlEkhweH39eL86A

FEATURE: Melody and Magic: The Best Folk, Americana and Country Albums of 2018

FEATURE:

 

 

Melody and Magic

PHOTO CREDIT: @sethmacey/Unsplash

The Best Folk, Americana and Country Albums of 2018

__________

I am keen to celebrate the best albums of the year...

 IN THIS PHOTO: First Aid Kit/PHOTO CREDIT: Nate Ryan/MPR

and, in this feature, break it down by genre and highlight the finest from each. This time around, I am focusing on Folk, Americana and Country. They are genres that do not get the same acclaim and focus as, say, Pop and Rock. I think it is unfair because, as we can see from the records below, there is so much quality and variety to be found in the genres. Have a look and listen to the best Americana, Folk and Country albums of 2018 and I am sure there is going to be an album in the list...

 IN THIS PHOTO: Mount Eerie/PHOTO CREDIT: Jordan Stead

THAT lodges firmly in the mind.

ALL ALBUM COVERS: Getty Images

________________

Lori McKenna – The Tree

Date of Release: 20th July, 2018

Label: CN Records

Producer: Dave Cobb

Review:

“You can maybe guess the quality and sound of The Tree from noting that it’s produced by Dave Cobb, who also plays guitar: he’s been a common thread on much of the best country over recent years, working with artists who favour small band set-ups, rather then pop country’s flash and bang. McKenna’s and his styles are perfectly suited to each other: a gentle lollop, a hint of twang, letting the lyrics do the lifting.

And McKenna’s eye for detail is terrific: the man who’s “got bicycle tires and lawn mower parts / Miles of wires and kitchen drawer knobs”, but no idea what parts he needs to mend his marriage (The Fixer), or the woman who will “spray the soap from the bathroom tiles / Cut the threads off the kitchen towels”, knowing her husband won’t notice she’s left (You Won’t Even Know I’m Gone). It’s an album for grown-ups, contemplative and wise” – The Guardian

Stream: https://open.spotify.com/album/2Jv8rT6pudH0eIlgu90zKm?si=_Tav2yrUTz2UM0uqnDeISQ

Standout Tracks: A Mother Needs Rest/The Tree/You Can’t Break a Woman

Finest Cut: The Fixer

Kacey Musgraves – Golden Hour

Date of Release: 30th March, 2018

Label: MCA Nashville

Producers: Dave Tashian/Ian Fitchuk/Kacey Musgraves

Review:

“Musgraves doesn't mine this vein, preferring a soft, blissed-out vibe to skittering rhythms and fleet rhymes. At their core, the songs on Golden Hour -- largely co-written with Musgraves by her co-producers Ian Fitchuk and Daniel Tashian, but also featuring Natalie Hemby, Luke Laird, and Shane McAnally, among other collaborators -- don't play with form: they are classic country constructions, simply given productions that ignore country conventions from either the present or the past. This is a fearless move, but Golden Hour is hardly confrontational. It's quietly confident, unfurling at its own leisurely gait, swaying between casual confessions and songs about faded love. The very sound of Golden Hour is seductive -- it's warm and enveloping, pitched halfway between heartbreak and healing -- but the album lingers in the mind because the songs are so sharp, buttressed by long, loping melodies and Musgraves' affectless soul-baring. Previously, her cleverness was her strong suit, but on Golden Hour she benefits from being direct, especially since this frankness anchors an album that sounds sweetly blissful, turning this record into the best kind of comfort: it soothes but is also a source of sustenance” – AllMusic

Stream: https://open.spotify.com/album/7f6xPqyaolTiziKf5R5Z0c?si=I5C3t9WVT_6PIf_np-BrJQ

Standout Tracks: Butterflies/Space Cowboy/Wonder Woman

Finest Cut: High Horse                     

Mount Eerie – Now Only

Date of Release: 30th March, 2018

Label: P.W. Elverum & Sun

Producer: Phil Elverum

Review:

“Now Only is just as devastatingly direct, but there are glimmers of catharsis—of light gleaming in tears, as Elverum puts it. Where Crow occupied a numb, purgatorial present tense, the new record leaps around like a wandering mind, to vivid anecdotes from the singer-songwriter’s past. Now Only also hesitantly reintroduces some sonic variety, augmenting Crow’s stark, plainspoken folk; in this context, the crunch of doom-metal guitar on “Distortion” sounds almost hopeful, to say nothing of the hint of humor—and the presence of an actual, ironically catchy chorus—on the title track. Elverum may spend the rest of his career grappling with his grief. It’s a tough, beautiful privilege to be invited along on that journey” – The A.V. Club  

Stream: https://open.spotify.com/album/7aQG6DxwFmUKVhkOJtlCZ1?si=tHXmzCKNR5SJVEg7D6dr6g

Standout Tracks: Tintin in Tibet/Earth/Two Paintings by Nikolai Astrup

Finest Cut: Distortion                       

Brandi Carlile – By the Way, I Forgive You

Date of Release: 16th February, 2018

Labels: Low Country Sound/Elektra

Producers: Dave Cobb/Shooter Jennings

Review:

““Everytime I Hear That Song” takes on one of the oldest heartache clichés in all of country music: the notion of suddenly remembering an ex-lover when your favorite song comes on the radio. Carlile’s less interested in mining her loneliness than she is in seizing forgiveness as a source of strength: “After all, maybe I should thank you/For giving me what I found/’Cause without you around, I’ve been doing just fine.” There’s an expression of vulnerability here, yet that’s not how the song is defined. She takes control, forgives even if she can’t forget, and presents it as a song of empowerment.

Subject matter like this can sometimes make By the Way, I Forgive You a heavy listen, and there are times when it’s hard not to miss some of the loose, limber rock of 2015’s The Firewatcher’s Daughter. Then again, channeling haunted, harrowing songs into moments of liberation and catharsis has always been Carlile’s gift. Here, she’s not only created some of her most fully realized characters—tough and vulnerable in equal measure—but she’s found her most sympathetic collaborators, making By the Way, I Forgive You the most emotionally direct and revealing album she’s to released to date” – Slant Magazine

Stream: https://open.spotify.com/album/2wDKBKgco7u3V1IWEK5V8l?si=0neSs57MRSWfKsvLrkwxBg

Standout Tracks: Every Time I Hear That Song/The Mother/Harder to Forgive

Finest Cut: The Joke                         

Richard Thompson – 13 Rivers

Date of Release: 14th September, 2018

Label: New West Records

Producer: Richard Thompson

Review:

“Hearing Thompson and his band dig into these songs is truly satisfying, and as usual, he's left us no doubt that he's a master tunesmith, in particular in the troubled introspection of "The Storm Won't Come," the edgy contemplation of the unreliable inner voice in "The Rattle Within," the toxic certainty of "You Can't Reach Me," and the uncomfortable obsession of "She Was Meant for Me." The wit that usually dilutes the darker moments on a Thompson album is, for the most part, conspicuous in its absence on 13 Rivers (though it's briefly evident on "O Cinderella"), but it does give this set a thematic consistency that's effective, and Thompson's vocals are superb throughout, making the most of his dour but incisive stories. 13 Riversisn't an unusual Richard Thompson album in most respects, but it is one that makes the most of his craft as a guitarist, songwriter, and bandleader. Not many artists continue to create bold, compelling work that doesn't sound like it's treading creative water after a half-century, but 50 years on from Fairport Convention's debut LP, 13 Rivers is striking music from a musician who remains fresh, contemporary, and peerless” – AllMusic 

Stream: https://open.spotify.com/album/2XHVhUTfta3YoNHd0EjWNs?si=IpSkrKuNQq-IStWD1MBX0Q

Standout Tracks: Her Love Was Meant for Me/The Dog in You/No Matter

Finest Cut: The Storm Won’t Come         

Haley Heynderickx – I Need to Start a Garden

Date of Release: 9th March, 2018

Label: Mama Bird Recording Co.

