FEATURE: Closing Time: Is It the End for HMV?

FEATURE:

 

 

Closing Time

IN THIS PHOTO: HMV’s flagship store on London’s Oxford Street that closed in 2017/PHOTO CREDIT: Getty Images 

Is It the End for HMV?

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IT doesn’t seem that long ago...

IMAGE CREDIT: Getty Images 

we were faced with the sad prospect of HMV closing its stores. When I was growing up, there used to be quite a few different record store chains – Our Price was my favourite. The chain closed its doors in 2004 and another great retailer, Fopp, only has a few stores open now. At its peak, there were fifty in total and it seems the days of Fopp are numbered. Look around the high-street now and how many record stores are there?! Apart from independent record stores, we do not really have a lot of choice. It is unfortunate HMV is being threatened with possible extinction. It might not be as bad as all its stores closing but, as this article shows; there is a real danger for HMV and its employees:

“HMV has collapsed into administration for the second time in six years, putting more than 2,200 jobs at risk.

The music and film retailer appointed administrators from KPMG after sales slumped over Christmas.

It said sales of DVDs across the whole market had plunged by 30% on last year and retailers of all types were facing “a tsunami of challenges”.

HMV confirmed on Friday that its 125 UK stores will remain open while talks with suppliers and potential buyers continue.

The 97-year-old retailer was rescued by Hilco, a restructuring company, when it previously entered administration in 2013...

IN THIS PHOTO: World Music Record Department (date unknown) at HMV, Oxford Street (London)/PHOTO CREDIT: Getty Images  

Paul McGowan, the executive chairman of HMV and Hilco, said the decline in the CD and DVD market had made the situation impossible.

“During the key Christmas trading period, the market for DVDs fell by over 30% compared to the previous year, and while HMV performed considerably better than that, such a deterioration in a key sector of the market is unsustainable,” he said.

“HMV has clearly not been insulated from the general malaise of the UK high street and has suffered the same challenges with business rates and other government-centric policies, which have led to increased fixed costs in the business”.

I do hope someone comes in and saves HMV because it would be a shame to see the sole surviving music titan disappear. I think the main problem with HMV is its reliance of HMV. I have been to a few different stores and they are getting a lot better regarding music and stocking a great range of vinyl. There was a time, fairly recently, where there was not a lot of vinyl and it was hard to get a good selection. HMV realised that music needs to be at the heart of the business but, when one walks into an HMV store, the DVDs are taking up too much room! How many of us watch DVDs a lot now?! I still have a collection but more and more of us are watching services like Netflix and Amazon.

 IMAGE CREDIT: Getty Images

I think a lot of stores like HMV are in danger because they are relying on formats and technologies that are starting to disappear from the landscape. You can say there are not many record stores around because we are streaming more and listening to vinyl – the role of C.D.s is diminishing and we are turning to platforms like Spotify more. There is definitely a role for physical music and I think HMV needs to return to music and keep DVDs to a minimum. I like the fact one has a DVD choice when you walk into a store but it is taking too much room up and there needs to be a switch. I also think there is a pricing issue. Think about the sales this time of year and you can pick up some cheap C.D.s and DVDs. It is easy to get a bundle of older and new releases which probably doesn’t help the profit margin. The reason many of us go to HMV – for the vinyl – has not been touched with the same generous pricing. Very few records are priced reasonably so fanatics and casual listeners can happily afford them. One can say websites and online markets are no better and vinyl is expensive no matter what. Not only do chains like HMV need to keep their selection of records rich and varied; the prices need to be lower so they can compete with online giants.

 PHOTO CREDIT: @rawpixel/Unsplash

Is it just a simple case of reshift and a new focus?! I think there are deeper problems but HMV needs a big administrator/company who can think about the market and how survival can be assured. I think there is an appetite for record shops on the high-street but more and more are either going online or to independent shops. I would hate to see HMV die because it is the final giant that stands against the online onslaught. Perhaps it is a sad and inevitable sign of the modern market and the dwindling high-street. I feel vinyl should be up front and a pricing review should happen. The reason we go to record shops is for the vinyl and I feel HMV needs to realise that. Having more affordable records would tempt people in but I feel C.D.s still need to be part of the mix. Maybe you cannot get rid of DVDs entirely but they need to play a minor part of the brand. As it stands now, HMV seems more about films and T.V. than it does music. It is hard to say exactly why the chain is threatened again but, as the above article continues; the problem extends to the rest of the high-street:

“Meanwhile, big high-street names including Primark, John Lewis and Superdry sounded the alarm on trading conditions in the run-up to Christmas, and more retailers are expected to follow.

A report by KPMG and Ipsos Retail Think Tank warned there will be “more casualties to come” on the high street, as the battle to win customers and stay afloat will intensify in 2019...

PHOTO CREDIT: @alexandre_godreau/Unsplash 

Richard Lim, the chief executive of Retail Economics, said HMV was the “first victim” of poor Christmas trading, as the industry faces a major shift in consumer behaviour, fiercer competition and spiralling operating costs.

Alex Neill from the consumer group Which? advised anyone with HMV vouchers to spend them as soon as possible”.

I do worry about the high-street in general and how many other chains are endangered. If HMV does close then one has to ask whether music on the high-street will disappear altogether. Aside from some independent record shops; where does one go to get music on the high-street?! I feel, whatever HMV does, it is going to be bested by the wider choice and lower prices one can find on the Internet. I would hate to see HMV end as it has been around since 1921 – His Master’s Voice, to give it its full name – and it has provided lots of great memories and times. I have bought a lot of my favourite music from HMV and would not have got into the industry were it not for chains like this. To let it end and go into administration would be a travesty but, if it does survive a second time, then measures need to come in that ensure survival and growth. Every case of a high-street retailer closing down is tragic but, if we let HMV slip away, it is a loss that will be...

IN THIS PHOTO: HMV 363, Oxford Street (London) - Interior of store late-1960s or early-1970s/PHOTO CREDIT: Getty Images  

HARD to take.

INTERVIEW: Roxy Rawson

INTERVIEW:

Roxy Rawson

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THIS interview finds me talking with...

Roxy Rawson about her album, Quenching the Kill, and the themes that inspired it. I ask if she has a favourite moment from the record and which musicians are important to her- she recommends some rising acts to look out for.

I ask Rawson whether there are plans for next year and how she got into music; if she has a favourite memory from her time in music and which three albums are most important – she ends the interview by selecting some good music.

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

Hi! Not bad, though I've had the flu! I spent four days inside; on the fifth day, I felt well enough to venture out and decided I wanted to go to a place called Indian Rock where I live in Berkeley. You can climb ancient stones and see the whole of the San Francisco bay from way up high. 

I met a mathematician and we got talking. I was glad to have the flu. I knew it would pass and it was a reminder to slow down and pace myself (smiles). I had Lyme disease for five years and was housebound.. I'm well now and so the experience of a short normal illness and feeling better again was actually pretty awesome. I also got to see this magnificent sunset! It looked like the sky was fire!

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

Ok, hello - how are you? I'm Roxy...I make music that could be described as 'Femme-Freak-Folk'. ‘Femme’ because I love expressing myself as a woman and think women have a unique perspective to bring that's important to share. The ‘Freak Folk’ part describes a desire to express authentically, even if it gets a bit outlandish at times - and the ‘Folk’ part describes a dedication to the craft of instrumental playing. 

Quenching the Kill is your new album. What sort of themes and ideas inspired the material?

The themes varied quite widely throughout the time I wrote the songs for Quenching the Kill, but a kind of common theme running through is about the survival anger that animals have; that's, in some ways, quite innocent, it's about survival - and vital. This album is the importance of just and rightful anger and the right to freedom of expression and to speak out against injustices that I experience or see. 

For example, The Good Shepherd is about malignant love. I wrote it following witnessing a pretty intense scene of domestic violence in China, which I tried to intervene in, but there was threat of violence towards all those present so we had to retreat. 

Other songs are about injustice in love (Black Eyed Soup and Born Again); the very human misrepresentation of God in the old testament (in God's Got Bones). Rounded Sound is about claiming and celebrating freedom of expression and joyful moments, following a trip seeing extended family and Teardrop for Rosa is about my grandmother, expressing some things for her about her life that not many people knew about and I feel like I'm singing a bit about some the injustices she experienced in her life and the ripple effect that had on her loved ones. 

Do you have a personal favourite cut from the album?

I think one of my favourite moments is at the end of Bouncing Boots. The musicians and I were kind of riffing on that ending and just feeling where it should go, almost improvisational - and I think it made something quite beautiful.

Which artists inspired you to get into music? Did you grow up around a lot of music?

I definitely looked up to Tori Amos a lot as a young teen, but later on when I heard super-early recordings of Regina Spektor -  before she became famous -; super lo-fi recordings my friend Jess had of Regina as they were friends...

Her innocent and authentic expression and voice timbre inspired me very much to think that I could do my own thing on my own terms and that an audience might deign to listen to it!

You are based in the San Francisco Bay area. Is it an inspiring place to create music in?

It is and it isn't...

It’s incredibly hard for artists and musicians to survive here - and thus the ones that really stick it out are very dedicated to their craft and expressing in an authentic and original way - and so the quality of music here is very high. It's hard to get anywhere beyond the Bay because it's so expensive to live here, so that part is quite demoralizing. I watched an amazing performer, Kendra McKinley, a few months back at the Independent and, despite it being packed, it was full of friends, no industry - and she is so ready to perform for big audiences. Her style is somewhere between Nikka Costa and Prince and her live show is perfectly choreographed. She deserves support and elevation and so do many other superb musicians here.

The tech sector has had such a profound impact on the local economy and they don't seem to care about the hollowing out of their local arts scene, because gradually people have to move away. It's really so hard to live here as a creator, unless you're in tech...

That is why I am founding a non-profit, with the aim of supporting musicians through (I hope) tech-sponsored events and scholarships.

Do you already have plans for 2019?

More work on this non-profit named the Arts and Music Catalyst Collective; a concert series of #femmefreakfolk and a new sub-genre I'm discovering #feralfreakfusion, which I think describes some other kinds of experimental, exciting; energetic music in the Bay... 

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

Once I played for Gay Pride in London in Trafalgar Square - to probably over a thousand people and I remember rather than being terrified -; I felt enveloped and cared for by the crowd, the energy was so amazing....and the time just flew by as the music flowed through us all on stage. 

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

This is so hard! So many albums means so much to me but these were the first few that came to mind:

Astral Weeks by Van Morrison

The mixing on this album is so beautiful and the musicality and arrangements inspired me so much in making my album. Beautiful sentiments too...

A Hard Day’s Night by The Beatles

 I remember I had never properly listened to The Beatles until I was twenty-five. It was a long time to wait. At the time, I had a high fever and was in China! And I was sucked into this magical vortex of upbeat wonderful Rock and Roll. I listened for hours to everything I had on my phone downloaded, which were just the first few albums. I know there is a problem here with Rock and Roll being appropriated by white people...but The Beatles did make magic with this genre. There's something so innocent and lively that just captured my imagination and transported me back in time, to how people must have felt listening to these uplifting, energetic; hopping songs in the early-'60s.

Aimee Mann – Magnolia

This film was so important to me...and I know that the director wrote the film around her songs as well. The film is about redemption, atonement...

Can I have one more?

Egypt - Youssou N'Dour

This album is so beautiful. It was written with the Egyptian national orchestra and combines this Senegalese singer's upbeat beautiful melodies, combined with this different tradition of music and the results are so beautiful...a surprising cross over of genre; West African and Arab at the same time, if that's ok to say.

As Christmas is here; if you had to ask for one extra present (that you didn’t get this year) what would it be?

Healthy love and the wisdom to maintain my physical health by listening to my body frequently and valuing my life and myself to the extent that I will not settle for less than I deserve. I would wish this for everyone!

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

I would love to support Regina Spektor because we are kind of connected already through our mutual friend, Jess - though this dream feels so far away!

A rider? That involves the snacks and drinks right? Well. I guess if it was just me, because of my health, my ideal rider would include lots of fresh vegetables! And tea! But, if I had bandmates, I'd want to make sure they had other more yummy things (smiles).

What advice would you give to new artists coming through?

Be true to yourself and make sure to put your body first. Health ALWAYS comes first. 

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

I am playing locally in the S.F. Bay. I would love to tour...plans are not finalized yet as it's not clear my band can make the dates. Plus, it costs a lot to tour and I'm not sure I'd have the funds. I may run a fundraising campaign to tour; to tour would be a dream!

 IN THIS PHOTO: My Brightest Diamond

Are there any new artists you recommend we check out?

The latest album by My Brightest Diamond is so wonderful. Powerful, distorted guitar licks with orchestral instruments! Another important artist I think is Laura Mvula. Both her albums are musically so interesting with beautiful arrangements; combining great rhythm with orchestral arrangements. 

IN THIS PHOTO: Laura Mvula

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

Well. I relax in a few diff ways depending on what I need at the time, but I love watching comedy on telly: The Marvellous Mrs. Maisel and Kimmy Schmidt are my favourites right now. I also love looking at art books and sipping tea. I also do autogenic training with my good friend Chloe over the phone. It's a kind of deep body relaxation/meditation. If we are organized, we do it daily and my days always go better if I incorporate that in. My aim for the New Year is to definitely incorporate more meditation into my daily routine.

And also to eat super clean - as it helps with maintaining my health. I also aim to read more and carve out time for it. I only read four books this last year and it calms me down so much. I should do it every day..

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).

Oooh. Ok, please play for me Yank My Chain by Tanya Auclair. All her recordings are amazing. Ooh, and can I ask for one more? Eleanora by Baeilou. Her latest E.P. is so, so beautiful...

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Follow Roxy Rawson

Official:

http://roxyrawson.com/rr.html

Twitter:

https://twitter.com/roxyrawson

Facebook:

https://www.facebook.com/RoxyRawson/

Spotify:

https://open.spotify.com/artist/5hNvEZdGZNSJm6cdh1IkxE?si=aZTYnOmqRaWH9jyC85M_ig

Instagram:

https://www.instagram.com/roxyrawson/

FEATURE: The Other Side of the Record: Cutting Back and Moving Forward in 2019

FEATURE:

 

 

The Other Side of the Record

PHOTO CREDIT: @mikeferreira/Unsplash

Cutting Back and Moving Forward in 2019

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THIS year has been a tale of two halves...

PHOTO CREDIT: @lensinkmitchel/Unsplash 

in terms of fortune and comfort. I have never been really happy at all – I never am and is not the fault of this year particularly – but I look back and there has not been a lot of satisfaction and remembrance. People ask me who my favourite interviews and artists have been and which we need to look out for in 2019. I think and think…and nothing really comes to mind. It is not the fault of artists but I have taken a lot of requests and, against the stress and busy nature of modern life, not a lot has stuck in. A lot of interviews have been a frustrating process and, even as people are pitching now; I am not being blown away and nothing is standing out. I can match a new request with several from earlier and others that are pretty much identical. Few artists can manage a few decent images and so many avoid Twitter because they feel it is not as god a marketing tool as hoped – forgetting that it is a worldwide platform and most of use it to promote our work. There have been some great reviews and interviews but the percentage has been lower than it would have been if I worked for a bigger publication of upped my game. I am sure there is a list I could make of artists to watch next year – I have a feature running with recommendations – but I cannot name too many off the top that I am going to listen to in 2019...