Review:

“Aside from the occasional flourish of strings and piano or cacophonous horns, Haley largely confines herself to a lone guitar, which allows her soft vocals and colourful lyrics to take centre stage. ‘No Face’ reaches an almost Angel Olsen-esque climax as soft coos evolve into a warbling vibrato. ‘The Bug Collector’ creates a magical atmosphere as she sings about a “praying mantis in the bathtub” and a “millipede on the carpet” as metaphors for her religious past - a theme that reappears on ‘Untitled God Song’. ‘Worth it’, meanwhile, recalls Pavement-style rock’n’roll at points, in an eight-minute highlight that metamorphoses between sliding arpeggios and angsty power chords.

‘I Need To Start A Garden’ is largely a subtle and restrained record, and aside from the tangible vocal refrain of ‘Oom Sha La’, there are few traditionally-structured pop songs. Deep inside this warm collection of songs, though, there is a delicate charm to be found. Tender without being twee, this debut LP ultimately captures a moment that is both genuine and touching” – DIY

Stream: https://open.spotify.com/album/2XHVhUTfta3YoNHd0EjWNs?si=IpSkrKuNQq-IStWD1MBX0Q

Standout Tracks: The Bug Collector/Worth It/Drinking Song

Finest Cut: Show You a Body        

       

First Aid Kit – Ruins

Date of Release: 19th January, 2018

Label: Columbia

Producer: Tucker Martine

Review:

“Their lyrics exhibit a sharp, unsentimental eye for the forensics of failing relationships, but the buoyancy of their harmonies acts as a counterweight to the loneliness inherent in the subject matter. Fireworks is a beautiful song of thwarted longing, steeped in Roy Orbison-esque melancholy, but the tightly bound twin vocal means you don’t imagine the narrator going through it alone.

The delightful Hem of Her Dress comments on the mechanics of a break-up (“So here we go again/ I know how this one ends”) but concludes with a cheery singalong, a roomful of beery, cheery voices toasting the inevitable.

This quality of unity lends their tales of failed romance an implicit, feminist strength. First Aid Kit sooth the pain of heartbreak with the balm of sisterhood” – The Telegraph

Stream: https://open.spotify.com/album/5l2Ts5Hd4BN2O28rZksznR?si=97J0lkHxRyu8SOUvDybEEg

Standout Tracks: Rebel Heart/It’s a Shame/Ruins

Finest Cut: Fireworks

Courtney Marie Andrews – May Your Kindness Remain

Date of Release: 23rd March, 2018

Label: Loose

Review:

“It’s one of the elements – along with the organ and Mark Howard’s spacious but focused production – that gives the album an unusual intensity. May Your Kindness Remain sounds forever on the brink of eruption – no shucks-we-were-drinking-beer-in-your-truck here. Andrews has said the theme of the album is coming to terms with depression, which you can sense without even listening to the lyrics.

Amid the misery, though, there is a search for moments of levity. This House is a long way from Madness’s house or Graham Nash’s house – “Empty cans on the counter / And the laundry’s never done,” Andrews sings, detailing the shortcomings of the surroundings, even as she insists “this house ain’t much of a house, but it’s a home”. May Your Kindness Remain confirms Andrews’ rise. It’s a brilliant record, proof that old forms can still be timeless” – The Guardian

Stream: https://open.spotify.com/album/6R3VgtxtmzmrDfBlaApXMV?si=YIIw9ewQTtekxsdOMtY_PA

Standout Tracks: Two Cold Nights in Buffalo/Border/This House

Finest Cut: May Your Kindness Remain

John Prine – The Tree of Forgiveness

Date of Release: 13th April, 2018

Label: Oh Boy Records

Producer: Dave Cobb

Review:

““Summer’s End” evokes the seasonal sanctuary of home for the lonely. Prine stretches each line’s last word out companionably, but the warm welcome is really extended by phrases of folksy, funny surrealism. In Prine country, “the moon and stars hang out in bars/just talkin’”. “Caravan of Fools”, by contrast, sees him lower his cancer-scratched voice to one of biblical portent, for an ominous tale recalling Cormac McCarthy’s fated characters.

Some songs are genuinely slight. “Lonesome Friends of Science”, though, is a modest masterpiece, sharing the weary worldliness and loping stride of his contemporary Townes Van Zandt’s “Pancho and Lefty”. An organ whistles in amiably as if from some long-gone Dylan Nashville session, as Prine’s ornery narrator stays free in his mind from the demands of a troublesome, rational world.

Prine’s stance has stayed askew. Yet these songs are solid like good chairs you can settle into for a while” – The Independent

Stream: https://open.spotify.com/album/13UwfQZqne7ZQIkUZsAPLg?si=bPDfQQCkQvCqi73-skLykw

Standout Tracks: Knockin’ on Your Screen Door/No Ordinary Blue/Boundless Love

Finest Cut: Summer’s End

Devin Dawson – Dark Horse

Date of Release: 19th January, 2018

Label: Warner Bros.

Producer: Jay Joyce

Review:

“In particular, the reliance on sturdy, melodic songs distinguishes Dark Horse from amorphous, EDM-flavored pop; the electronic flair is merely flair, never distracting from the tunes. If Dawson tends to slip into the production instead of demanding attention, it only accentuates how Dark Horse cultivates a cool vibe in both senses of the word: the album is hip and it runs cold, not hot. This sensibility means that it can slip by upon the first listen, but like most pop music designed to endure repeated spins, either on personalized playlists or radio, Dark Horse reveals its sly gifts upon repeated plays. By the third or fourth time these songs are heard, this low-key music gains definition and its melodies, along with its post-genre sheen, are beguiling” – AllMusic  

Stream: https://open.spotify.com/album/0veZCRGPKNnX0ufHxiUnTM?si=PgJ8B2SxReWCjOJXCnrGMw

Standout Tracks: Second to Last/Symptoms/War Paint

Finest Cut: All on Me

Ashley McBryde – Girl Going Nowhere

Date of Release: 30th March, 2018

Label: Warner Bros. Nashville

Producer: Jay Joyce

Review:

“The title track of McBryde’s Girl Going Nowhere is a whispered anthem about crushing it in the face of doubters. Most triumphant artists would holler, gloat, swagger, flip the bird, but in this opener, McBryde barely raises her voice, which quivers potently over a muted snare, guitar notes flashing like phone screens in a dark arena. Then “Radioland” crashes in, a country rocker about old-time broadcast bliss, invoking John Cougar’s “Jack and Diane” and McBryde’s daddy, “a rock star riding on a tractor listening to Townes Van Zandt.” (That songwriting giant Van Zandt got scant love from radio just makes the song’s vision sweeter.) “Southern Babylon” evokes the smoky country soul of Memphis, where McBryde logged time in bar bands. “Andy (I Can’t Live Without You)” depicts true love as a holy pathology; “Livin’ Next to Leroy” is a Southern-rock conjuring of a drug buddy who ends up dead on his sofa. McBryde’s got a big, vibrato-tinged alto, biker-chick style, and she wrote or co-wrote everything here, including “Dahlonega,” with a sharp eye for piercing detail. She has a serious gift” – Rolling Stone   

Stream: https://open.spotify.com/album/2FeaUU9jFydTIsVO5F8rNU?si=AmCYzBXxRiGJcHOg3lUUdg

Standout Tracks: Radioland/Livin’ Next Door to Leroy/Tired of Being Happy

Finest Cut: American Scandal

Pistol Annies – Interstate Gospel

Date of Release: 2nd November, 2018

Label: RCA Records Nashville

Producers: Frank Liddell/Glen Worf/Eric Mauss

Review:

“The Annies admire brazen Cheyenne and behold their ex’s new wife with wistfulness as they sing from the perspective of women abandoned by hope, yet not cheated of empathy. Milkman’s older mother is uptight, but the song’s rueful tone and acoustic intimacy sketch the limitations of her life. The mariachi brass on Leavers Lullaby accentuates the sad fate of a woman “paying what it cost to feel so free”. Commissary breaks into a psychedelic reverie as another mother refuses to fund her child’s prison account: as she repeats her tough-love position, the words echo sombrely, highlighting her guilt. There’s so little light here that the cheeky Sugar Daddy is forgivable – plus there’s a forthrightness to their exhortations to “saddle up and ride” that adds to their theme of women without time to waste” – The Guardian   

Stream: https://open.spotify.com/album/0IXxmmlfSQxgJNWnNjHhgJ?si=Pxp7B5WJQQisUvRHUH_rzw

Standout Tracks: Stop Drop and Roll One/Cheyenne/Sugar Daddy

Finest Cut: Got My Name Changed Back

FEATURE: A Colourful Cocktail: The Best Punk, Post-Punk and Pop-Punk Albums of 2018

FEATURE:

 

 

A Colourful Cocktail

PHOTO CREDIT: @huguesdb/Unsplash  

The Best Punk, Post-Punk and Pop-Punk Albums of 2018

__________

OVER the next day or two...

 IN THIS PHOTO: IDLES/PHOTO CREDIT: Getty Images/IDLES

I will look at some softer and more melodic styles of music – when it comes to the best albums of the year – but, for today, I will stick with the more intense and fired-up. It has been an especially grand and memorable year for artists in the Punk/Post-Punk genre – and those who mix a bit of Pop into the pot. I have already covered the best Indie, Alternative and Rock records of 2018 so it is the turn of the Punk warriors. Here is an essential rundown of 2018 gems that have impressed critics and made their mark on the public. If the crop of 2019 follows in the lead of the Punk-flavoured pioneers of 2018 then I think it will be a year we will remember...

 IN THIS PHOTO: Goat Girl/PHOTO CREDIT: Getty Images

FOR a very long time to come.

ALL ALBUM COVERS: Getty Images

________________

Shame – Songs of Praise

Date of Release: 12th January, 2018

Label: Dead Oceans

Producers: Dan Foat/Nathan Boddy

Review:

“Elsewhere, on ‘Tasteless’, he rails against those “distorted by distance”, only arsed when world affairs affect them personally, and delivers the lines with a desperate, hoarse bark. If all this sounds a bit heavy, it doesn’t account for the sense of sarcasm and dark fun that laces the album. On standout ‘Friction’, with its insistent, looping refrain and jaunty, camp drum fills, you can almost hear Steen wink through the lines, “Do you ever need the needy? Do they ever tug on your heart?” He’s deadly serious, and at the same time sending himself up, the sarky shite.

This is a band with a real sense of showmanship, as those who have witnessed Shame’s sweat-slicked live shows will know. It’s this that makes ‘Songs Of Praise’ utterly invigorating” – NME

Stream: https://open.spotify.com/album/3A1kutvBmC6czSsSv7aR5E?si=TNFb5MzcS3O8AtJQj2tL6Q

Standout Tracks: Dust on Trial/Donk/Friction

Finest Cut: One Rizla

IDLES – Joy as an Act of Resistance

Date of Release: 31st August, 2018

Label: Partisan

Producers: Space/Adam Greenspan/Nick Launay

Review:

“It runs the risk of being overwhelming, if not for the sense of elation that Talbot brings to the table, masterfully exemplified by his staunch defense of immigration on "Danny Nedelko," which is both a personal case for a good friend -- the lead vocalist of Heavy Lungs -- and a series of more relatable characters that immigration has brought to the U.K. Most importantly, the track swells to such manic levels of celebratory joy that it inescapably sweeps everything along with it. Conversely, the linchpin of the album, "June," features heartbreaking lyrics and is easily the most personal song for Talbot; it entails the tragic loss of his baby daughter, an honest and brave move, especially considering how recently that unfortunate event took place.

In a move almost possible to predict, Idles have also included a full-blown cover with their own rendition of Solomon Burke's "Cry to Me," which works more than it really should, both thematically and in this new crunchier form. Overall, Joy as an Act of Resistance manages to plumb new depths for Idles -- that they've achieved another record in such a short space of time is admirable, let alone one that shines head and shoulders over the majority of their peers -- and it certainly upholds their status as one of the U.K.'s most exciting new acts” – AllMusic

Stream: https://open.spotify.com/album/27NYgZQHcapoSAs5bWAxRI?si=XMhFGUCEQZCZiJfdHT0zXQ

Standout Tracks: I’m Scum/Danny Nedelko/Gram Rock

Finest Cut: Samaritans

Goat Girl – Goat Girl

Date of Release: 6th April, 2018

Label: Rough Trade Records

Review:

“In the face of these degenerates Goat Girl stand unfazed, a sentiment that remains a through-line even when the album warms up. The Man is a feverish love song, where lead singer Lottie, aka Clottie Cream, repeats the phrase 'You’re the man for me' ad nauseam with a moaning drawl until her infatuation steadily warps into obsession. Meanwhile, clocking in at under two minutes, Country Sleaze is a brief explosion of attitude, where a wall of crunchy guitars and bass drums envelops Lottie as she spits that 'nobody will mess' with her.