 PHOTO CREDIT: @intelligenciya/Unsplash

The modern industry is packed with artists and it is this wave of sounds that can be daunting. I have agreed to features just to get something online and accepted interview requests and regretted it. It may sound all-doom but there have been some rewarding and exciting interviews/reviews that have been humbling and satisfying. It would be foolhardy to do interviews and reviews if they made me angry but the impression I get of this year is a lot of grammar and spelling correction; chasing artists for answers and getting annoyed by the quality of the images I am sent. The songs I am sent make some sort of impact first off but so much drifts on by – it is too close to everything else and there are very few innovators out there. I long to hear something that blows the senses and matches the best of the past; gets me invested and stay in the brain – that has not happened this year. A lot of artists are writing negative songs and many in a major key - and it gets to the point where you listen to the music you know and love. I can be assured of happiness and great revelation when I return to the best of the past: very seldom have I smiled or been put in a better frame with stuff sent my way. It has been great helping the artist and putting stuff on the page that looks great. I pride myself on great visuals and I am very pleased with how my blog looks and the reception it is getting.

 PHOTO CREDIT: @patrickian4/Unsplash

That is the big problem. So many people say it is great and I am a great writer – I cannot agree with everything – and the visual aspect is key. The depth of interviews is one of the reasons why I do things like I do. I send interview questions because it is more convenient for artists and managers and people can take their time. That works well for the most part but there is still too many chasing, sloppy answers – even those whose first language is English are not expending enough effort – and it sort of reveals how much the written word has slipped from our culture. The alternative to this sense of fatigue is being more selective and doing traditional interviews. I will select a few choice subjects for the next few months and am accepting no more than one a day – much stricter regarding quality and originality of sound. Maybe that will lead to very little going online but it seems to work for me. I have always been more interested in the nature of spoken interviews and they are less work for me. The drawback with this new approach is the fact I will be going after artists and no longer accepting requests. I do not want to sit in a pub or some dingy room and record an interview with a band/artist I am not hot about. I have been doing this blog for over seven years and seeing peers – less experienced and able – getting great interviews with IDLES, Self Esteem and other great new acts.

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

My ambition – apart from being on BBC Radio 6 Music – is to have my own podcast that interviews big names. I will pitch the idea at the weekend but it has stoked an ambition and will see me on the level that I am keen to be on. The same goes for reviews - and I will phase them out and only pen reviews of tracks that I am genuinely seeking out and vibing to. It has been great experiencing some fantastic new acts but I have been doing things to make others happy and promote them and it seems like I have not moved on in years. Many writers can come along and produce what I do very easily and music discovery and promotion needs to be important to both parties and not those who come to me. I will still do features – as they are the parts of my blog I love the most – but will get rid of requests in 2019. I will approach acts for interviews and reviews but want to focus more on getting ahead and being where I should be: knocking on the doors of the BBC and the biggest publications in music! It is not worth doing something if it makes you unhappy and stressed and that is why I am only going after bigger acts and those that can create me big and new traffic – I might take a very small number of rising acts that take my fancy but not often.

 PHOTO CREDIT: @tomasturing/Unsplash

Another event that has led me to re-evaluate and focus on myself is the move to London and how things are going. I move out a few months back and have applied for endless jobs; doing everything to find anything and it has been a draining process. I have had a few interviews that went well but I have not been told why I did not go further or get the job. That is as frustrating as hearing back so little after making such an effort. The savings are going down and it is scary to think, having come to London with a lot, I am having to dip into money reserved for me and furthering my career. There has been so little to smile about in terms of the personal side up here – no jobs; living in an area I do not like but can just about afford – it is compounded by vocal and throat issues that are almost scarier than anything. It is probably nothing too bad but a constant hoarse/sore throat is bugging me (accompanied by lurgies today…) and there is that fear there could be personal damage or no real cure. I have fed up and down more than optimistic since arriving and the only way to improve things and focus is to make changes. I am dedicating more time to job hunting and will be only accepting a few new requests from January (not sure what date).

 PHOTO CREDIT: @gritte/Unsplash

The rest of what goes onto my site will be artists I am drawn to and, at some stage, audio interviews and a podcast that has a professional feel and is recorded with bigger acts in a studio/radio studio – a slick and polished production that can get people hooked and make a name for itself. There have been some good moments and discoveries but I feel like squandering the true potential I have and what level I should be after seven years! If you’re not taking risks and where you were years ago then you get nowhere and will be overtaken by those who do not deserve to get their sooner. Making sure I dedicate more time to work and, when I get something, prioritising what I write about and what type of artist I have on the blog is vital. Happiness will not be easy or even possible but feeling far less depressed and angry about stuff is achievable – it is making changes that are scary but needed that get those results. It has been good doing things how I do for so long but, as I say, I look back and wonder whether I have done a good job. I am hungry to do a proper podcast and do these one-hour, big interviews with figures from music and the media. That is the goal and, alongside features (and occasional interviews) and select reviews; I will be hunting for work and less of a slave to the laptop! I am not one for resolutions and making promises that will be broken. For any journalist who wants to take a step up and closer to where they need to be has to sacrifice, think about their ow happiness and use their passion to...

  PHOTO CREDIT: @helloimnik/Unsplash

MAKE that break.

INTERVIEW: Tim Johnson Jr

INTERVIEW:

Tim Johnson Jr

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MAYBE I have put this up a day or two late...

but I have been busy so this is the earliest I could present the Tim Johnson Jr interview. He has been telling me about his E.P., Christmas with U, and why he decided to record it; his musical past and where he is heading now – he reveals a few new artists we should follow.

I ask whether there are tour dates coming up and which albums matter most to him; how he got into music and whether there is more material coming next year – he selects a cool song to end the interview with.

____________

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

It’s great. I just released my music video for my original Christmas single, Snow Day, and I’m gearing up for the New Year.

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

Hi! My name is Tim Johnson Jr; an entertainer originally from Philadelphia, PA. When I was younger, I was a theater kid and, when I was ten, I was blessed with the opportunity to be in Disney’s The Lion King in Las Vegas. Since then, I’ve been blessed to be a part of many different projects on the acting and music side. I was a semi-finalist on Fox’s competition music program, The Four: Battle of Stardom this year. I have also recently guest starred on the CBS show, FBI. I will be a recurring character on Hulu’s series, Future Man - and I have two movies coming in 2019.

Your E.P. Christmas with U, is out. What was the reason for putting together the songs you did?

My dad screamed down from the studio: “Tim, we got to do a Christmas project”. This is literally how it started! My dad, as well as producing partner, and I looked through many Christmas classics, trying to find songs that I can put a fresh twist on. We chose Silver Bells and Silent Night. I then started writing an original Christmas song called Snow Day, which was birthed from the idea of being snowed in during the winter; getting the chance to chill and be with the one you love.

Sometimes it’s just good to slow down and be present without other things on your mind. 

Do you think we might see more material coming next year?

Yes. Music is coming next year. Very excited for you all to hear (that rhymed). After putting out my E.P., Hey U, and now my Christmas E.P., Christmas with U, I’ve learned a lot. Now, I’m in a space of reinvention; trying new things, growing as an artist and an overall person. I just want to create and make people feel good when there listening to my music.

Which artists inspired you to get into music? Did you grow up around a lot of music?

My dad had this C.D. of all the Motown classics that he would play all the time. I remember singing I Wanna Be Where You Are and I’ll Be There by The Jackson 5. I also listened to a lot of Gospel. My dad was in a Gospel group called Christlike and I was at church all the time. All you need is a little Motown and Jesus (laughs).

How do you think your time on Fox’s The Four: Battle for Stardom affect your ambition and music?

The Four gave me confidence to create music that is authentic to me. On the show, I got to sing songs that embody the music that I wanted to make.

Do you already have plans for 2019?

2019! This year, I plan to do what I have but on another level. I just want to be in places that allow me to grow in every area. I plan to direct my first short film this year and discover new arenas of creativity that I have not stepped in. I’m nineteen-years-old, getting to do what I love. I thank God for that each day and don’t take it for granted.

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

A twelve-year-old kid came up to me recently saying that I inspired him and then he sung for me; he was amazing. Then, he continued to speak to me with such conviction about the things he’s working on and the dreams he has for the future. I then talked with his parents and, when I looked in their eyes, I saw my parents. Then, I looked at the kid and saw me from when I was younger; how my dad would put me on the spot singing for people.

This moment touched me because, knowing where I came from and where I am now, I can give another person hope. That’s the goal of this whole thing: to bring others along with me along this journey, to inspire and bring joy.

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

This question is so hard because it always changes but I think, right now, my list would be (not in order): PJ Morton’s Gumbo; “Awaken, My Love” by Childish Gambino and Songs in the Key of Life by Stevie Wonder. These albums are classics.

Which one present would you want now that you didn’t get for Christmas?

One present I think would be books. See, I don’t read as much as I like but I’m trying to do something different this year coming up. The plan is to get books. I’m going to stay up in my room and read then, in three-four weeks, become like Einstein. Will it work? I don’t know. But it doesn’t hurt to try!

What advice would you give to new artists coming through?

My advice to other artist is to have fun but understand the impact that you will hold. Be prepared before you go into the ring because the moments you don’t even plan for are the one that can change your life.

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

In 2019, I will have some shows but, as of right now, catch me on Instagram (@cityboyjr).

Are there any new artists you recommend we check out?

Some artists that have a vibe y’all should check out are Jonathan McReynolds, Mac Ayres; Chloe X Halle and YEBBA.

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

When I have downtime, I spend time with the fam and friends. I enjoy watching movies, playing instruments (anything I can get my hands on) and trying things I’ve never done before.

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)

Mac Aryes - Easy

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Follow Tim Johnson Jr

Twitter:

https://twitter.com/_cityboyjr

Facebook:

https://www.facebook.com/officialtimjohnsonjr/

Spotify:

https://open.spotify.com/artist/28zjFZosbpFG8nfnZ2palE?si=ehKqIerKT6-7RIW4JdfNIA

Instagram:

https://www.instagram.com/cityboyjr/

FEATURE: Evolution Within the Resolution: 2018: A New Dawn of the Music Video?

FEATURE:

 

 

Evolution Within the Resolution

IN THIS PHOTO: Childish Gambino (Donald Glover)/PHOTO CREDIT: Getty Images 

2018: A New Dawn of the Music Video?

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I cannot remember when we lost that love of the music video...

PHOTO CREDIT: @jmuniz/Unsplash 

and that medium became less relevant. Maybe it tied into the advent and bloom of sites like YouTube in the middle of the last decade. MTV stopped being a big platform for big artists by the start of the 2000s and its impact now is practically nil. I remember growing up looking at artists like Michael Jackson rule MTV and produce these lavish and hugely ambitious videos. Rather than, like today, artists making videos to accompany songs – lacking imagination and much drama -; the videos acted as a filmic accompaniment and you had these magnificent spectacles. There were some dodgy videos, for sure, but most of the very best of all time arrived before the turn of the century. We have had some great videos since 2000 but it seems like the music video as a whole is less important. This seems strange as platforms like YouTube are vital and the biggest artists can get millions of hits within hours of releasing their latest video. One wonders whether this sense of popularity is because of the visual quality and substance of the video or just what we do now: click without thinking and judging a video on the popularity of the star rather than the weight of the piece itself. The last few years has been a little unspectacular for videos but, in a lot of ways, there has been a revival in 2018. That is not to say this year has ranked alongside the very best in terms of videos: we have not seen a new dawn and revolution regarding the music video.

 IN THIS PHOTO: Mitski (left) on the set of her video, Nobody/PHOTO CREDIT: Mitski

There are fewer legendary and established video directors and, at a time when new artists have less money and are taking a D.I.Y. approach; so many videos are being shot inexpensively and, as such, the ambition and scope is not that large. I love artists who can film a video for very little money and make it work but, in terms of the mainstream artists, there is more money to play with. That can be a curse in itself because people often waste tonnes on flashy visuals and casts without thinking about imagination and potency. It is hard to ignore the very best videos from this year. 2018 has produced at least one genius video: This Is America from Childish Gambino. When it arrived earlier in the year, I was struck by its graphic content, its nuance and how you had to watch it again and again – it is seen as one of the best videos of the century and one that can rank alongside the very best. It is as much about modern-day America as anything; harsher and more brutal than any news report and a stunning visual feat! It is the finest video of this year and proof that directors of today can make something long-lasting and iconic without having to rely on technology, parody and spoofing. I am excited to see what sort of videos arrive in 2019 and whether we will get anything quite as stunning.

 PHOTO CREDIT: @landall/Unsplash

From big Pop artists like Ariana Grande to lesser-known acts; there have been some wonderful and arresting videos from 2018. I think there has been a revival and more artists/directors are adding deep stories, substance and something memorable to videos. Over the past few years, I have seen a break away (to an extent) from the visual masterpieces, the envelope-pushing promotional and videos that can stand proudly for many years. That is not to say artists didn’t care but it has been a while since I’ve been drawn to music videos. 2018 has brought some hope and variety to the table – even though it has not quite been a revival and sense of revolution. Maybe it is impossible to return to the heady days of the 1980s and 1990s and, given the fact videos can be filmed and produced by any artist; maybe it is harder to make those iconic videos and stand aside. What I have noticed about 2018’s best is the real sense of bravery, relevance and intelligence. We have still seen some aimless and pointless videos but much more quality has come through this year – a stronger year than 2017, for sure. Everyone will have their own favourite videos from this year but I have compiled a rundown of eighteen videos that strike the senses and stand in the mind. Maybe you will disagree with the selection but many critics have shared my view (I provide a snippet from various websites describing the videos). Have a look at the highlighted eighteen and dive into the best videos...

IN THIS PHOTO: Ariana Grande captured by British Vogue/PHOTO CREDIT: Craig McDean 

2018 had to offer.