In Goat Girl’s London, a fucked up place full of weirdos both loathsome and benign – mostly loathsome – we’d say that’s a fair attitude to have” – The Skinny

Stream: https://open.spotify.com/album/3jDJ8KuleRVdhS2DJKFEW2?si=LOg62VKKQ7KJEagjfbrq_Q

Standout Tracks: Creep/Cracker Drool/Slowly Reclines

Finest Cut: The Man

flasher – Constant Image

Date of Release: 8th June, 2018

Label: Domino Recording Company

Review:

“Constant Image peaks with “Who’s Got Time?” which chooses a shitty relationship over none at all. Described by the band as “a celebration of disappointment and failure,” the track indulges in some common punk tropes: ennobling underdogs who just can’t help themselves, finding triumph in camaraderie rather than traditional success. But Flasher don’t romanticize the times when the adrenaline nightshift gets way too real, fueled by whatever stimulant gets them through that thing they do to keep the lights on; they highlight the power structures that keep them on that treadmill. People who share the band’s demographic profile and financial straits like to joke about what’s “tired” and what’s “wired,” what’s “woke” and what’s “broke.” Constant Image recognizes that they are all of the above—and have been for quite a while” – Pitchfork

Stream: https://open.spotify.com/album/6fvUDhvz6hDVck9epHLnf6?si=Ffb04FwJTi6iICjA_0OGMQ

Standout Tracks: Sun Come and Golden/Harsh Light/Punching Up

Finest Cut: Pressure

Screaming Females – All at Once

Date of Release: 23rd February, 2018

Label: Don Giovanni Records

Producers: Matt Bayles/Screaming Females

Review:

“Crucially, it feels like the work of a band completely in sync, trying to push in different directions before ricocheting into new territory and exploring with a gleeful menace. Some of the riffs here are fragile and fun ('Fantasy Lens' dive from spiky noise to gentle jangle feels spontaneous and is naturally brilliant) while others simply get their heads down and their hands dirty ('Agnes Martin' has more than a hint of QOTSA to its formidable noise). Word has it the band wanted to echo the free-flowing nature of their red-hot live shows on this record; all evidence points to that being a pretty smart idea, overall. This is the work of a band continuing their dramatic ascension from spirited young punks to one of the finest power trios on the planet – even at it’s bleakest, 'All At Once' is sheer rock’n’roll joy from start to finish” – CLASH

Stream: https://open.spotify.com/album/27WCDmHjVFzzdhxjqMKDgD?si=Lkos1aVbTgKbHsrlPelG0Q

Standout Tracks: Black Money/Deeply/Bird in Space

Finest Cut: I’ll Make You Sorry

Spanish Love Songs – Schmaltz

Date of Release: 30th March, 2018

Label: Uncle M Music

Review:

““The Boy Considers His Haircut” is my clear favorite from the album, a song that takes minutiae and reveals it to be symptoms of a greater angst. It has great screamlong melodies throughout the song, without ever dipping into a strict verse-chorus structure. The aversion to, but not total rejection of, traditional song structure reveals another parallel between Spanish Love Songs and The Menzingers—the effect is a strong one though, making each song feel natural, like it’s growing off of itself in new and organic directions.

There’s too many great songs on Schmaltz to talk about individually, but the number of highlights could very well be the same as its tracklisting, as each new listen offers something new to appreciate. That’s the depth the songwriting brings to the album; there’s a lot to unpack and Spanish Love Songs craft their music to make sure you want to unpack it, even when it hurts, even when it’s just a mirror to our discontent” – Dying Scene

Stream: https://open.spotify.com/album/1ZhCUWtUp7P7Yj1LlQi3yQ?si=lmIgOsWzQyymRU-zBHskSw

Standout Tracks: Sequels, Remakes, & Adaptations/Buffalo Buffalo/It’s Not Interesting

Finest Cut: Bellyache

Muncie Girls – Fixed Ideals

Date of Release: 31st August, 2018

Label: Specialist Subject Records

Review:

“At the fulcrum of its brilliance was singer/bassist Lande Hekt, whose lyrical observations bounced from feminism, to Sylvia Plath, to the sort of political awaking that occurs when you realise you’ve spent a decade at school and you haven’t really learned anything of very much importance at all. This time round, there’s a more coherent theme to Lande’s songs. She’s largely concerned with the concept of health, largely of the mental variety. ‘Clinic’ will be familiar to anyone who’s ever woken up with a head feeling like a test site for Trident, only to be told by the doctor’s receptionist “there’ll be a three week wait”. Then there’s the frenzied ‘Picture Of Health’ which not only shares the viewing platform for the abyss with the aforementioned number, but serves as the best argument for fuzz pedals to be given out free to children we’ve heard all year. You’ve probably got a pretty good idea what songs like ‘Laugh Again’ and ‘Falling Down’ are about. Not that it’s relentless horror. The song ‘Bubble Bath’ uses actual bubbles as a musical instrument of sorts” – NME

Stream: https://open.spotify.com/album/3CyxNM1u2MmhWR9tmXarmg?si=r39ipprqSiWzV6Iv9G_5oQ

Standout Tracks: Picture of Health/Isn’t Life Funny/Locked Up

Finest Cut: Clinic  

Iceage – Beyondless

Date of Release: 4th May, 2018

Label: Escho  

Producers: Nis Bysted/Iceage

Review:

“Beyondless builds on Plowing’s change of direction, with far more satisfying results. Frontman Elias Bender Rønnenfelt’s voice still dominates, but this time his slurring delivery works in the band’s favour, giving Showtime and the stop-start Thieves Like Us the air of unsettling late-night cabaret numbers. His duet with girlfriend Sky Ferreira on the brass-assisted Pain Killer, meanwhile, is an exercise in barely harnessed chaos – think Fun House-era Stooges – that’s as impressive as anything the band have ever done. Other highlights include the relentless opener, Hurrah (even if its lyrical obsession with killing sounds distinctly adolescent), and the uncharacteristic restraint of Take It All. It’s by no means a comfortable listen, but it is their most intriguing and fully rounded album to date” – The Observer   

Stream: https://open.spotify.com/album/5H8wFFblf7YvGc7LbBzuR9?si=_WOEIJmwS0aEsfj2A6UqOg

Standout Tracks: Pain Killer/Plead the fifth/Thieves like us

Finest Cut: Catch it

Lithics – Mating Surfaces (Abridged Version)

Date of Release: 25th May, 2018

Label: Kill Rock Stars

Producers: Nis Bysted/Iceage

Review:

“Released via Olympia, Washington, indie imprint par excellence Kill Rock Stars, Lithics’ sonic cubism consistently intrigues on their second album. From fist-clenched opener ‘Excuse Generator’ to breakneck closing blitz ‘Dancing Guy’, it’s an unfurling tapestry of interlocking DIY minimalist art-punk where precision and abandon prove uniquely compatible.