____________

Childish Gambino - This Is America

Release Date: 5th May, 2018

YouTube Views (to date): 451,572,983

Director: Hiro Murai

Vibe:

“Look, Childish Gambino does a lot of insane dancing in what appears to be a one-shot onion of a video. As you peel back the layers, you get a beautifully dark portrait of the ultra violence and rage running through America, and, most importantly, residing in the minds of black Americans trying to survive this insanity. That Gambino can take these strands and weave them into a cohesive narrative over song, dance and video underscores that he is today’s foremost creative voice for our people” – COMPLEX

Janelle Monáe - Make Me Feel

Release Date: 22nd February, 2018  

YouTube Views (to date): 19,629,613

Director: Alan Ferguson

Vibe:

“When this video hit in February, Janelle Monáe hadn’t formally come out as pansexual yet. But she was dropping big hints about her queerness with the colorful, campy-as-hell clip, in which she attends a party of David Bowie look-alikes while oozing the confidence of Prince. Then there’s the part where she literally runs back and forth between Tessa Thompson and a male actor, as if she can’t decide which one to dance with. It’s not a problem, though: She ends up partying with both – Michelle Kim”- Pitchfork  

The Carters - APES**T

Release Date: 16th June, 2018

YouTube Views (to date): 144,829,680

Director: Ricky Saiz

Vibe:

“In the video for Beyoncé and Jay-Z‘s “Apeshit,” the first visual from the pair’s surprise joint album Everything Is Love, the two stars romp through the Louvre in Paris, seizing center stage in a high-culture palace that – like most Western art museums – historically made little room for non-white artists.

Some of their mission involves the strategic highlighting of non-white images already in the Louvre. Beyoncé and Jay-Z rap in front of an Egyptian sphinx, and in galleries filled mostly with neo-classical French paintings – white artists, white subjects – the camera singles out black faces. (The video is directed by Ricky Saiz, who also helmed the “Yonce” video from Beyoncé’s eponymous 2013 album.) Viewers catch brief glimpses of a pair of black figures in Paolo Veronese’s painting “The Wedding at Cana,” where Jesus turned water into wine, as well as a quick look at Marie-Guillemine Benoist’s “Portrait d’une Négresse,” a depiction of a black woman staring guilelessly back at the viewer” – Rolling Stone

Ariana Grande - thank u, next

Release Date: 30th November, 2018

YouTube Views (to date): 207,759,269

Director: Hannah Lux Davis

Vibe:

“It's rare that a music video — or any piece of art, for that matter — can live up to the hype that Grande's "Thank U, Next" video inspired. But it didn't disappoint.

Grande had teased the video with photos on social media, allowing her fans to know in advance that she would be paying tribute to four iconic female-focused movies: "Mean Girls," "Legally Blonde, "13 Going on 30," and "Bring It On” – INSIDER

The 1975 - TOOTIMETOOTIMETOOTIME        

Release Date: 29th August, 2018  

YouTube Views (to date): 12,672,880

Directors: Adam Powell and Matty Healy

Vibe:

“More often than not, music videos featuring fans come off as pop propaganda, with the diehards’ awkward glee tapped as a cutesy marketing ploy to sell an artist as approachable. But the 1975’s clip for “TOOTIMETOOTIMETOOTIME” avoids any inklings of opportunistic performativity. Though frontman Matty Healy flits in and out of the frame, flossing and fooling around, the video focuses on a diverse array of fans who boogie in front of brightly colored backdrops, like a Neil Winokur portrait. While most smile eagerly and pantomime the lyrics, others mug solemnly. Together, the motley crew bob their heads in unison, announcing themselves as the future – Quinn Moreland”- Pitchfork 

Dua Lipa - IDGAF

Release Date: 12th January, 2018 

YouTube Views (to date): 443,860,998

Director: Henry Scholfield

Vibe:

“This video is about your stronger and weaker side fighting with each other only to realize that self love is what will help you overcome any negativity that comes your way," Lipa said, as reported by NME.

"We wanted to embody the sense of empowerment in the track, whilst going beyond the literal breakup context," director Henry Scholfield added. "We had in mind a visual of the internal struggle, showing the two sides of Dua's emotive state, like an argument with someone you love. The strong Dua at first berating then eventually persuading her weaker alter ego that they both don't give a f---” – INSIDER

Mitski - Nobody

Release Date: 26th June, 2018 

YouTube Views (to date): 2,509,097

Director: Christopher Good

Vibe:

“It was actually hard to get this one little shot where the magnifying glass goes directly in front of my eye, because in one swift motion I had to raise the magnifying glass at exactly the right angle where the camera catches my blurry eye right behind it. We did a lot of the shots in this video over and over, it had to be precise. And I loved every minute of it”- The Cut

Christine and the Queens - Doesn't Matter

Release Date: 5th July, 2018 

YouTube Views (to date): 873,381

Director: Colin Solal Cardo

Vibe:

"Doesn't Matter" is a truly beautiful example of Christine and the Queens' talents and allure. The minimalistic clip sees the multi-hyphenate artist writhe, bounce, embrace androgyny, explore the gender binary, and showcase her effortless stage presence in a parking lot”- INSIDER  

Superorganism - Everybody Wants to Be Famous

Release Date: 3rd January, 2018

YouTube Views (to date): 12,722

Director: Robert Strange

Vibe:

“Yes, a second Superorganism video. They're that good. First off: Very serious trigger warning for people with photosensitive epilepsy. The flashing visuals are obviously not what makes this video great, though if early trends are any indication, it seems like music videos in 2018 probably should have more photosensitive epilepsy trigger warnings. Superorganism's video for "Everybody Wants to Be Famous" treats viewers to a harrowing visual cacophony on the way to a total sellout, with ads for a seafruit-flavored soda taking over a streaming site that disconcertingly looks a lot like YouTube, which is where most people will watch the video. Kids, take note: the brands will come for your personal brand if you get famous”- Thrillist

Drake - Nice for What

Release Date: 6th April, 2018 

YouTube Views (to date): 283,657,765

Director: Karena Evans

Vibe:

“In perhaps his wisest move of the year, Drake entrusted several of his music videos to 22-year-old director Karena Evans. With “Nice for What,” Evans turns the camera’s gaze onto a bevy of powerful women celebrating their worth, including ballerina Misty Copeland en pointe in a nightclub and The Florida Project’s Bria Vinaite zipping around in a bumper car. Her shots of these women simply doing their thing add a degree of sincerity to Drake’s female empowerment bop – Quinn Moreland”- Pitchfork

Confidence Man - Don’t You Know I’m in a Band

Release Date: 10th April, 2018 

YouTube Views (to date): 208,610

Directors: Schall & Schnabel/Julian Lucas

Vibe:

“Dance music should be fun, and Aussie group Confidence Man knows that better than anyone, channeling the spirit of the B-52s into 21st-century personal brand culture. It's an upbeat ride through magazine culture and megalomaniacal entitlement fame produces, and above all, Confidence Man goes full throttle into their music while avoiding the trap of self-seriousness”- Thrillist

Halsey - Without Me

Release Date: 29th October, 2018 

YouTube Views (to date): 52,877,072

Director: Colin Tilley

Vibe:

“Without Me" is essentially a near-direct response to the tabloid coverage of Halsey's split from rapper G-Eazy. By the time the song had been released, the couple had reunited, but the video was released after their second (and presumably final) breakup.

Many fans immediately jumped on the similarities between G-Eazy and the male love interest in the video, but the narrative runs much deeper. "Without Me" is a masterful illustration of an addictive, toxic love, and it sees Halsey come out on top”- INSIDER

Kali Uchis (ft. Tyler, the Creator and Bootsy Collins) - After the Storm

Release Date: 25th January, 2018 

YouTube Views (to date): 37,265,538

Director: Nadia Lee Cohen

Vibe:

“Directed by surrealist, Americana-inspired photographer Nadia Lee Cohen, this video gives us an outlandish take on 1950s conformity. Though it finds Kali Uchis casually going about her routine as a dutiful homemaker, the details of her domesticity quickly morph from idyllic to kooky: the animated, Bootsy Collins-themed processed foods, her blow dryer-lined vanity mirror, the Tyler, the Creator plant that pops out of her perfectly manicured lawn. It’s the picket-fence dream, with a psychedelic bent –Braudie Blais-Billie”- Pitchfork  

Tierra Whack - Whack World

Release Date: 30th May, 2018 

YouTube Views (to date): 2,485,174

Directors: Thibaut Duverneix/Mathieu Leger

Vibe:

“Tierra Whack's weirdo aesthetic landed her a highly coveted spot on Thrillist's "Best Music Videos of 2017" list, which hopefully gave her the encouragement she needed to continue her music career instead of taking a soul-sucking gig dictated entirely by opaque algorithmic demands, or, like, a stockroom worker. Instead, she's making videos that involve incredibly elaborate nail art and a hoodie mask that will make you question the nature of your reality. Just enjoy the Whackness”- Thrillist

Taylor Swift - Delicate

Release Date: 29th October, 2018 

YouTube Views (to date): 314,262,461

Director: Joseph Kahn

Vibe:

“Taylor Swift has come to be known for making videos that are as detailed and intricate as her lauded lyricism, and "Delicate" is no different.

The video is delightful simply by virtue of watching Swift shed her typically poised exterior in favor of bizarre dance moves and unselfconscious facial expressions — although it has received backlash for similarities to a 2016 Kenzo ad”- INSIDER

John Mayer - New Light

Release Date: 24th May, 2018

YouTube Views (to date): 27,281,242

Director: Fatal Farm

Vibe:

“Unexpectedly quirky, this Mayer bop may just be the meme-worthiest music video of 2018. Rumor has it that Mayer had this made by a local Los Angeles videographer who specializes in bat mitzvah videos. Who can help but watch in rapt wonder as three Mayers gaze pensively into the distance, high above fluffy clouds at sunset? Whether superimposed into a convertible,  dancing with zebras or standing in front of the Eiffel tower, this cheeky vid is a feat of green-screen engineering” – Variety

St. Vincent - Fast Slow Disco

Release Date: 20th June, 2018 

YouTube Views (to date): 943,681

Director: Zev Deans

Vibe:

“So many of Annie Clark’s recent music videos saw her occupying the frame by herself, suggesting solitude. It happened in “Los Ageless”; it happened in “New York.” By contrast, the clip that accompanies the clubby rework of her Masseduction track “Slow Disco” is nothing but bodies. Clark is drenched in sweat, beaming on a dancefloor that's stuffed shoulder-to-shoulder with bearded hunks—a scene that the singer called a “gay disco dream.” The elated mass of sweat, hair, leather, and flesh ultimately underscores Clark’s final words: “Don’t it beat a slow dance to death?” And yeah, this looks like more fun than that – Evan Minsker”- Pitchfork

Belle Game - Low

PHOTO CREDIT: Shimon

Release Date: 30th January, 2018

YouTube Views (to date): 12,722

Director: Kevan Funk

Vibe:

“You haven't lived until you've seen a factory worker slice excess silicone off a freshly made dildo. According to the artist, "'Low' is about the empty feeling I had when continually fucking people," and it's not easy to watch this video all the way through and feel better about the future, considering the increasing importance industrialized cultures place on the primacy of sensual experience and the substitution of human contact with digital interfaces. Let's just say they're making some pretty lifelike mannequins these days, and we're all going to have to get used to the emptiness of being treated like machines”- Thrillist

INTERVIEW: Joey Walker

INTERVIEW:

Joey Walker

___________

MY only interview of the day...

is with Joey Walker who has been telling me about his new track, Frank. I have been asking about the song’s origins and whether he has any plans going forward; which artists and albums have inspired him and a new act we need to have a look at.

Walker tells me what it is like being a queer artist I the music industry and whether he needs to shout louder to get his voice heard; what advice he would give to new musicians approaching – he ends the interview by selecting a great song.

____________

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

It’s been a grand, gay ol’ time. Christmas is coming up and this is the first year I am not celebrating it, so that feels a bit odd…otherwise, I’ve been pretty fabulous.

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

I’m a producer, songwriter; singer, and musician based in Indiana, U.S.A. I try to create music that sounds like adulterated rage for the people who stay at home and obsess over records and spend a lot of time online. I call it ‘Twink-Rock’ but I’m sort of half-joking.

Talk to me about Frank. What is the story behind the song?

Well. I am also trying to figure that one out! It opens with a recording of my high-school’s janitor, named Frank, talking about his tribulations growing up poor and uneducated. I was wondering to myself: ‘Do I relate to this man?’ This song is an attempt to imagine a different life for him in a structural or narrative sense, rather than a literal one.

Will there be more material coming next year?

My album, Supersoft, drops on January 18th, 2019 through Darling Recordings. That’s all you get, 2019!

Are there particular artists that inspired you to get into music? Who do you count as idols?

Tegan and Sara definitely gave me the courage to be myself within my songs; Diamanda Galás taught me how to imbue politics into music and PJ Harvey showed me to never repeat myself.

As a young, queer musician in America; do you think there is equality or do you feel like you have to fight hard to get your voice heard?

I think any musician trying to ‘make it’ has to fight super hard, point-blank. I’m not sure I have to try harder, necessarily, but I do get to fight a bit differently.

Do you already have plans for 2019?

Just writing and recording the next album to follow my upcoming record, Supersoft. I plan a lot in advance – admittedly, I’m a control freak - so I already have an album title and track to start with.

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

When I was in high-school, we had a sort of talent show. At the time, I had all these weird songs about nuclear war and fallout and stuff...so I think that really cemented my musical and personal mindframe after I felt great about playing them live and after everyone kinda looked at me like I was a freak. I’ve always been a weirdo. After that, I felt like a powerful one.

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

Joanna Newsom - Ys

A true masterclass on rhyme, rhythm and the economy of words - so inspirational.

 Björk - Homogenic

A brilliant mix of impeccable sounds and melodies. Still sounds futuristic today.

 Songs: Ohia - Magnolia Electric Co.

My favorite album. Jason Molina’s songs just speak to me in this way where I become slack-jawed, landlocked and barren after hearing them.

As Christmas has coming; if you had to ask for one extra present (you have not already received) what would it be?

I’d probably ask for a Nintendo Switch so I can play Animal Crossing when it comes out. It’s truly the purest game ever created.

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

I would love to open for Susanne Sundfør. She’s so brilliant and one of the best Pop producers around. I had plans to see her on her latest tour - but I got sick and couldn’t go - so to see her perform and talk to her about our mutual hero Scott Walker would be a dream come true.

I have never had a show with an artist rider! I’d probably ask for nothing since I hate to be a burden…maybe I could make them play my own playlist before I go on stage.

What advice would you give to new artists coming through?

If you’re a control freak like me, try to let things happen somewhat organically and see where you end up. Talk to yourself out-loud more often. Record every melody or lyric that pops in your head onto your phone. Demo things out a lot - because a ‘bad demo’ might have one thing you can salvage and become something better.

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

I actually have not played a single show in about five years. I’m working on it but I anticipate I’ll be solo.

 IN THIS PHOTO: Stone Irr

Are there any new artists you recommend we check out?

Stone Irr is a dear friend who writes brilliant songs (and, yes, that is his actual name). He has this great way of taking the mundane and expanding it into something really captivating. His songs are diametrically opposite of mine in terms of narrative arc and composition - but they’re incredible nonetheless.

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

As of late, I’ve turned to video games (Dota 2 in particular). Ultimately, though, music has been the way I escape and unwind from the everyday world; so I hope it remains that way and I don’t find even more ways to avoid writing and recording.