Despite pinning early 1980s Fall worship a little too visibly on its sleeve, the bobbing ‘Still Forms’ is a real triumph early on, while the five-minute ‘Boyce’ – the longest track by some distance – wields dissonance with remarkable aplomb. Elevating promise to certain brilliance, Aubrey Hornor’s languid vocals are fully present yet deftly unemotional on ‘Mating Surfaces’’ dozen combustions. On each of them, Lithics, bona fide post-punk revivalists, have zero dearth of confidence and it really stands to reason” – Loud and Quiet

Stream: https://open.spotify.com/album/5H8wFFblf7YvGc7LbBzuR9?si=_WOEIJmwS0aEsfj2A6UqOg

Standout Tracks: Still Forms/Boyce/Glass of Water

Finest Cut: Edible Door

The Beths – Future Me Hates Me

Date of Release: 10th August, 2018  

Label: Carpark Records

Review:

“Prior to forming the band, all four members studied jazz at the University of Auckland, and their well-bound musicality is certainly evidence that they took their studies seriously. Until earlier this year, Stokes taught trumpet to children in Auckland, a job she ditched to focus on the Beths full-time: “The Beths is almost reactionary to jazz school and trumpet,” she told Rolling Stone. “It’s a guitar band. We make guitar music. I like it that way.” Future Me Hates Me is more than proof that she and her bandmates made the right choice on refocusing their musical concerns—and it’s an absolute thrill to think about where this young band will take their talent next” – Pitchfork  

Stream: https://open.spotify.com/album/7LjtUEveoqeoOMGfGhVgsd?si=EBtu9icDTHWd0TE6tnITvQ

Standout Tracks: Uptown Girl/Little Death/Happy Unhappy

Finest Cut: Great No One  

The Wonder Years – Sister Cities

Date of Release: 6th April, 2018  

Label: Hopeless Records

Review:

“It’s not all gut wrenching frustrations being exercised however. "It Must Get Lonely" feels optimistic in comparison to much of the album; its buoyant verses a contrast to the despondency that features elsewhere. "Flowers Where Your Face Should Be" is another example of one of Sister Cities' more subdued moments. Though sombre in tone, delicate guitars provide the track with an airy sense of nostalgia, providing listeners with a brief moment of respite.

For the most part however, Sister Cities is a record that feels born out of frustration, and of heartbreak. Its 11 tracks taking listeners on an rollercoaster of emotional peaks and troughs, and by the time the closing moments of final track "The Ocean Grew Hands To Hold Me" ring out, you can’t help but feel bruised, beaten and above all cleansed” – The Line of Best Fit

Stream: https://open.spotify.com/album/3VRTF9hehAZgjvA4W2gIaI?si=chuAldGHQ7OrM36b-dtkUQ

Standout Tracks: Pyramids of Salt/Sister Cities/The Orange Grove

Finest Cut: It Must Get Lonely  

FEATURE: Turn It Up! The Best Rock, Indie and Alternative Albums of 2018

FEATURE:

 

 

Turn It Up!

PHOTO CREDIT: @firmbee/Unsplash 

The Best Rock, Indie and Alternative Albums of 2018

__________

THE final days of the year will see me...

 IN THIS PHOTO: Mitski/PHOTO CREDIT: Amber Knecht

combine more traditional pieces with articles relating to the best albums in certain genres. I hope to cover Punk, Pop; Folk, Hip-Hop and Rap soon but, right now, I have been looking at some of the finest Rock, Indie and Alternative albums of this year. It has been a successful and varied year for music and there have been some truly wonderful albums. Here is a selection of incredible Rock/Indie/Alternative records that have helped shape 2018 and should definitely be included in...

 IN THIS PHOTO: Parquet Courts/PHOTO CREDIT: Slant Magazine/Getty Images

YOUR collection.

ALL ALBUM COVERS (unless credited otherwise): Getty Images

________________

Mitski – Be the Cowboy

Date of Release: 17th August, 2018

Label: Dead Oceans

Producer: Patrick Hyland

Review:

“Be the Cowboy is 14 songs long, only three of which exceed two-and-a-half minutes. This odd but effective structure lets Mitski investigate new styles, commit just long enough for them to stick, then quit before anything becomes a genre exercise. She trades most of the rock heft of her 2016 album Puberty 2 for exhilaratingly manic disco (Nobody), girl-group hypnosis (Come Into the Water) and gothic surrealism (A Horse Named Cold Air) among some straighter, strummier numbers.

Mitski’s songwriting trademarks are strong enough to transcend the stylistic revamp – arrangements that are rich without being precious (Pink in the Night), plus her terrifically mordant worldview. “Nobody butters me up like you,” she sings on twisted country song Lonesome Love. “And nobody fucks me like me.” It is hard to sing at a remove and maintain emotional directness – Mitski is famously private – but like St Vincent or even David Lynch, she specialises in the bait-and-switch of delight and obfuscation” – The Guardian

Stream: https://open.spotify.com/album/653wRjqO0GOZPQPcXpeAXD?si=o6TGimuuTkS2BiBoG9084Q

Standout Tracks: Geyser/Remember My Name/A Horse Named Cold Air

Finest Cut: Nobody

Parquet Courts – Wide Awake!

Date of Release: 18th May, 2018

Label: Rough Trade

Producer: Danger Mouse

Review:

“The most pronounced influence, however, is the Minutemen, who in the early 1980s overturned hardcore punk orthodoxy by placing bass, rather than guitar, at the centre of their sound and dabbling in jazz and funk stylings. Indeed, on Violence and NYC Observation in particular, the hollered vocals even recall those of the late D Boon. Lyrically, meanwhile, our tumultuous times have evidently proved an inspiration, as themes of climate change, gun violence and general disquiet abound. But for all the po-faced worthiness of lines such as “collectivism and autonomy are not mutually exclusive”, there are undercurrents of absurdist, tangential humour here, too – and a blunt rejection of Trump-endorsing jock Tom Brady. Wide Awake! might be too scattershot to appeal to a much wider audience, but it does cement Parquet Courts’ position as one of US indie’s more intriguing outliers” – The Observer  

Stream: https://open.spotify.com/album/5uTI2HcpAywDP8Vo1DpJta?si=BXkYcfjeSYqbu6cAZskh4g

Standout Tracks: Mardi Gras Beads/Freebird 2/Wide Awake!

Finest Cut: Total Football

Arctic Monkeys – Tranquility Base Hotel & Casino

Date of Release: 11th May, 2018

Label: Domino

Producers: James Ford/Alex Turner

Review:

“Tranquility Base Hotel & Casino feels like poetic social and fantasy-world commentary penned by Turner, who then fancied having a go at the piano and then brought the whole band in for good measure. Turner is clever and cheeky, as he's been known to be, switching up his singing style from deep to falsetto, and even testing out different tones as he embodies certain characters.
 
"The Ultracheese" has a vocal melody that recalls Patsy Cline's "Leavin' on Your Mind", and the instrumentation on "The World's First Ever Monster Truck Front Flip" wouldn't be too out of place on Pet Sounds with its reverb and sparse touches of bass and percussion. "Golden Trunks" has a rather unsettling feel, and "Four Out Of Five" may jive best with fans who love the band for their grooves and riffs.
 
If you're a long-time listener, or someone that was tuned in to AM, you might be prepared to change the dial. But before you write this off as exhausting or pretentious self-indulgence, give it a listen or two. Peruse the lyrics, dissect them and have a laugh. Commitment isn't as scary as you think” – Exclaim!   