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’d have to say You Don’t Know What Love Is by Diamanda Galás. An incredible cover of a classic tune, wherein she sustains this high note for like thirty seconds - it feels like an eternity in the best way possible.

Thank you! xoxo

___________

Follow Joey Walker

Twitter:

https://twitter.com/crisisofthesign

Facebook:

https://www.facebook.com/jjooeeyywwaallkkeerr

Spotify:

https://open.spotify.com/artist/5fm1wlRgqJlZClHZXU1ra1?si=rg71Ip8ESgOM2Q5XEJmhrA

Instagram:

https://www.instagram.com/jjooeeyywwaallkkeerr/

Bandcamp:

https://joeywalker.bandcamp.com/

FEATURE: A Voodoo Chant Before a Strange Magic: D’Angelo and The Vanguard’s Black Messiah at Four

FEATURE:

 

 

A Voodoo Chant Before a Strange Magic

IMAGE CREDIT: Getty Images 

D’Angelo and The Vanguard’s Black Messiah at Four

__________

THERE are artists who leave long gaps between albums...

IMAGE CREDIT: Getty Images  

and the suspense and intrigue builds! It took The Avalanches sixteen years to follow their 2000 debut, Since I Left You; Kate Bush left it twelve years before Aerial came along in 2005 and it has taken some artists even longer than that to give us new material – consider Parliament and The Stooges! D’Angelo’s debut album, Brown Sugar, and it was a big hit with the critics – as were his subsequent two albums. Some highlighted simplicity in the lyrics but a richness in the music and that very special and smooth voice. Perhaps many were not expecting such a gap between releases but it took five years for D’Angelo to follow up such a big record. Voodoo will be familiar to many and is an album that translates marvellously. You do not need to be steeped in Hip-Hop and R&B knowledge to understand the record; you do not need to know about D’Angelo to understand what is happening and where he is coming from. One of the reasons there was a five-year gap between records was extensive touring of Brown Sugar (two years) and a writer’s block that followed. The birth of his first child coupled with some collaborations and recordings – including a duet with Lauryn Hill on her sole solo album – kept the flame alive and provided inspiration. Voodoo received huge acclaim and is seen as one of the finest albums of the last decade. There is emphasis on groove over melody but it is a daring and hugely significant accomplishment.

 IMAGE CREDIT: Getty Images 

Pitchfork, in a retrospective review, assessed Voodoo in these terms:

“There's a big difference between a prodigious, smooth-skinned 26-year-old playing retro-styled music and a 38-year-old doing the same thing. The backwards-looking pose can calcify; by the time Prince was 38, he was well into his symbol phase. That said, D'Angelo is the quintessential old soul. And there's hope in the comebacks of fellow 90s refugees Maxwell and Badu, who both released some of their best work after long layoffs over the last few years. But D'Angelo's inactivity has only helped to inflate Voodoo's myth, though it doesn't need much help. It's frustrating to think about how someone so enamored with the past, who knew his heroes' failures so well, could be doomed to repeat them. It's almost as if he studied them too much, and the same spiritual power that fueled his greatest moment couldn't help but bring him down. Like that's how he thought it was supposed to go. In an interview between ?uestlove and D around the release of Voodoo, the drummer confronted the singer about his idols: "They all have one thing in common, they were all vanguards, but 98% of them crashed and burned." To which D'Angelo responded: "I think about that all the time”.

Again, after a big and lauded record, many assumed D’Angelo would produce something fairly quick; not leaving the same gap as he did between Brown Sugar and Voodoo.

PHOTO CREDIT: Press/Getty Images

D’Angelo suffered performance issues whilst promoting Voodoo in 2000. He grew uncomfortable with the pressure and the impression that he was this sex symbol. He soon retreated from the public gaze and suffered personal tragedy (a close friend of his committed suicide). His alcoholism had worsened – one can forgive him for this – his girlfriend left him and his personal life was unravelling. There was funding for a solo album and Virgin cut off the funds by 2004. There was huge demand for fresh D’Angelo material but, given the pressures and expectations as a live performer and events in his personal life; it was not going to be possible for D’Angelo to record a new album. In the ensuring three years there were collaborations with Hip-Hop artists and peers but nothing full-length and especially striking. By 2009, D’Angelo’s then-new manager Lindsay Guion revealed plans for a new album and collaborations with artists such as Kanye West. It was not until 2010 when a new song, 1000 Deaths, came to light. It seemed the tortured and troubled star was back in good health and definitely on the road to recovery. The release of that track seemed like a brief blip – the song was removed online because of copyright issues – and many wondered whether it was a hoax and whether an album would follow. 2011 saw more news come regarding a record and its status.

Every D’Angelo album is a classic and one that is laboured over so one could not have expected a quick release. 2011 was an announcement and status to say a record was coming but it would take another three years until Black Messiah reached the public. In fact, as early as 2011 (December) we were being told the album was virtually done and there was a lot of excitement. There was, as I say, not a quick release or a lot of news between 2011 and 2014 but D’Angelo did make a return to the stage in 2012. I recall buying Black Messiah on 15th December, 2014 and being fairly new to D’Angelo. I had heard some of his tracks from Voodoo – including Playa Playa and The Joint – but was not completely familiar. I think Black Messiah has influenced many Hip-Hop and Jazz-inspired albums since (including Kendrick Lamar’s To Pimp a Butterfly in 2015) and huge albums like Beyoncé’s Lemonade (2016). Every Hip-Hop/R&B album, to an extent, is compelled by social injustices and an authentic voice. Look at the most potent and enduring Hip-Hop records and, at their heart, is an anger and observation regarding the experiences of black Americans. Black Messiah boosts plenty of luscious testimonies and passionate calls but there is the political and social outrage. It is clear Black Messiah is about the struggle of D’Angelo and his recovery but it is about the wider world: the experience of his peers; crimes and outrages in America and a sense of alienation.

One can forgive him the fourteen-year pause between records given the textures and layers that run throughout Black Messiah. With The Vanguard – like D’Angelo’s equivalent of Prince’s The Revolution -; fans and critics alike were blown away by the sheer detail and brilliance of the artist’s third album. D’Angelo mixed R&B, Soul and Hip-Hop together with Jazz and myriad sounds. The compositions are incredibly vibrant, fascinating and skilled and you can tell how hard D’Angelo and his band worked in the studio. With D’Angelo helming production – Alan Leeds and Kevin Liles are executive producers –; Black Messiah is a deeply personal album but one that reflects what is happening in the world and is incredible accessible. Whether you are more attracted to arresting songs like 1000 Deaths and The Door or something more caramel such as Really Love and Back to the Future (Part I); there is so much activity, life and variation. Upon its release, there were comparisons made between Black Messiah and Sly and the Family Stone’s classic, There’s a Riot Goin’ On. That comparison was made because of the cross-pollination of genres and the heavily multitracked vocals. Critical reaction, as I said, was intense and positive. In fact, I had not heard of any album quite like Black Messiah. Few albums since then have received quite the same sort of incredible reaction and celebration.

AllMusic gave their view on Black Messiah:

“On the surface, "Sugah Daddy" seems like an unassuming exercise in fusing black music innovations that span decades, and then, through close listening, the content of D'Angelo's impish gibberish becomes clear. At the other end, there's "Another Life," a wailing, tugging ballad for the ages that sounds like a lost Chicago-Philly hybrid, sitar and all, with a mix that emphasizes the drums. Black Messiah clashes with mainstream R&B trends as much as Voodoo did in 2000. Unsurprisingly, the artist's label picked this album's tamest, most traditional segment -- the acoustic ballad "Really Love" -- as the first song serviced to commercial radio. It's the one closest to "Untitled (How Does It Feel)," the Voodoo cut that, due to its revealing video, made D'Angelo feel as if his image was getting across more than his music. In the following song, the strutting "Back to the Future (Part I)," D'Angelo gets wistful about a lost love and directly references that chapter: "So if you're wondering about the shape I'm in/I hope it ain't my abdomen that you're referring to." The mere existence of his third album evinces that, creatively, he's doing all right. That the album reaffirms the weakest-link status of his singular debut is something else”.

Pitchfork shared these views and provided their own spin:

“Black Messiah is a study in controlled chaos. The nightmarish chorus of "1000 Deaths" arrives late and fierce, as though the band unfurled its crunchy, lumbering vamp just long enough to violently snatch it out from under us. "The Charade"'s Minneapolis sound funk rock follows, every bit as bright as the previous track was menacing until you zero in on the threadbare heart-sickness of D and P-Funk affiliate Kendra Foster’s lyrics. Black Messiah pulls together disparate threads few predecessors have had the smarts or audacity to unite. One song might channel Funkadelic, another, the Revolution, but the shiftless mad doctor experimentation and the mannered messiness at the root of it all is unmistakably the Vanguard. Black Messiah is a dictionary of soul, but D'Angelo is the rare classicist able to filter the attributes of the greats in the canon into a sound distinctly his own. It’s at once familiar and oddly unprecedented, a peculiar trick to pull on an album recorded over the span of a decade”.

 

Many other reviews echo these sentiments and it is amazing to think, when you truly listen to the album, how it came to be. Given the past troubles for D’Angelo, many felt there would not be another album. Not only did he manage to release a record but many consider it to be his very best. Every song has its place and is an incredible achievement. The Guardian, in this article, broke the album down song-by-song and got to the roots. My three favourite tracks from the album were assessed:

“Sugah Daddy

This has a playful feel and, again, a tampered-with tempo. The production so far and arrangements create a sound that is stoned, loping and molasses-thick, while lyrical torpedoes are delivered via torpid funk. It is – to quote Chris Rock talking about his new movie Top Five – “really black, the way George Clinton’s really black, like the Ohio Players – Fire, Sweet Sticky Thing – is just some black shit. That shit is black. Like a white man has nothing to do with this shit.” Rock is one of several celebrities who have been waiting for this release for a long time, ever since D’Angelo – and his fellow “nu soul” artistes Maxwell, Lauryn Hill, Erykah Badu, Jill Scott and India.Arie – largely failed to deliver on their early promise.

Back to the Future (Part 1)

This is another crisply executed slice of smooth falsetto funk, reminiscent of Sly’s If You Want Me to Stay. “I just wanna go back, baby – back to the way it was,” sings D’Angelo, his voice not treated here. He could be talking about funk music, or about the days when he began music-making, before he became objectified like so many female performers before him. He seems to allude to this here: “Wonderin’ about the shape I’m in – hope it ain’t my abdomen”...

Really Love

This is the first apparent love song on the album from the tormented soul man and preacher’s son who used to dream of that other trouble man, Marvin. As with much of Gaye’s work, Really Love is torn between sex and the sacred. It starts with strings, a female Spanish voice and Spanish guitar, both to caressing effect. The tempo picks up, and there are more handclaps. This one is more crisply produced, not so dense, a cleaner affair: upmarket boudoir funk. “When you call my name,” sighs D’Angelo. This is what R&B was like before the Weeknd”.

It has yet to be seen whether D’Angelo is going to release another album. He has performed as recently as 2016 so there is no suggestion Black Messiah marks the end for him. One hopes there is not such a gap before we see his next album – even if we had to wait another five years, many would be feeling itchy. He is in a more stable state and there are not the same troubles in front as him he saw after Voodoo. Many would have felt such a gap between albums would weaken his skillset or see a lack of focus. If anything, Black Messiah is his sharpest, most brilliant and daring work that will stand the test of time. I am excited to see where he heads next. Just over four years after Black Messiah’s release; I look at the album and amazed by its nuance and sense of legacy. It is as relevant now as it was in 2014 and I can hear the influence in modern R&B and Hip-Hop. If you have not heard the album then I recommend you check out it out. Even if you are not aware of D’Angelo and his work, that does not matter. Black Messiah is a masterful work and one that seems to grow in strength and relevance...

PHOTO CREDIT: Albert Watson  

LIKE few other records.

INTERVIEW: Marike Jager

INTERVIEW:

IMAGE CREDIT: Martijn van de Griendt

Marike Jager

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IT has been fantastic speaking with Marike Jager...

about her latest track, Wasted, and discovering how it came to be. I ask her whether there is anything planned for the year ahead and what sort of music she is inspired by – Jager recommends a rising artist that we should get behind.

I ask the Dutch artist what the scene is like where she is and what we can expect from her upcoming album; a few albums that mean a lot to her and where we can catch her play – she ends the interview by choosing a great song.

____________

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

I’m doing very well, thank you. It’s been quite an exciting week. I could finally announce my upcoming tour (The Electrifying Mini Tour) and I just cannot wait to get out and play. It has been a while since I played clubs but I still feel lots of support. Furthermore I celebrated my dad’s birthday - and my daughter got her first teeth.

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

I’m known as an adventurous singer/songwriter for years playing festivals, theatres; churches and Pop venues. Very recently, though, I felt this burst of energy and I wanted to make something different. This new record is so different then my earlier work. Less melancholy, more uplifting; quirky. It’s me playing and experimenting with sounds and vocals. I had so much fun. Really needed that. I guess the past years have been quite intense and it was time for something different.

I like working with other people to get inspired. For example, I got to meet Ron Sexsmith and we recorded a duet. I also performed with Hip-Hop dancer Shailesh Bahoran. Very inspiring. I toured with several orchestras and rediscovered my own music. And I worked with and ‘audiomachinist’: an artist who builds sounds. Very cool!

Last but not least, I got to meet the legendary mixer/producer Tchad Blake. He mixed my album. Another passionate and inspiring person. Furthermore...I love Gretsch and Fender guitars; Polaroid cameras, red wine and running in the rain.

Wasted is your new track. Can you talk about its background and inspiration?

I got myself a new guitar and it inspired me to write a guitar riff, a bassline to go along with it; some more guitar melodies. The song is about two people catching up after years. They share a history but nobody knows exactly what they’ve gone through together. It is obvious that they cannot be together, nor can they live without one another. They’re both wasted but still attracted to each other. The whole song has a trailer-thrash-kinda-‘80’s vibe to me. It’s like a movie scene with two oddball characters. I’m often inspired by oddballs…loners.

I understand an album is coming next year. What can you reveal about the stories and themes addressed?

I guess the major theme is ‘imperfection’.

Though I am a perfectionist, I’ve always been attracted by imperfection. So, when it came to writing this album, I’ve managed to really have fun and let go of my perfectionism. I just played and experimented with sounds and vocals. So much fun and so much energy! When it comes to lyrics and themes, I like to write about imperfect people, oddballs and their unique stories.

Trying to crawl into the heads of wanderers, loners; vulnerable and odd people. I get inspired when a certain situation is just a bit off; when a character is a bit of a misfit.

PHOTO CREDIT: Lieke Romeijn

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

It all started with The Beatles. As a kid, I couldn’t stop listening to their music and I kept watching them play guitar and sing. It always hit me big-time. Although I was a big fan of Ringo Starr, I was more attracted to playing guitar. So, I started playing and writing my first sketches when I was fifteen-years-old.

Much later, I got the chance to support Feist (Canada). That was so wonderfully overwhelming! This strong and adventurous woman playing a beautiful electric guitar! I was blown away and bought myself an electric guitar (Gretsch) right away. Her voice and artistic vision as an artist still inspire me a lot.

As a Dutch artist; what is the scene like there at the moment?

We educate a lot of musicians - at the moment there are so many music schools in Holland. So, I see many new bands and lots of talents pop up everywhere which is wonderful. At the same time, there has been a huge increase of festivals through the whole country. What worries me though is that our Government doesn’t support the music industry, talented bands or individual careers. It is very hard to build up a career; to get to play live and really focus on music.

PHOTO CREDIT: Martijn van de Griendt

Do you already have plans for 2019?

I’m releasing my new album! And I hope to play many clubs and festivals! (Smiles).

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

Tchad Blake mixed my third album and the one coming up. I’m such a big fan of his skills and his sound. He is awesome!

 PHOTO CREDIT: Lieke Romeijn

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

Fiona Apple – When the Pawn... She immediately blew me away with her strength, her vocal passion and emotional songwriting.

Lisa Germano – Magic Neighbor. Sound-wise: beautiful, very adventurous.

David Byrne and St. Vincent - Love This Giant. Hits me every time I play it. What a record! Great arrangements, two great songwriters; obviously inspired by each other.

As Christmas is here; if you had to ask for one present (that you haven’t already received) what would it be?

I’d love to go for a walk along the Dutch coast together with Mark Everett and then bump into Beck Hansen. We’d talk about life and seek beautiful shells...then write a song together. A song so beautiful that the whole world would sing a long and live happily ever after.

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

I would love to join David Byrne’s live band and sing a duet with him.

PHOTO CREDIT: Anne Reitsma 

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

April 9th – Paradiso, Amsterdam (NL)

April 10th – Ekko, Utrecht (NL)

April 12th – Merleyn, Nijmegen (NL)

What advice would you give to new artists coming through?

Don’t let the socials fool you. Turn off your phone, get out and play; work hard and write a great song.

 IN THIS PHOTO: AWKWARD i/PHOTO CREDIT: Tim Knol Fotografie/Tim Knol

Are there any new artists you recommend we check out?

AWKWARD i.

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

I love to go for a run along the water. I totally unwind.

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).

AWKWARD i – Milkshakes Funnelcakes

___________

Follow Marike Jager

PHOTO CREDIT: Anne Reitsma 

Official:

https://www.marikejager.com/

Twitter:

https://twitter.com/marikejager

Facebook:

https://www.facebook.com/MarikeJagerOfficial/

Spotify:

https://open.spotify.com/artist/1DvjWYF9T7H6CuQ7udKLYF?si=y5uTKS48Tz6QXdWYsAzXUQ

Instagram:

https://www.instagram.com/marikejager/

YouTube:

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

FEATURE: Breakthrough Album of 2018: Mitski – Be the Cowboy

FEATURE:

 

 

Breakthrough Album of 2018

IMAGE CREDIT: Getty Images 

Mitski – Be the Cowboy

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ALTHOUGH the votes have been cast for this year’s...

IN THIS PHOTO: Mitski/PHOTO CREDIT: Ebru Yildiz  

best albums; there are those that deserve special attention and focus. My favourite album of 2018 is IDLES’ Joy as an Act of Resistance - and I am not going to back down on that. It is filled with so much life, energy and wonderful moments. It is an important album that seems to document a particular feeling that is happening in music – big issues need discussing and music needs to start addressing taboo subjects. IDLES’ sophomore album has managed to tackle big topics and some meaty subjects but done so in a very intelligent and balanced way. You are never overwhelmed or bogged down by anger; the music is never light and too ineffectual. Many critics share the viewpoint: Joy as an Act of Resistance has been lauded and topped many of this year’s ‘best of’ lists. I have looked at the underrated albums of this year and those that disappointed. There is one artist who has been getting exceptional reviews this year but not talked about as widely as some of the big names. Mitski is an artist I have been aware of and when her fifth studio album, Be the Cowboy, was released in August; I knew it would be a great one. Every one of her albums has been an amazing revelation and turned heads but I think Be the Cowboy is the declaration (that she) is as potent and fantastic as any artist in the world right now.

Her previous album, Puberty 2 – not a film I ever want to see! –gained huge reviews and many noticed the evolution. Mitski had stepped to a new level and, whilst talking of racial identity and personal struggle, she had managed to make an album that was both personal to her but could be understood by everyone. The musicianship and skill throughout the album is immense and that momentum has carried through to Be the Cowboy. 2016’s Puberty 2 was considered one of the year’s best and, rightly, Be the Cowboy is making the same lists this year. It, to me, is the biggest breakthrough album as it takes an already exceptional artist on a roll and sees her hit a peak. This latest album is the sound of Mitski combining all her previous sounds and ideas into one explosive, varied and staggering album. Produced by longtime collaborator Patrick Hyland; Be the Cowboy sees Mitski widen her musical horizons and bring more to the mix. We get horns, synthesizers and other elements alongside her signature sound from the guitar. Mitski stated, whilst promoting the album and announcing it, that she was inspired by a vision of a singer (maybe herself) alone on stage; spotlight trained right at them in an otherwise dark room. If her previous couple of albums were recorded whilst busy and not completely focused – maybe less personal and expressive as she’d hoped-; Be the Cowboy is a return to the true sound of Mitski.

 PHOTO CREDIT: Savanna Ruedy

Her fifth studio album is her most striking and instant because of its new horizons and the fact it sounds completely free. Many artists who achieve a run of great albums make mistakes and push their music too far in the wrong direction. Instead of keeping the body of the vehicle the same and tuning the engine; they completely re-spray it and make unwelcomed modifications. Mitski knows how strong her music is but has spent time tuning, fettling and making sure everything purrs. I shall drop the car analogy but Mitski did not need to start from scratch or make any radical alterations. What Be the Cowboy does is continue where Puberty 2 left off and adds in some fresh elements. The fact so many more outlets and critics are raving about this record – compared to some of her others – means she has hit her peak...that is not to say she has peaked for good. I feel future albums will, yet again, add new aspects to the pot and see her evolve. If the music on Be a Cowboy sounds confident and completely assured; the same cannot be said of its author. In interviews; Mitski has questioned her success and how long people will like her. When speaking with The Guardian earlier this year, she discussed her fear of things changing:

“When you’re happy for too long,” she explains, sitting in her label’s east London office, “you’re kind of waiting for something bad to happen. People decided they wanted to hate Anne Hathaway after she was so popular. For no reason. That’s a cycle that repeats itself everywhere.” As a pre-emptive strike, she decided to treat her new album, Be the Cowboy, which has received rapturous reviews from critics, as an act of self-sabotage. Whenever she veered too close to the sound that gained her praise in the past, she stuck a foot out and tripped herself up. “I fucked with the form, almost in ways that make me uncomfortable,” she says. “It’s almost like: ‘Well, before this goes to shit and you stop liking me, I’m going to do something that I know you won’t like, so that I’m the one who’s rejecting you’”...

Many people, young women in particular, will relate to this. Despite her self-defensive inclination towards burning bridges, Mitski’s ability and desire to write songs that people connect with has won out. “Everyone has a different reason for making music, mine is I want to feel connected to other people,” she says. She is Japanese American, and has spoken of feeling out of place in both cultures. “I’ve always grown up feeling lonely or other, but through my music, I can be like: ‘Look, we’re the same, we’ve felt the same thing, so we’re not so different. I belong here.’ It’s almost like a hungry monster that’s just a constant need to feel connection”.

Having red interviews around the album’s release; I started to get an insight into Mitski and the themes that compelled Be the Cowboy. She comes across as a very modest but complicated artist who is as keen to reflect fears and insecurities we all face – as opposed concentrating too much on the self and personal relationship struggles. When speaking with FADER; she was asked about themes of fame and loneliness:

“One of the album’s themes seems to be this idea that even with fame, there's still a lingering fear that it's not enough — that we need something more.

I'm less talking about fame in the crude sense, and more [about how] I'm someone who goes on stage and becomes a symbol. People project onto me. Internally, [I’m trying] to understand that dynamic. I think that's something that everyone thinks about. Even in day-to-day conversation, we're projecting onto each other. And [there's] a weird dissatisfaction either way: you want people to project onto you and see you as something bigger than you are, but when people actually do that, it's not what you want. You want people to know you for who you are, but when they actually know you for who you are, you're like, "No, I want you to think I'm great."

Another big theme seems to be loneliness. How does that relate to the other stuff we’ve been talking about?

There's the loneliness of being a symbol and a projection, but I think that loneliness [says a lot about] being a woman, or being an other — some kind of identity that has a lot of symbols attached to it. And there's also just touring. Touring is a very ... it isolates. The longer musicians tour, the more isolated they become from the rest of society, because the way you live is so incredibly different. And no one can really relate to your experiences, so you can't talk to anybody about it and you go deeper and deeper inside”.

 

Listening to Mitski speaking about her music and reading interviews gives you a window into this very special artist. There is this disarming modesty and sense that things will all go wrong. Maybe she feels acclaim will wane and the fame will start to fade. Judging by the universal acclaim Be the Cowboy has accursed; there is this hunger for music from her. We have these artists who consistently produce wonderful albums and it takes a very long time for cracks to appear – Mitski is one of those artists. Consequence of Sound gave their views regarding her fifth studio album:

 “She adds depth with crashing brush strokes of electric guitar, but a bouncing synth riff, like a slinky on a staircase, adds a knowing grin to the musings. Similarly, while admitting a willingness to let love do its worst, she initiates a pulsing, clanging beat over which she offers the playfully doomed and seductive invitation to “Toss your dirty shoes in my washing machine heart/ Baby bang it up inside.”

On a songwriting level, Mitski — already established as a top-tier songwriter — has outdone herself on Be the Cowboy. The album is full of constructions that are simple, bold, sharp, and generous. She wastes not a single second, every moment is intentional, every instrument employed for a purpose”.

 PHOTO CREDIT: Getty Images

The Guardian gave their thoughts and impressions:

 “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”.

There have been albums I have loved more this year but, in my view, there have been none as revelatory, transformative and evolved. By that, I mean no other artist has taken a bigger step and released an album that burns quite as bright. Be the Cowboy has these bold, fulsome and colourful arrangements but the subject matter is not sacrificed. One needs to listen to the album in full and make their own mind up but I have been blown away. Who knows what Mitski’s sixth album will contain and how far she can truly go. Given what we have discovered on Be the Cowboy, I feel the Japanese-American musician can ride, reign and gallop...

FOR many years to come.

INTERVIEW: Nella Cole

INTERVIEW:

Nella Cole

___________

MY Christmas Eve interview is with Nella Cole...

who has been talking about her new single, All Out, and how it came to be. She tells me about some great memories in music and what she has coming up; approaching artists to follow and what she would like for Christmas.

Cole reveals a few albums that are important to her and which artist she’d support on tour if she had the chance; some advice that rising musicians should take to heart and how she unwinds away from music – she ends the interview by selecting a great track.

____________

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

Hey! I’m great, thank you! I’ve been auditioning a lot this past week for some musical theater projects so it’s been pretty busy, but awesome!

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

Sure! My name is Nella Cole. I’m a Pop recording artist, actor and dancer; born and raised in N.Y.C. My single, All Out, is available everywhere and the music video just dropped on VEVO - so check it out! My style is dreamy, but grounded; edgy but sweet! 

All Out is your new single. What is the story behind it?

All Out is all about living completely free and wild in the moment! I wanted to write a song that captured the spirit of some of my nights out in N.Y.C., which is a huge inspiration to me. I love dressing up with my friends, walking the streets going from place to place; meeting new people, listening to music and dancing all night. All Out was created after retelling some of these stories to the producers I worked with out in L.A. Most of the lyrics are derived from things that have actually happened!

Do you think it is your most authentic and confident track?

I think all of the tracks are pretty authentic and confident. Haha! There was a really fearless approach to this E.P. We were writing from the most confident part of ourselves and it kind of felt like nothing was off limits. I think All Out is a great intro to what is in store and kind of the outermost layer of Planet Nella Cole (smiles). In future projects, I’m actually interested in exploring the other side of that spectrum and touching on more of my introspective side.

I understand there is an E.P. planned. Are there particular stories that inspired the songs?

All of my music and lyrics are inspired by some time or place in my real life! A lot of times, I’ll go into the studio and start talking about something that’s on my mind that day and the song begins from there. What's really special to me is the memories that come from the creative process and the significance a certain song has from the period in your life when it was written. Upon completing my E.P., the producers and I went out and got tattoos together! That is something I will never forget and represents a great moment in my life. 

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

Definitely! I would say different artists have inspired me in different stages of my life. The first song I ever sang was Alive by Pearl Jam. I was maybe three or four-years-old, so I was probably the youngest rocker around. I had a love for music of all genres at a really young age. I remember being in awe of Britney Spears and Christina Aguilera in their Behind the Music episodes and knowing I wanted to do that too. 

Beyoncé was also a huge influence on me as a young teen. My best friend and I would come home every day after school and watch her concert DVDs in his living room. We would be singing and jumping around on the couches and acting everything out with her! 

Do you already have plans for 2019?

Yes! I’m planning to release more music in 2019 as well as more visual content on my VEVO channel so stay tuned! We’re also setting up performance dates now and are in talks with one of my favorite female brands for a special collaboration! I’m also always working on different acting and dancing projects. A film I worked on called Vox Lux starring Natalie Portman is actually in theaters now. I play one of her backup dancers and will be going to see the film in my hometown movie theater this week! 2018 has been a really great year for me and I’m hoping to continue to build on all of this past year’s accomplishments in 2019!

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

There are so many memories that are very special to me. One of my favorites was from an earlier time in my career when I headlined a New Year’s Eve show at the Revel Hotel in Atlantic City. This was the first time I had done a show like this and we had the whole nine yards: dancers, background vocalists; costume changes, lights and more. It filled me with so much joy and a newfound confidence in myself as this was one of the first times I had really stepped out as a musical artist. It was an incredible way to bring in the New Year. 

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

Wow. This question has me reminiscing. Haha.

Born to Die by Lana Del Rey changed my life. I had never heard anything like it before and it really shocked me and changed my way of thinking about my music. Everything about her art was mesmerizing to me. It was so different and made me feel like there was space for me in this world to be my authentic self.

Looking back…Take Care by Drake was definitely the soundtrack to a time in my life when I kind of felt like I was in limbo. That album means a lot to me because it made me realize that the best music is honest music. Drake really expressed what he was feeling in such a clear and relatable way and it made me feel like I wasn’t alone. I want to be able to do that for other people with my music. 

And last, but not least, I have to shout out the Rent Soundtrack for meaning even more to me now than it did when I first fell in love with it. The music and message resonated with me so deeply when I was younger - but I didn’t fully understand it all. Now that I have more life experience it hits even harder. “No day, but today”.