Stream: https://open.spotify.com/album/7v6FNgLDS8KmaWA1amUtqe?si=0aJyVwqMR8WNr91UCjrk3Q

Standout Tracks: American Sports/Tranquility Base Hotel & Casino/Golden Trunks

Finest Cut: Four Out of Five

Jack White – Boarding House Reach

Date of Release: 23rd March, 2018

Labels: Third Man/Columbia/XL

Producer: Jack White

Review:

“But White can knock these out in his sleep. He sounds most fully engaged bending form, as on the time-shifting heavy groove of Respect Commander and squelchy Daft Punk inflected robofunk of Get in the Mind Shaft. The sheer musical exuberance pouring out brings to mind Stevie Wonder and Prince at their most playful.

There is ultimately something sketchy about Boarding House Reach, pulling in so many directions that it suggests rough drafts for more fully formed work to come. But for all that, there are so many rich ingredients in the mix, even misophones should find something to soothe their troubled ears” – The Daily Telegraph

Stream: https://open.spotify.com/album/3gncrZwl7EfpAkd4kZthWO?si=cLZPVkkKTg6M9SnitONvBg

Standout Tracks: Connected By Love/Corporation/Respect Commander

Finest Cut: Over and Over and Over

Anna Calvi – Hunter

Date of Release: 31st August, 2018

Label: Domino Recording Company

Producer: Nick Launay

Review:

“The title track carries the graceful, aching melancholy of Bowie in his latter ‘Blackstar’ years, while the simmering brimstone of lead single ‘Don’t Beat The Girl Out Of My Boy’ and ‘Indies Of Paradise’ sees Calvi’s message, guitar virtuosity and untethered vocal range all honed together as a knock-out one-two sucker punch. ‘Swimming Pool’ and closer ‘Eden’ carry her knack of Ennio Morricone-sque filmic dreamscapes to a much more realised realm, but are wonderfully anchored by the more primal rushes.

On the firecracker ‘Alpha’, she’s both vulnerable and predatory. On howling album highlight ‘Chain’, she constantly wanders between being girl and boy, revelling in every moment of the chase. This is an album of extremes, but they’re all bridged by bold and fluid movements of an artist refusing to be either man, woman or victim – always the hunter” – NME

Stream: https://open.spotify.com/album/4i2XIJtswPyQE6G46wpKpH?si=wvnzNFVRTkqYtoEhnyPAlA

Standout Tracks: As a Man/Hunter/Alpha

Finest Cut: Don’t Beat the Girl Out of My Boy

boygenius – boygenius EP

IMAGE/PHOTO CREDIT: Lera Pentelute 

Date of Release: 9th November, 2018  

Label: Matador Records

Review:

“While these tracks may challenge lyrically, in terms of composition, both feel like they could have been taken from their respective solo albums. The long build in ‘Stay Down’ is characteristic of Julien Baker’s 2017 LP Appointments, while the loud/quiet dynamics of ‘Salt In The Wound’ could easily have found a place on Historian. The only track that really bucks this trend is closer ‘Ketchum, ID’. It feels like a more collaborative effort with all three taking separate harmonies and combing to get the most out of their distinctive styles. But where this EP lacks in progression, it makes up for in the strength of the songwriting. The riff on ‘Souvenir’ is endlessly infectious and the repetitive mantra of ‘Bite The Hand’ lingers long in the mind after the chords have ended. While the future of Boygenius may be unclear, we can be all be glad this particular in joke didn’t stay as just that as so many of them do” – Drowned in Sound  

Stream: https://open.spotify.com/album/5BRORKnC2HD5xhgUyR31SH?si=VDtABoS8Q_miQP-_-uJIIw

Standout Tracks: Bite the Hand/Souvenir/Salt in the Wound

Finest Cut: Me & My Dog

The Spirit of the Beehive – Hypnic Jerks

Date of Release: 14th September, 2018

Label: Tiny Engines

Review:

“With the band operating in countless speeds and tones, the vocals also swerve between a handful of styles. The title track opens with Parquet Courts-esque deadpan barks, coherent to the point of almost shattering the band’s illusion, but the song promptly pivots to something less earthbound. When the voices swing more ethereal, the lyrics tend to concern relationships, but even intimacy is seen through a kaleidoscope. The poignant verse-trading and overlapping vocals on “(Without You) In My Pocket” paint two sides of a dissolving romance; brutally honest lines like “I don’t feel compassion for you anymore” are mixed with vignettes of fame and “selling out MSG.” Though remaining enigmatic at their core, the Spirit of the Beehive are starting to let in some light.

On Hypnic Jerks, the Spirit of the Beehive find their home base when exploring open space, jamming with plucky guitar and inviting grooves, a notable shift from the claustrophobic delirium of their last record. Whereas Pleasure Suck unleashed an assault, Hypnic Jerks is content to kick back. Well, mostly kick back; whenever you feel you have a grasp on the record, it deftly changes lanes—music that rewards devotion as you memorize its contours” – Post Trash

Stream: https://open.spotify.com/album/5l93RkfOpA9Whuziy038gB?si=3YcrouuPStG15jVtbBfljw

Standout Tracks: mantra is repeated/poly swim/hypnic jerks

Finest Cut: nail I couldn’t bite

Cat Power – Wanderer

Date of Release: 5th October, 2018

Label: Domino Recording Company

Producer: Cat Power

Review:

“"Robbin Hood," with its vicious cycle of literal and spiritual theft, could have been written in the shadow of the Great Depression or the Great Recession. Conversely, Marshall also incorporates 2010s touches in ways that sound classic and, above all, genuine. On "Woman," she and Lana Del Rey bid a liberating goodbye to others' expectations, their voices combining in an evocation of the spirit of womanhood (although Marshall's confession "The doctor said I was not my past/He said I was finally free" is utterly, poignantly personal). Similarly, she hones Rihanna's "Stay" -- already an unusually naked and free-flowing pop ballad -- to its most soul-baring parts, and its spine-tingling beauty is another testament to the strength it takes to be so vulnerable. As tender as it is uncompromising, Wanderer is exactly the album Marshall needed to make at this point in her career and life. It's some of her most essential music, in both senses of the word” – AllMusic  

Stream: https://open.spotify.com/album/28SMXZ4p2uQGJZJpFXw8em?si=If1BpkteSs69837q6xCyKw

Standout Tracks: Wanderer/Black/Robin Hood

Finest Cut: Woman

Beach House – 7

Date of Release: 11th May, 2018

Label: Sub Pop

Producers: Beach House/Sonic Boom

Review:

“Measuring Beach House albums against one another is tricky—how do you compare daydreams? But on a sensory level, you feel whether the spell is working, and how potent it remains. On 7, all the contrasts that mark their music are dialed up to blinding; you are plunged into darkness and then showered in light. The experience is so enveloping that you find yourself contending, once again, with that familiar itch to locate meaning. The secret at the heart of Beach House’s evocative music remains the same—there is no specific place Legrand wants to take you. But there will always be… someplace you’d rather be. Beach House will always help you dream of it” – Pitchfork   

Stream: https://open.spotify.com/album/1xg88pe0CUD6UeE3fEnEkD?si=oezXQbDwQcKbEz-1jIMyxA

Standout Tracks: Lemon Glow/Dive/Lose Your Smile

Finest Cut: Dark Spring

The 1975 – A Brief Inquiry Into Online Relationships

Date of Release: 30th November, 2018

Labels: Dirty Hit/Polydor

Producers: George Daniel/Matthew Healy

Review:

“A tone of urgent honesty pulses through the album, a visceral need to connect that shatters the production's glittering surfaces, breaking through with emotional weight on the warped synth ballad Inside Your Mind and the dreamily epic final track, I Always Wanna Die (Sometimes).