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

Hmmm...this is a tough question. A vacation to the Caribbean or a shopping spree (if that counts) is the easy answer but, to be honest, the best present for me is to share my music with the world and make an impact on my audience and everyone who believes in me. 

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

I would love to support artists like Bruno Mars or Ariana Grande. Somebody in the Pop realm with a really exciting live show.

As far as a rider; I’m pretty simple to be honest. Just need a quiet space with some tea and water (smiles).

What advice would you give to new artists coming through?

I think the best piece of advice I could give is not to take anything personally in the entertainment industry. If you understand that nothing is personal, it’s much easier to stay focused and motivated when things don’t go according to plan. This business is all about stamina because it’s very difficult to be a part of.

There will be lots of nos and lots of obstacles but, when you love it and you are able to remain neutral to the roadblocks, the little victories are so worth it. (Also remembering that the love and joy in creating art is the most important thing of all). Do what you love and makes you happy! 

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

Maybe (winks). Keep a look out on my Instagram (@thatgurlnella).

IN THIS PHOTO: Hayley Kiyoko

Are there any new artists you recommend we check out?

I’ve been obsessed with Hayley Kiyoko these days. Also, King Princess! Would love to collaborate with any of these bad-ass ladies.

IN THIS PHOTO: King Princess

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

As an artist and performer, my schedule is always changing from day to day. It's also really easy to work from home, so ‘clocking out’ is the hard part when you’re a workaholic like me. I am learning how to take more time for rest and relaxation and seeing the value and importance in that. As ‘woo woo’ as this sounds (haha); I really enjoy doing spiritual work on myself and in my life.

I love listening to the SuperSoul Conversations podcast with Oprah! It's so inspiring and makes me feel more relaxed and connected to myself and the world around me! I also love spending time with my close friends and just hanging at one of our houses and talking all night. 

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).

Fly Me to the Moon (In Other Words) by Frank Sinatra - because I bet you weren’t expecting that and because I’m Italian (smiles).

Thanks so much!

___________

Follow Nella Cole

Twitter:

https://twitter.com/thatgurlnella

Spotify:

https://open.spotify.com/artist/0MCVtY1F2xjQuPMe1URGRZ?si=JQz09lKeQhyRgGK-eqs2JQ

Instagram:

https://www.instagram.com/thatgurlnella/

YouTube:

https://www.youtube.com/channel/UCbPC_H5HRD0wWvMKg7Q6orQ

SoundCloud:

https://soundcloud.com/nellacole

FEATURE: Keeping It Pure: Should Radio Turn Into a Medium for Actors, Comedians and Non-Musical Personalities?

FEATURE:

 

 

Keeping It Pure

PHOTO CREDIT: @nofilter_noglory/Unsplash 

Should Radio Turn Into a Medium for Actors, Comedians and Non-Musical Personalities?

__________

MAYBE it is me being an elitist or a case of sour grapes...

 IN THIS PHOTO: Peaky Blinders actor Cillian Murphy is presenting a show of his favourite songs on BBC Radio 6 Music today/PHOTO CREDIT: Getty Images

but I am hearing a lot of non-D.J. personalities coming onto the radio. It has been happening for many years but now, more and more, there are programmes dedicated to actors, comedians and celebrities. It is great these types of celebrities can be part of shows and be interviewed for radio but I wonder whether too many are being given their own shows. From Peter Crouch making it onto Radio X to Cillian Murphy, Russell Crowe; Martin Freeman and Diane Morgan getting their own slots of BBC Radio 6 Music; I wonder what value is being brought in. Maybe it is the cache these personalities have but I have never been interested in what an actor has to say about music. Maybe there are one or two in the world whose opinions I would like to see stretch to a show but there are so many one-offs and series where famous figures get to ‘entertain’ the public with their music choices. I love BBC Radio 6 Music immensely but I can think of few less interesting and relatable shows on radio than Russell Crowe growling about his favourite songs or Martin Freedom chatting about Jazz. It is not like we have endless musicians acting so I wonder why we need hear so many actors/comedians/etc. being given their own show and telling the world about their music. Perhaps the only exceptions where I want to hear famous people have their own radio stations is the biggest and most famous around.

 IN THIS PHOTO: Actor Miranda Richardson (one of the few non-musical celebrities I would like to see present her own radio show)/PHOTO CREDIT: Getty Images

I am actually a fan of Miranda Richardson and feel she has cool music taste but I would not go as far to hear a show where she runs down her tastes and passions. Stations like BBC Radio 6 Music have a show dedicated to those in the acting community and the link between acting and music. I think it is a good series and it is kept aside from the other shows on the station. Having guest presenters and other shows where we see celebrities taking the spotlight puts me off. This might sound like a personal gripe but how many of us look at an actor or comedian do their thing and are itching for them to explain what music is important to them?! It is this odd association and one that is entering the radio waves more. It is not only one-off shows where we see needless celebrity and fame being allowed even more exposure than normal. Big broadcasters such as BBC Radio 2 have celebrities and T.V. personalities and regular D.J.s and, before they got the gig, they had no real experience or music qualifications. Look at radio stations where the D.J.s are comedians and are brought in because they are entertaining and funny. There is a world of wonderful D.J.s, journalists and musicians out there who struggle to get their voice heard and, annoyingly, they are being overtaken by those whose musical credentials are almost zero.

 PHOTO CREDIT: @jonathanvez/Unsplash

I have nothing against people like Martin Freeman and Cillian Murphy as people and I know they love their music. The same goes for D.J.s who have come from a field outside of music and are getting big gigs without much passage and experience. If they are interesting and popular then not many can argue against their booking. The thing is there are people like me who have been working for years and know full well a better, richer and more varied show can be put together – compared to the actors who are booked to do shows on the basis of their fame and rather uninteresting bond to music. I have listened to so many shows where non-music-related personalities talk about music and play their favourite songs and it is never as interesting as when you get musicians and D.J.s doing the same. I watch T.V. shows and films to watch that person do what they are trained to do and rarely am I wondering what their favourite music is. Music and television/film have a natural link but it is the directors and producers who get to choose the music. I have seen directors talk about music on the radio and I guess that makes sense to a degree. If they are responsible for soundtracks and scores then it is reasonable they get to talk about it.

 IN THIS PHOTO: Actor Martin Freeman has presented a couple of radio programmes this year (including one about Jazz)/PHOTO CREDIT: Getty Images

They can do that through an interview or part of a special series; it is these one-off shows that annoy me and actors being promoted to full-time D.J.s. So many journalists and D.J.s are starting out or having to go through every rung on the ladder to even get half a chance. Many do not make it and get where they want and it is harder and harder to get exposure. There are countless musicians I would like to see talk about their music tastes and upbringing but so many stations are recruiting actors, comedians and celebrities to do the D.J. thing. Even If they sound natural and engaging on the microphone then what makes them more qualified than someone who has been in industry for years?! It comes down to cache and, to me, an unfair advantage that is taking spotlight from those who have worked hard. It would take me ages to name all the musicians I’d rather hear have their own show and there are newcomers and rising names in the media who are passionate and would do a great show. Maybe there needs to be some sort of celebrity or reputation before someone is approached but so many bookings are done because the name is well-known and popular – rather than their musical association and knowledge of the industry. One of my biggest dreams is to have a regular show or one-off that allows me to talk about the best classic and new music and explore other angles – doing regular slots and a documentary-style approach to things.

 PHOTO CREDIT: @peterlewicki/Unsplash

It will take a while to get to that stage but the fast-tracking of famous actors and personalities does make me angry. I guess radio, as with T.V., needs to be a broad church and not be rigid but it is hearing all these celebrities getting regular slots and these shows that irks. Everyone who is passionate about music wants a D.J. to talk about the music and know their beans; to be able to capture the heart but have that deep and authentic knowledge of the records. So often, one tunes into a station and there is a reality T.V. personality, comic or actor who is spending more time talking about themselves or trying to be ‘funny’ – rather than getting out the music and actual doing what they should be. Maybe there have been exceptions but I have never heard any celebrity/non-D.J. do a show or present a one-off programme and be captivated by it. I listen to radio because I know the men and women on there have worked their way through the ranks and been in the industry for years. They are where they should be and are not using the platform for vanity of exposure. Across every big station seems to be someone who is there from another field – either acting or comedy – and what qualifies them to be on radio?! I understand people can change fields and move between industries but so many of these examples relate to one-offs...giving them their own show as they move between projects.

 PHOTO CREDIT: @joaosilas/Unsplash

I am aware actors, celebrities and the like can have great taste in music and it can be interesting hearing what they say. My objection comes with this ability they have to get cherry gigs on big stations without having worked in music before. Why should a big actor get a show easier than someone who has been toiling in music for years and could do a better job?! It comes down to that fame and lure and, in most cases, is rather misjudged. If we are to except actors crossing into radio then at least make the booking interesting! If we are going to have a comedian or reality T.V. star becoming a D.J. then make sure they can talk about music with authority and understanding. I get tired of famous people being made D.J.s where they have little love of music and are there to further their career. The rather stilted and pointless cross-pollination attempts where actors talk about their musical tastes baffle me. It all comes down to that issue of why we truly care about their tastes and what relevance it has to us? I watch T.V. and films to see actors act: I listen to radio to hear D.J.s do what they do best. I do not need or want to see the worlds collide and have these rather pointless shows – the sentiment is shared by many others. It means people like me, who have dedicated years to promoting music, have to watch as these famous names get a platform without giving anything to the music industry themselves. There entire radio shows, such as Desert Islands Discs, I am happy to hear celebrities discuss music but I do not really want to hear them presenting shows on my favourite station or being regular bookings. I think there is an important connection between music and other forms of art (especially film) and I hope that bond continues for decades. Radio is a fantastic forum and I think we should be scouting for the finest D.J.s coming through and those who are best suited for future roles. When it comes to actors, comedians and the likes getting shows and talking about their ‘musical journey’ then I would rather this be left to the imagination. There are so many more deserving people who would kill for the chance and I think, for that reason alone, we need to keep...

IN THIS PHOTO: T.V. personality Rylan Clarke-Neal will launch his BBC Radio 2 afternoon show from next year/PHOTO CREDIT: Getty Images 

RADIO pure.

FEATURE: Into the Grooves: Madonna’s Celebration at Nine: The Career-Spanning Masterpiece That Is Impossible to Ignore

FEATURE:

 

 

Into the Grooves

IMAGE CREDIT: Getty Images 

Madonna’s Celebration at Nine: The Career-Spanning Masterpiece That Is Impossible to Ignore

__________

I have already said goodbye to Kate Bush pieces in 2018...

 IN THIS PHOTO: Madonna in a promotional shot for her 2015 album, Rebel Heart (the tour of the album)/PHOTO CREDIT: Getty Images

and will pick things back up next year. I wrote a lot about her because, not only did she turn sixty, but there was a lot of activity going on. There was no new material but we got her albums remastered and reintroduced and a book of her lyrics. I think there will be more next year from Bush (I hope so!) and the same can be said of Madonna. She also turned sixty this year and many of her albums came to mind. Every anniversary that marks another year of one of her masterworks makes me dig into the original work and why it struck such a chord. It may sound like a flimsy excuse to mark Madonna but the vinyl release of her greatest hits collection, Celebration (hard to get on vinyl (at a reasonable price) at the moment so the streaming version is easier), came out nine years ago in the U.S. – nine years ago yesterday, in fact! I think, without releasing any material, it has been a big year for Madonna and a chance to celebration her life. Many artists are fearful of getting older and celebrating certain birthdays but Madonna took to sixty with aplomb! I have looked at some of her albums, such as Erotica and Bedtime Stories, this year and investigated the ins and outs. I am not sure why but it seems like, the more time passes, the more interesting these albums become. Many feel The Immaculate Collection is the defining greatest hits collection but I feel Celebration is a wider and more appealing selection.

It does not take much for me to celebrate and mark a Madonna release but there are so few modern artists who can project the same sort of intrigue and consistency today. I wonder how often we put greatest hits collections on and buy them on vinyl. To me, the true way of listening to music in on vinyl and I think a greatest hits collection is a great way of discovering a new artist. Every Pop innovator has their own greatest hits collection but, as it is Christmas, many might be looking for an introduction to Madonna and her incredible body of work. I would advise you to pick up Celebration – the non-U.S. version or the U.S. version – and diving into an awesome back catalogue. I love how accessible and wonderful Madonna sounds in 1983 (on her debut) and the fact she is delivering the goods on her modern albums. To say goodbye to Madonna for 2018, and provide additional guidance for those who want some essential Madonna vinyl; here are five crucial albums that you should snap up alongside Celebration. The greatest hits collection is a must-own and shows how the Queen of Pop has matured and changed through the years. It is hard distilling Madonna’s brilliance into five albums but I think these records should be part of everyone’s collection. Grab your copy of Celebration and, to go with it, get your hands on these classic Madonna records!

IN THIS IMAGE: The back cover of Madonna’s 2005 album, Confessions on a Dance Floor/IMAGE CREDIT: Getty Images

ALL ALBUM COVERS: Getty Images

_______________

Madonna (1983)

Release Date: 27th July, 1983

Labels: Sire/Warner Bros.

Review:

“This is music where all of the elements may not particularly impressive on their own -- the arrangement, synth, and drum programming are fairly rudimentary; Madonna's singing isn't particularly strong; the songs, while hooky and memorable, couldn't necessarily hold up on their own without the production -- but taken together, it's utterly irresistible. And that's the hallmark of dance-pop: every element blends together into an intoxicating sound, where the hooks and rhythms are so hooky, the shallowness is something to celebrate. And there are some great songs here, whether it's the effervescent "Lucky Star," "Borderline," and "Holiday" or the darker, carnal urgency of "Burning Up" and "Physical Attraction." And if Madonna would later sing better, she illustrates here that a good voice is secondary to dance-pop. What's really necessary is personality, since that sells a song where there are no instruments that sound real. Here, Madonna is on fire, and that's the reason why it launched her career, launched dance-pop, and remains a terrific, nearly timeless, listen” – AllMusic

Stream: https://open.spotify.com/album/5lrlWKjNY0eTDXp9Bd3LpW?si=MiIAnoblTxy9flrAO1qXrQ

Vinyl: https://www.amazon.co.uk/Madonna-VINYL/dp/B007BWUIHA/ref=sr_1_15?s=music&ie=UTF8&qid=1545560568&sr=1-15&keywords=madonna+vinyl

Standout Tracks: Lucky Star/Burning Up/Holiday

Key Cut: Borderline

Like a Prayer (1989)

Release Date: 21st March, 1989

Label: Sire

Review:

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

Stream: https://open.spotify.com/album/48AGkmM7iO4jrELRnNZGPV?si=3YJEH3x9RfGbnlW5QE0aFA

Vinyl: https://www.amazon.co.uk/Like-Prayer-VINYL-Madonna/dp/B007BWUJ60/ref=sr_1_14?s=music&ie=UTF8&qid=1545560568&sr=1-14&keywords=madonna+vinyl

Standout Tracks: Express Yourself/Cherish/Oh Father

Key Cut: Like a Prayer

Bedtime Stories (1994)

Release Date: 25th October, 1994

Labels: Sire/Maverick

Review:

“To increase the threat, Madonna’s lyrics mingle sex and romance in more personal ways than ever. Previously, she wrote largely in characters and slogans; now she writes, more complexly, from the heart. In several songs she exposes an emotional perversity with the clarity she once had reserved for her sexual kinks. In ”Forbidden Love” she dismisses any relationship untouched by taboo, in ”Love Tried to Welcome Me” she fetishizes rejection, and in ”Sanctuary” she aligns love and death in a way her shrink may want to seriously examine.

In fact, she’s on far surer ground thrashing through such neurotic (if not uncommon) views of relationships than she is trashing the media. In striking back at her critics, Madonna simply sounds self-righteous and smug. ”I didn’t know I couldn’t talk about sex,” she sneers in ”Human Nature.” ”Did I say something true?” Yes. But tooting your own horn about it just sounds petty. For Madonna, luckily, revenge needn’t lie in such squabbles. She wins through the catchy bass hooks and clear persona of the music.

Longtime Madonna fans may still pine for the ecstatic buoyancy of her early hits. And even open-minded listeners may find that the new tracks work less as individual songs than as a sustained mood suite for the boudoir. But seven albums into her career, there’s no denying that Madonna keeps moving forward and crossing barriers — this time, helping another kind of black music further penetrate into the mainstream. Apparently, pop’s most shameless exhibitionist still has something to reveal” – Entertainment Weekly

Stream: https://open.spotify.com/album/1saoZHjleM0tAQQoCvpMrB?si=DPPbB8cjTU6DH2pSTlnjqQ

Vinyl: https://www.amazon.co.uk/Bedtime-Stories-Madonna/dp/B000002MUW/ref=sr_1_1?s=music&ie=UTF8&qid=1545560892&sr=1-1&keywords=madonna+bedtime+stories

Standout Tracks: Secret/Human Nature/Bedtime Story

Key Cut: Take a Bow

Ray of Light (1998)

Release Date: 22nd February, 1998

Label: Maverick

Review:

“Returning to pop after a four-year hiatus, Madonna enlisted respected techno producer William Orbit as her collaborator for Ray of Light, a self-conscious effort to stay abreast of contemporary trends. Unlike other veteran artists who attempted to come to terms with electronica, Madonna was always a dance artist, so it's no real shock to hear her sing over breakbeats, pulsating electronics, and blunted trip-hop beats. Still, it's mildly surprising that it works as well as it does, largely due to Madonna and Orbit's subtle attack. They've reined in the beats, tamed electronica's eccentricities, and retained her flair for pop melodies, creating the first mainstream pop album that successfully embraces techno. Sonically, it's the most adventurous record she has made, but it's far from inaccessible, since the textures are alluring and the songs have a strong melodic foundation, whether it's the swirling title track, the meditative opener, "Substitute for Love," or the ballad "Frozen." For all of its attributes, there's a certain distance to Ray of Light, born of the carefully constructed productions and Madonna's newly mannered, technically precise singing. It all results in her most mature and restrained album, which is an easy achievement to admire, yet not necessarily an easy one to love” – AllMusic

Stream: https://open.spotify.com/album/6cuNyrSmRjBeekioLdLkvI?si=XcVXnRooTl2P7LjtERy60w

Vinyl: https://www.amazon.co.uk/Ray-Light-U-S-Version-Madonna/dp/B000002NJS/ref=sr_1_1?s=music&ie=UTF8&qid=1545561137&sr=1-1&keywords=madonna+ray+of+light

Standout Tracks: Ray of Light/Nothing Really Matters/The Power of Good-Bye

Key Cut: Frozen

Confessions on a Dance Floor (2005)

Release Date: 9th November, 2005

Label: Warner Bros.

Review:

“If Price can't stop Madonna writing songs that tell you fame isn't all it's cracked up to be in a way that suggests she thinks she's the first person to work this out, he can summon up more than enough sonic trickery to distract you. There are hulking basslines, fizzing synthesisers, rolling tablas on Push and an unlikely combination of frantic double-bass riffing, Goldfrapp-ish glam stomp and acoustic guitar filigree on the closing Like It or Not, a collaboration with Swedish pop songwriters Bloodshy and Avant. Isaac falls flat, its lyrics about Kabbalah teacher Isaac Freidin married to global-village trance makes you think of Australian backpackers dancing badly at beach parties in Goa - but elsewhere, the songwriting sparkles. The choruses of Get Together and Sorry are triumphant. I Love New York may be the most agreeably ridiculous thing Madonna has ever released: timpani, a riff stolen from the Stooges' I Wanna Be Your Dog and a Lou Reed deadpan.

It may be a return to core values, but there's still a bravery about Confessions on a Dancefloor. It revels in the delights of wilfully plastic dance pop in an era when lesser dance-pop artists - from Rachel Stevens to Price's protege Juliet - are having a desperately thin time of it. It homages the DJ mix album, a format long devalued by computer-generated cash-in compilations. It flies in fashion's face with a swaggering hint of only-I-can-do-this: "If you don't like my attitude," she suggests on I Love New York, "then you can eff-off." Dancing queens of every variety should be delighted” – The Guardian

Stream: https://open.spotify.com/album/1hg0pQJLE9dzfT1kgZtDPr?si=ONbcB0reQXC0mzGk6q9GcQV

Vinyl: https://www.amazon.co.uk/Confessions-Dancefloor-VINYL-Madonna/dp/B000BRBGO6/ref=sr_1_1?s=music&ie=UTF8&qid=1545561357&sr=1-1&keywords=madonna+confessions+on+a+dancefloor

Standout Tracks: Sorry/I Love New York/Push

Key Cut: Hung Up

INTERVIEW: Phé

INTERVIEW:

Phé

___________

IT has been great speaking with Phé...

about her new E.P., Crisis, and what sort of themes inspired it. I ask her whether she has a favourite cut from the E.P. and the artists/albums that mean a lot to her; whether she has any plans worked out for 2019 and which rising acts we should keep an eye out for.

The U.S. songwriter tells me about Los Angeles and how important it was moving there; what advice she would give to artists coming through right now and how she spends time away from music – Phé ends the interview by selecting a great track.

____________

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

Hey! My week has been good. Pretty crazy, but good! I released my debut E.P. on Friday (December 14th) and then flew home to Canada on the 16th, so it’s been a packed weekend.

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

My name is Phé. I’m twenty-four years old, and I’m an independent, contemporary R&B artist, originally from Vancouver Canada but currently living in Los Angeles. I attended the Berklee College of Music where I studied Songwriting, Vocal Performance and Music Business. And it was actually during my time at Berklee that I decided to pursue a full-time career as a solo artist and songwriter.

Fun fact: I love Disney movies - I know, essentially, all the words to all the songs from the Disney Princess movies. I also really love musical theatre and wanted to be on Broadway growing up.

Crisis is your new E.P. What sort of themes and idea inspired the songs?

My debut E.P., Crisis, follows my first experience with love and heartbreak. It explores themes of love and heartbreak but, deeper than that, it really takes a look at my experience with love at a young age and how I lost myself in the relationship. So, when it ended, I felt like I had lost myself and my sense of worth. So, the project looks at the ideas of self-love and self-worth; sexual exploration and sexuality; mental-health, drug and alcohol abuse and how I dealt with those things throughout my relationship and breakup.

Do you have a favourite song from the E.P.?

That’s a hard one for me! They all hold a really special place in my heart because they played such a large role in my healing process. But, Incredible is definitely my baby because it was the first song I wrote that felt like something I would want to release as an artist. It was my first exploration as an artist and was really the catalyst for my journey as Phé.

Are there particular artists that inspired you to get into music? Who do you count as idols?

Some of the artists I really look up to are Erykah Badu, Sade and Lauryn Hill. These three women really stood out and impacted me when I was young! They all hold such an incredible power and have their own special feminine energy that I really admire - and that spoke to me from a very young age. Growing up, I would listen to their music, watch videos of their live performances - and music videos - and was just so drawn to the way they carried themselves, expressed their stories and invited the listeners into their space. Each is super-different and I look to each of them for something different.

You are based in Los Angeles. How important is the city and the people regarding your sound and drive?

Moving to L.A, was a huge step for me and was not an easy transition at all. It’s a giant city with a lot of people - a majority of who seem to be in the entertainment industry in some capacity. So, that was super-overwhelming for me! But, having started to find my groove - and settle in here -, I’ve been able to take advantage of how great of a city it is.

A large chunk of my community from Berklee is actually in L.A., so I’m lucky enough to have a huge support system and a large network of creatives to work with. It keeps me in check and allows for me to always be creating and collaborating with amazing people that I wouldn’t be able to work with in the same way, if I wasn’t in L.A. I think being in the middle of all the action (which, for the music industry, mostly takes place in L.A.) is super-important. It allows you to be in spaces and make connections that you just don’t have access to in other cities.

Do you already have plans for 2019?

I definitely have plans for 2019! With the E.P. finished and released that frees up a lot of time to work on writing and recording music new music. I don’t have anything set in terms of the next release - I want to enjoy this release and let the next project happen organically. But, I am always creating and working on new stuff so, as I create more, the next project will become a little more concrete.

I also want to play more shows in 2019 because I love being on stage and playing live. Beyond that, I’ve recently started playing around with production which has been a lot of fun and has helped me to find a new outlet of expression! So, I want to keep learning and building up that skill.

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

I would have to say my most recent, favorite memory would be a show I played at Winston House in Venice. The space and the audience had such a beautiful energy and we were all just present and there sharing this moment together. It was a space where I felt truly seen and heard and where my music got to speak for itself - and people were super-receptive of that.

I feel like in today’s social climate, we don’t often get moments where everyone is present and open and to feel that energy of support and presence from a crowd of people - and then to be able to give that same energy back - was a really beautiful and transcendent experience.

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

This one is a little tough for me because there's a lot of music out there that hold a special place in my heart or life. A lot of my memories are associated with music or with events that surrounded music, so to pick three that means the most is a bit of a challenge. But I think, overall, the albums that really opened my eyes and inspired me to be the honest, vulnerable and explorative artist that I am are the following:

Frank Ocean - Chanel Orange

I had never heard an album like this before and the first time I heard it, I was immediately hooked and inspired. It’s so smart, so well done and is a beautiful body of work that takes the listener (or at least me)on a new journey every time. The sonics, language; imagery and stories in this album are all so beautifully crafted and expressed. Frank invites the listener into these intimate and personal moments. And not only that, but he paint such great pictures of each moment: one can’t help but feel like that are there or they experienced it themselves.

Solange - A Seat at the Table

This album speaks to me heavy. Solange tells these stories of her experience as a young woman of color in such a poetic and beautiful way, even though the experiences or emotions that she is depicting really tough and painful things to go through. Her art of storytelling, both musically and visually, honestly blows me away. She is gentle with herself, yet commands this unmistakable power.

Having also interned for Solange and her team, and seeing the songs come to life in a live performance setting, was also a magical experience that really opened my eyes and mind as a young woman and artist. Every moment is so well thought out and has so much intention. And, I think that's a huge lesson that we as young people need to learn regardless of our race, class; social status, career path etc. To move through life purpose and intention...

Lastly, I would say the soundtracks to the Disney Princess Movies that were released between 1989 and 1998 - Beauty and the Beast, The Little Mermaid; Mulan, Pocahontas; Aladdin and Hercules, even though they aren’t technically ‘princess’ movies.

These movies and their soundtracks were sort of how I started singing as a little girl. I would sit and re-watch them over and over; singing along to every word of every song - and that's how I taught myself to sing. They were my first exploration of my voice and allowed me to feel free and happy. Even now, when I’m not feeling so great or just need to be cheered up, my boyfriend will put on a song from one of these movies and it honestly perks me right up. I will dance around our apartment singing along at the top of my lungs and, by the time the song is over, I almost always feel better.

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

For Christmas this year, I would ask that you - my family, friends and fans - share my E.P. with one other person who hasn’t heard of me or of the project. That would mean so much! I just want my music to bring clarity and healing to people’s lives.

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

My rider would be pretty simple, honestly. I’m not too fussy. Ahaha. It would probably include bourbon, honey; lemon and hot water for a nice hot toddy to loosen the nerves a bit pre-show, without drying out the vocal cords too much. Some snacks that aren’t too heavy for before the show - fruits/berries and veg (no honeydew, cantaloupe; peppers or mushrooms) - hummus, crackers and maybe like assorted Clif Bars.

And hot Cheetos and Sour Patch Kids for a post-show snack! (Laughs).

What advice would you give to new artists coming through?

Trust your instincts; be honest with yourself and try to be as objective as possible when it comes to the business of your craft. The universe didn’t show everyone else your vision or your purpose: it showed you! So, trust yourself and listen to how people, spaces; situations, your music; the choices you are faced with and the way you are going about building your career make you feel. Is it authentic? Does it satisfy your spirit?

With that, it’s also important to be honest with yourself and as objective as possible when it comes to running your business - which is your brand, your music and your career. What are your strengths? What isn’t working? Why? What needs to change or could improve? These are questions that we need to constantly be asking ourselves and re-evaluating.

There are a lot of people out there that can help you but there are also people will take advantage of you. There are people who want the best for you and those that want the best for themselves. But, at the end of the day, you hold the power for how far you can go. So, be sure you are having that internal dialogue and constantly checking in with yourself. Just be real. Be you. That's what the world needs and people resonate with that.

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

I am working on some dates for the New Year but, right now, I have one gig with Sofar Sounds confirmed for January - location T.B.A. but everything will be announced on my socials.

Follow me on the socials to stay up to date on future shows!

IN THIS PHOTO: Jessie Munro

Are there any new artists you recommend we check out?

Ouuu...there are so many! Especially because a lot of my friends are in music and have really amazing projects.

Jessie Munro is INCREDIBLE! She released a project a couple months ago and it’s soo good. LILI N is an Italian R&B/Pop artist and songwriter who is about to blow up. Check out her single, Spiritual Level. And, another super-cool up and coming artist is Mafalda. She does really beautiful Indie/Alternative Pop music that will shake your soul.

IN THIS PHOTO: LILI N/PHOTO CREDIT: Lizzie Steimer

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

My chill time is very sporadic and random, because I do generally make my own schedule and I find that I work better when I am busy. Very recently, a lot of my usual free time has been filled with playing around with music production - because that’s something new and exciting to me.

But, outside of music, one of my biggest priorities is spending time with the people I love - my boyfriend and friends (or my family when I am visiting home). I also love Netflix (maybe a little bit too much). I really enjoy cooking and baking. I’ve been exploring the different hiking spots in L.A. and I love going to see live shows when I have the time and money - it’s hard out here for an independent artist (laughs). I also enjoy learning about things like auras and energy, astrology; numerology, human design; holistic healing methods etc.