"There are no big bands doing anything as interesting as us," Healy, 29, recently proclaimed. It is the kind of rubbish rock stars used to spout all the time, and yet it is oddly reassuring to hear a young, 21st-century frontman in the ring with that old-fashioned bravado, inviting all-comers to take pot shots. Right now, The 1975 are the band to beat” – The Telegraph

Stream: https://open.spotify.com/album/6PWXKiakqhI17mTYM4y6oY?si=o4r6xfk-QQGtQlakSWxEcw

Standout Tracks: TOOTIMETOOTIMETOOTIME/Sincerity Is Scary/I Couldn’t Be More in Love

Finest Cut: Love It If We Made It

David Byrne – American Utopia

Date of Release: 9th March, 2018

Labels: Nonesuch/Todo Mundo

Producers: David Byrne/Brian Eno/Rodaidh

Review:

“Abstraction abounds on the album, taking familiar forms from the artist’s back catalog: dogs, architecture, idiosyncratic dance moves. As funny as those moments can be (see: “The pope don’t mean shit to a dog”), the headier moments of American Utopia tend to dissipate in the ether. Telling the story of a shooting from the perspective of the bullet is a clever creative exercise, but the album can do, and does, better. What makes that True Stories scene stand out, more than 30 years later, is the way it sidesteps its guided tour to consider the people whose paths the narrator crosses: “People here are inventing their own system of beliefs. They’re creating it, doing it, selling it, making it up as they go along.” Utopia’s a nice thing to believe in, but it’s just an idea. So is America. What lingers is tangible, and personal, and here” – The A.V. Club

Stream: https://open.spotify.com/album/3layBPHhaedgV3ezVSR7AV?si=Ha1Cy-vdREOByI53fGTQVw

Standout Tracks: Gasoline and Dirty Sheets/Dog’s Mind/It’s Not Dark Up Here

Finest Cut: Everybody’s Coming to My House

Natalie Prass – The Future and the Past

Date of Release: 1st June, 2018

Label: ATO

Review:

“Prass picks and chooses when these moments are allowed to happen. More often, she runs a tight ship; nothing feels out of place, and everything feels very considered. The Fire is probably one of the more conventional tracks on the record, but small vocal tweaks in the second verse and a gorgeous verse-chorus segue make it one of the highlights. Nothing To Say is another pared back affair, maybe unsurprising given it's one of the record's older cuts (you can find clips online of Prass playing it live as far back as 2012) – it's basically a power ballad. Big, chunky piano chords and a coda that deserves to be sung along to with everything you have.

You absolutely can hear the fingerprints of Prass' influences across these tracks, but as well as the Dusty Springfield and Karen Carpenter tones that colour her first record, there's bits of Dionne Warwick, Laura Nyro and Diana Ross. More than that though, you're hearing a songwriter who seems to know exactly what she wants to make, and has all the tools to do that. A glorious, glorious album” – The Skinny

Stream: https://open.spotify.com/album/4eaB4Z7pCzLfvgvdbq2mVO?si=Zgkur1anTyiClfsBtX2e9g

Standout Tracks: Short Court Style/Lost/Nothing to Say

Finest Cut: Oh My

INTERVIEW: Shookrah

INTERVIEW:

Shookrah

___________

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.

____________

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.

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

___________

Follow Shookrah

Official:

http://www.shookrah.com/

Facebook:

https://www.facebook.com/shookrahcork

Instagram:

https://www.instagram.com/shookrah/

Twitter:

https://twitter.com/Shookrah

Spotify:

https://open.spotify.com/artist/33GPY5nQPgsS2MUIBAFsic

YouTube:

https://www.youtube.com/channel/UCLvUHw3EcEdYfP2H8LBCvqA

SoundCloud:

https://soundcloud.com/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

__________

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

________________

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

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

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

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

__________

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

___________________

Dolores O’Riordan

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

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

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

___________

THE brilliant Jacko Hooper...

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.

____________

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.

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.

 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.

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!

___________

Follow Jacko Hooper

Facebook:

https://www.facebook.com/jackohoopermusic/

Instagram:

https://www.instagram.com/jacko_hooper/

Twitter:

https://twitter.com/jacko_hooper

Spotify:

https://open.spotify.com/artist/1c85BzXhKJKakIz4UCDxDS?si=lhdYIVR7SruhMTn5tL7vHA

YouTube:

https://www.youtube.com/channel/UCRtxtYbldTjEnCAGlM9OtYw

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

__________

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

______________

Cardi B – Invasion of Privacy

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

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

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

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

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

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

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

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

Was Music At Its Happiest in 1994?

__________

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.

 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.

 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

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

Ones to Watch 2019: Part IV

__________

WE are almost at Christmas...

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...

IN THIS PHOTO: Confidence Man

AS we walk into 2019.

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

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LENN

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

Twitter: https://twitter.com/theysaylenn

Spotify: https://open.spotify.com/artist/2q3poPC1pFe0l2ObYpZyOO?si=Hfa-_kOZSyi98mFnVD8g9g

ILL

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

Twitter: https://twitter.com/we_are_ill

Spotify: https://open.spotify.com/artist/3ljac8AXSWHbJBd5DITVsB?si=SRkI28ycQF20ZOT_BiYIQw

Stella Donnelly

PHOTO CREDIT: Willem Schalekamp

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

Twitter: https://twitter.com/stelladonnelly

Spotify: https://open.spotify.com/artist/2mHjhKyKCLh6MZELuCe1Es?si=tvldWkWASc6fMB1rDZoZwQ

One-Way Song

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

Twitter: https://twitter.com/OneWaySong

Spotify: https://open.spotify.com/artist/4zCjCF8a4IS3WnM1si0RYA?si=cRM2U8O4RrC-UKn7_-SFrw

Harry Pane

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

Twitter: https://twitter.com/HarryPaneMusic

Spotify: https://open.spotify.com/artist/0Rl5q2Pq8y9xRbujCpZueF?si=xSOnbomBSVGwDOtGGpYM7g

Normani

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

Twitter: https://twitter.com/Normani

Spotify: https://open.spotify.com/artist/2cWZOOzeOm4WmBJRnD5R7I?si=2-o-Zv1LShKzZqZRrop3EA

Stealing Sheep

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

Twitter: https://twitter.com/stealingsheep

Spotify: https://open.spotify.com/artist/3ghT43Gj41br25PvBCDS22?si=k4QO8oxJQq-C0b22ZJO22w

Sports Team

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

Twitter: https://twitter.com/SportsTeam_

Spotify: https://open.spotify.com/artist/04JIxSs2P0iteVWtaskfeh?si=amdkSAIaSxSsLoLBKVRB4w

Woodes

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

Twitter: https://twitter.com/woodesmusic

Spotify: https://open.spotify.com/artist/0lgc1ljuLwkY1VRtDkFSLK?si=DtqpHCuOQCmgtciYLOQuQg

Sophie Hunger

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

Twitter: https://twitter.com/SophieHunger

Spotify: https://open.spotify.com/artist/3nOQJdlPEzFVhTEzxwcGax?si=xuSaMtIiS--qAqJEUNWsCg

Gazelle Twin

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

Twitter: https://twitter.com/gazelletwin

Spotify: https://open.spotify.com/artist/0O9n1swkbCd1KqV2QrSVHl?si=mh_pu9lfS1ubSIcYgb0-JA

SIIGHTS

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

Twitter: https://twitter.com/siightsofficial

Spotify: https://open.spotify.com/artist/59wzcVw9vvQvKIEHddgF7n?si=yaHAWKbCRnK_E1Nj-tC-JQ

Taliwhoah

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

Twitter: https://twitter.com/Taliwhoah

Spotify: https://open.spotify.com/artist/69SXADQsOhdGkhPGslLhBT?si=lZXgLm-wSPKAR64jmKmoqg

The Young Fables

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

Twitter: https://twitter.com/theyoungfables

Spotify: https://open.spotify.com/artist/6mE6y3pMdNPcgFY32uuMBc?si=SZLOaqG3Rzio7avRiH8FbA

Sea Girls

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

Twitter: https://twitter.com/sonicseagirls

Spotify: https://open.spotify.com/artist/45FqwUG4hTT6d39r2HUsUe?si=iC562JXfRCGHS-xv1STemg

IAMDDB

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

Twitter: https://twitter.com/_iamddb

Spotify: https://open.spotify.com/artist/7za6M9P94wuMsOVCHopTsI?si=9SHoWsu0ScS7jOpSaF0vdA

Summer Walker

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

Twitter: https://twitter.com/IAMSUMMERWALKER

Spotify: https://open.spotify.com/artist/57LYzLEk2LcFghVwuWbcuS?si=nDxU0CdBRJSt99LhfB3oqQ

King Princess

Follow: https://www.facebook.com/KingPrincess69/

Twitter: https://twitter.com/KingPrincess69

Spotify: https://open.spotify.com/artist/6beUvFUlKliUYJdLOXNj9C?si=BYSgKi9mRief15I9_Pe8Og

bülow

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

Twitter: https://twitter.com/bulow

Spotify: https://open.spotify.com/artist/5vBrKGOjN10BMwB0cJADj4?si=G6Fka0nXSxu0GrpAAart3g

Grace VanderWaal

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

Twitter: https://twitter.com/GraceVanderWaal

Spotify: https://open.spotify.com/artist/3YdT8QvV4QvY4DfVJhxdcZ?si=nQqoMx-rSBm0mxP0HdqlSg

Alicai Harley

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

Twitter: https://twitter.com/AlicaiHarley

Spotify: https://open.spotify.com/album/1or2Ipcprc2k8s9hikqryA?si=ZGS646bwRP6DI2Gn8jjH6Q

Riva Taylor

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

Twitter: https://twitter.com/IAmRivaTaylor

Spotify: https://open.spotify.com/artist/4hzLG70PWZqBi4snoFZ60d?si=ykNpgy1wQ_yNZQKtoKUadw

Kweku Collins

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

Twitter: https://twitter.com/KwekuCollins

Spotify: https://open.spotify.com/artist/2SPt3i9sJKS1qiMQQQr9LS?si=G48zMj1cRUKJhjSg3yq1jw

Novelist

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

Twitter: https://twitter.com/Novelist

Spotify: https://open.spotify.com/artist/4OPTZC24954HYBeHKeoLSc?si=-wOoNwR5QiecrG5LV1C1Lw

Joshua Luke Smith

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

Twitter: https://twitter.com/JoshuaLukeSmith

Spotify: https://open.spotify.com/artist/29wlT5isBRIOp8YZYVAZ0A?si=PdywoHWmRPCaNUQdAHaUKA

Confidence Man

PHOTO CREDIT: Neelam Khan Vela for The Femme Collective

Follow: https://www.facebook.com/confidenceman1/

Twitter: https://twitter.com/confidencemanTM

Spotify: https://open.spotify.com/artist/0RwXnFrEoI8tltFvYpJgP6?si=196qsxlXTnyjZyymK8Ecjg

INTERVIEW: Luca Schreiner

INTERVIEW:

Luca Schreiner

___________

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.

____________

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!

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.

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!

 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

___________

Follow Luca Schreiner

Official:

http://lucaschreiner.com/

Facebook:

https://www.facebook.com/luca.schreiner/

Instagram:

https://www.instagram.com/luca.schreiner/

Twitter:

https://twitter.com/luca_schreiner

Spotify:

https://open.spotify.com/artist/5fiYAV2DWASxAUKDq7Gbe9?si=HUiviATZT2CFZI3Rxaq24w

YouTube:

https://www.youtube.com/channel/UCGgpZsH2dvwjT9gyxqn_bsQ

SoundCloud:

https://soundcloud.com/luca-schreiner

TRACK REVIEW: One-Way Song - Billy Fisher Fitzgerald

TRACK REVIEW:

 

One-Way Song

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

_________

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.

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.

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.

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.   

___________

Follow One-Way Song

Official:

https://medium.com/one-way-song-central

Twitter:

https://twitter.com/OneWaySong

Facebook:

https://www.facebook.com/onewaysong/

Spotify:

https://open.spotify.com/artist/4zCjCF8a4IS3WnM1si0RYA?si=W6ZT-mXNQSOywMIutWigEg

SoundCloud:

https://soundcloud.com/onewaysong

YouTube:

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

PHOTOS:

Tom Gradwell

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

__________

YESTERDAY was a pretty memorable and special day...

 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!

After 11 years, 4 months and 3 days, time's up for @ShaunwKeaveny's alarm clock. 🕰🔨

Grab a handkerchief and listen again to @BBC6Breakfast's #BreakfastExit on @BBCSounds https://t.co/pEIvinqAtg pic.twitter.com/C2pbRvrQVB

— BBC Radio 6 Music (@BBC6Music) December 14, 2018

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.

What a day!
🎅🌲 From #BreakfastExit with @shaunwkeaveny to @Sleepertweeting rocking out for @steve_lamacq via the sublime @thestaves and @Sinkyateeth playing for @StuartMaconie, plus @laurenlaverne's lunchtime party with @erolalkan & friends + the festive fun of @Hot8BrassBand. pic.twitter.com/KjQuFzjzLx

— BBC Radio 6 Music (@BBC6Music) December 14, 2018

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.

John Humphrys (@BBCRadio4 / @BBCr4today) reacts to #BreakfastExit. pic.twitter.com/EQLpe2Ckxo

— BBC Radio 6 Music (@BBC6Music) December 14, 2018

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!

 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.