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).

D’Evils by SiR

______________

Follow Phé 

Official:

http://phemusic.com/

Facebook:

https://www.facebook.com/PheMusicOfficial/

Twitter:

https://twitter.com/phemusic

Spotify:

https://open.spotify.com/artist/6YeRP0HVcmPzXp23KtM61s

Instagram:

https://www.instagram.com/phemusic/

YouTube:

https://www.youtube.com/channel/UCE2jMqmagS4GHw1OfhJTxUQ

SoundCloud:

https://soundcloud.com/phemusicofficial

TRACK REVIEW: Satanic Ritual Abuse: Hurting (Adjective/Verb)

TRACK REVIEW:

 

Satanic Ritual Abuse

PHOTO CREDIT: Georgie Scott

Hurting (Adjective/Verb)

8.8/10

The track, Hurting (Adjective/Verb), is available via:

https://soundcloud.com/memorials-of-distinction/satanic-ritual-abuse-hurting-adjectiveverb/s-37jze

GENRE:

Alternative

ORIGIN:

London/Brighton, U.K.

The album, Hurting, is available via:

https://open.spotify.com/album/68Cujpmj1IVFX76bv2FVeL?si=XEHQcGlETK-qG5Nj4nmMVQ

LABEL:

Memorials of Distinction

RELEASE DATE:

7th November, 2018

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I am not sure whether this will be my last...

PHOTO CREDIT: Daniel Cohen

review of the year but, before I get to Satanic Ritual Abuse, I wanted to address a few themes that I am considering for 2019. I have been thinking about reviews and what I take on because, through 2018, it has been an interesting year but there has not been a massive amount that stuck in the mind. Maybe that is my problem – short attention span or too tired – but I am going to be going after artists for reviews rather than have people come my way. I think one of the main issues is a saminess that has pervaded the music scene. I have yearned for difference in terms of sound and artists who go out of their way to create something unlike anything else. It sort of takes me to Satanic Ritual Abuse and, whilst the name is not something that interests me or has that edge; the music being created by him (Josh) is excellent. I shall mention sound difference and, because there is strength and difference in the music, a couple of constructive points relating to social media and images that I reserve for those who can go far; a bit about minimalism and a sense of the basic – in order to create something quite epic and atmospheric. As I said, I am not really taking too many requests next year because I feel like a lot of my reviews have been about the same sort of thing. Consider how I write them – long and in-depth – and it is hard to say something new about an artist who sounds pretty much the same as the one I just covered. That is not necessarily the fault of the artist but I am seeing a lot of the same thing coming out. I listen and look at Satanic Ritual Abuse and there is that room for interest. The name might point you in the direction of Heavy Metal or something foreboding but that is a bit of a mislead. It is a humorous take and name that certainly gets in the mind and sort of points you in the direction of the music.

Certainty, there is a lot of hectic and strange energy running throughout and one is reminded of artists like Aphex Twin to an extent. Rather than repeat what is out there right now; we have someone who is taking a stand and creating sounds that get into the mind. It is a witches’ brew of odd scents and movements that fuse together quite well. I will come to look at minimalism and creating something grand with very little but I am trying to categorise Satanic Ritual Abuse. It seems to be an Alternative sound but there are electronic glitches and machine-made drama; a blend of harder edges and softer middles. Maybe it is Electronic or Art-Noise but it seems to go against the conventional and commercial. I am not sure whether the creator has an idea regarding genre but it is interesting trying to define this music. Maybe that is the best thing about it. One is not instantly reminded of someone else and the music stands aside. I think it has a touch of those darker innovators like Aphex Twin but there is more accessibility and warmth to be found in Satanic Ritual Abuse. To me, the music does not really need categorisation or any sense of defining. Experience it without labels and you are free to swim in the details, depths and textures. It is more a soundscape and, as the songwriter says, a mix of teen angst and ecclesiastical grandeur. There is colour and consideration but there is also explosion and anger. It is almost like the manifestation of the human psyche. Perhaps it is the contrast of emotions and how we can go from calmed and nice to rather heated. In any case; this is a style of music that I am interested in and have not really had a lot of in 2018. Before I explore the music more, a few considerations regarding Satanic Ritual Abuse and 2019.

 PHOTO CREDIT: Georgie Scott

It is hard for an artist who deals in sound more than image to get a lot of photos online. I have been reprimanded and blasted a few times this year for mentioning photos and lack of them but it is something I have to bring up. Even though I like the sounds being put out by Satanic Ritual Abuse, I was a bit sceptical regarding images. You can see there are a few out in the review – and the man might want to retain mystery and a sense of intrigue – but music is a visual medium and image is as important as sound. Some might contest that but I would say, because of social media and competition, people cannot afford to overlook photos. Again, given the nature of the music, it is not like we have a Pop artist who can take shoots and is not reserved about getting images out there. It does not need to be shots of the man’s face or something forced but I feel like there need to be a few more photos. As much as anything, it will bring more people in and catch the eye. It boils down to the nature of the images and what will be in there. Maybe it would not be studio shoots and Josh reclining all seductively and a few shots of a laptop or studio are not quite enough. He could have a concept whereby there is a stylisation or effect added to photos that would look professional but not necessarily be the usual, glossy photoshoots. That might aggrieve him but there needs to be this consideration among musicians regarding their images because, more than anything, music is visual and the aesthetics are as potent as the sound. All the positives and important highlights go to the music but those peripheral aspects need to be taken to heart. It is never a criticism and, if I was not interested in the music, I would not even raise the issue of snaps.

PHOTO CREDIT: Ellie Rawlinson

I do feel like artists feel that the photographic side of music is not vital and it is all about sound. The music rules and will remain but the way people are attracted is through images; journalists will be more invested if they have a spread of shots and can make a great piece. In as much as anything it shows that the artist is invested in their music and, even if they have little cash, they can still afford a selection of images. I shall move onto the music and a lot of positives but I am thinking about social media too. There are social media links at the bottom of this review but they are for Memorials of Distinction: the record label Satanic Ritual Abuse is under and a popular label at that. It is good one can access the music of Satanic Ritual Abuse through these channels but, as we head into 2019, I would urge the songwriter to get together a concurrent and accompanying social media spread. Another reason why I am going after artists and turning so many away is because of the lack of social media presence. Many either do not have a Twitter account or their portfolio is so limited and light of support. It is understandable if the numbers are light in the early stages but I wonder whether artists are doing enough to keep their social media lines fresh, appealing and funded. Maybe Josh does have social media links for his music but I would say you the essential options are Twitter, Facebook; SoundCloud, Spotify and Instagram. I am a bit remiss when it comes to Instagram but I would urge him to set all of those up and run it alongside the label. Keeping these channels updated and getting a lot of people in not only appeals to journalists and new followers but it means you can get your music to radio stations, the press and other avenues.

 PHOTO CREDIT: Tom Brydges

Music is as much about business and success as it is creating a quality product and making sure you are original. The best way to promote the product and get out into the world is exploiting social media and being as active as possible. If Satanic Ritual Abuse combines some new shots with these social media sites; bringing them together with the music then I think he can be one of the most promising artists of 2019. I understand how he wants to project some mystique and a lo-fi outlook regarding images and that side of things but, if he wants to get the great music to the masses, a few compromises need to be made. He is a new act and not overloaded with cash but I see great promise in what he is putting out. I and many others would love to see the sounds succeed and go as far as possible. Satanic Ritual Abuse already has a Spotify account and one can access the E.P., Hurting, there right now. These are all things he can take to mind but I feel like there is that promise – one wants it to be fulfilled and the world to share the music. Let’s get back to the music itself and a few points that spring to mind. Satanic Ritual Abuse mixes that sense of angst with something grand and epic. The recordings on his E.P. are culled and primed from 2009 (when he was sixteen) to 2014. It is, in a way, a historical journal from the stages of adolescence to adulthood. In an era when we are so fixated with quick turnaround and instant satisfaction; it is gratifying to see someone produce material that has that lineage and history. In many ways, Hurting is like a greatest hits collection or an anthology. You get a literal sense of growth, maturation and revelation happening. Seeing this composer grow and change as you listen to the songs is quite potent!

There is experimentation and a lot of little samples. You have a sparseness and atmosphere but there are bigger moments. Another change I am making next year is going after cheerier music that has a smile and sense of energy. Whilst one cannot easily describe Satanic Ritual Abuse’s music as upbeat and cheery; there is an energy and fascination in there that gets the blood working and provokes images. The lyrics themes look at the pains of love and isolation; paranoia and other concerns. That sounds heavy and a bit bleak but the music creates space, a sense of redemption and a chance for change. Perhaps this is as un-Christmas-like one can get regarding music but, in many ways, this is an end for me. I am, as I say, taking in happier and more high-spirited music next year and artists with a bigger following. The reason I wanted to focus on Satanic Ritual Abuse is because I see that promise and can think of very few other artists like him. It is amazing listening to the various layers unravel and stepping inside this strange world. I was engrossed by the E.P. and have selected the sort-of-title-track because it seems to embody all the aspects and definition of the work. It is a deep and enriching song but one that provokes quite a lot of emotion. I have talked about artists like Aphex Twin and, as I am not that versed in the lo-fi end of the spectrum and have been denied that pleasure a bit; I am struggling to compare the sounds with anyone else. Maybe that is the best thing one can say. You can hear the sense of discovery and endeavour; a young man who is making sense of his tribulations through music and being as bare and honest as one can be. One is brought into the mind of Josh Cohen throughout and, at every stage, you get a new side to a complex young man.

 PHOTO CREDIT: Georgie Scott

Recorded and created between Brighton and London; Hurting is an album that warrants a lot of focus and I am sure will be on many people’s minds in 2019. I will look at the title song from the album very soon but wanted to finish up looking at the nature of the music and why more people should be invested. Consider the way the music was created and how it differs from the mainstream. There are a lot of D.I.Y. artists around right now but not many of them are making music that seems more like a score and soundtrack than conventional music. One of the issues I have had with music this year is that lack of boldness that takes risks and steps into new territory. Perhaps my horizon has been narrow and I have played it safe but one listens to Satanic Ritual Abuse and you get something very different and gripping. I am fascinated by technology and seeing what can be created from such a humble foundation. I can imagine Satanic Ritual Abuse working away on a laptop and experimenting to get the best sound possible. There are lyrics in the songs but the main focus and pull is the sound itself. You are attracted to the compositional elements and the sense of mood created. Switching between nervous energy to anger and through to something lighter; it is a refreshing and varied bouquet that filters into the brain and infuses the imagination. It can be hard marketing music like this to the mainstream because it is so different to what is already there. I feel the scene needs to be more open and embrace these artists who  take chances and go away from the conventional. Perhaps these sort of radical changes are years away but I do hope the scene takes greater note of artists like Satanic Ritual Abuse because we need to see the music get out to the wider population. Look back at a time when artists like Aphex Twin, The Prodigy and Orbital ruled and the effect they had. Their music is a little different to what we have here but not a million miles away. People got behind it and we saw something inspiring come into the mainstream. I miss those days and feel there is something lacking.

 PHOTO CREDIT: Ellie Rawlinson

It is hard to describe the sound and sensation one gets listening to the opening of Hurting (Adjective/Verb). It is very lo-fi and you can hear percussive clatter and some softer strings. It is a melting of the classical and elegant and something more industrial and raw. Whilst not full-blown Electronic territory and as edgy as artists on the odder end of the spectrum; you get this rather strange feeling and are bonding with sounds that take you into different worlds. I was attracted by the lo-fi production and how the music leaps from your left to right ears (if you are wearing headphones). You are almost placed in the song and hear all these little details fizz and unite with alacrity. When the hero comes to the microphone, the vocal has a sense of drone and there is this very focused and deeper sound. It juxtaposes the mood of the composition and offers some instant gravity. One has floated, dreamed and imagined before and, with the vocal, you are levelled and planted more. There is a sample in there that sounds familiar – I can’t recall it for the life of me! It is melodic, sensuous and immediate and it balances against the original notes which are more jarring and darker. There is hiss and a sense of electronic wash; you have vocals that are in the mix but less audible and decipherable than the composition. That is a deliberate mood as it places the hero underneath this wave of sound, emotional disconnect and strain. It is a heavy listen and one that should not be taken lightly. I would never warn people from listening to music but, if you are not familiar with the sort of music Satanic Ritual Abuse is throwing out, then it might take a while to rotate your dish! It is not overly-Christmas-like (my fault regarding timing and being busy!) but Hurting (Adjective/Verb) is a busy and intoxicating song that makes you want to come back.

 PHOTO CREDIT: Daniel Cohen

You listen to the song and, as I said, it is more about sonic mood and composition than the vocal. One can decipher the odd word here and there but it is not a case of interpreting the lyrics and trying to piece together this story. The track is more like part of a concept and story of a man growing from adolescence to adulthood. I am not sure whether the tracks are sequential in that respect and we are hearing something written around 2010 (this song is in the middle of the album so might have been written around that time). It is interesting to sit Hurting (Adjective/Verb) against other tracks on the record and compare. The lo-fi charm of the electronics and drone fuses with that sample and more accessible sound to create the clash of two worlds. Percussion continues to clash and roll whilst the hero croons and offers up words. He is being driven crazy and intense by someone and it is clear some sort of romantic dislocation has come to play. That sample – I shall ask him what it is! – is lifted and it seems almost like a cover version...albeit, one that you will not often hear! The twanging strings and metallic percussion do not seem like easy bedfellows on paper but they work really well. There are so many different aspects and elements that are unified to create this deep, strange and oddly understandable soundscape. It might not be to everyone’s liking but you cannot deny the innovation and production quality. I love how all these rather disparate elements form and how they sound when mixed. You go into the track not knowing what to expect and what will come. You need a clear mind before you do step in but there is this feeling you get that is hard to describe. It is an unusual listen but one that stays in the mind. I am a fan of the more experimental side of music and think more people should check out Satanic Ritual Abuse. The fact it is so different to everything out that means it will take time to resonate but is a much more rewarding listening experience than you’d be used to. Investigate the Hurting album as a whole and it is interesting hearing how Hurting (Adjective/Verb) sits alongside all the other tracks. If this is my last review of 2018 – I might fit another one in – it is a good one and has introduced me to someone I might not have otherwise discovered! Make sure you have a listen and discover something unique and truly special.

 PHOTO CREDIT: Georgie Scott

I have talked about some alterations and steps Satanic Ritual Abuse can consider next year but the fact its creator runs Memorials of Distinction means there is that popular platform promoting the music. Josh Cohen founded the label and has other acts under the wings – including Viewfinder and Tree House. Maybe he will get another set of social media sites but I think a few more snaps to accompany the music would be a wise investment. Whatever he has planned going forward, I am excited to see what happens and how far he can go. The Hurting L.P. is the result of years of hard work and there has been some delay. Personal things have hindered true progress but now the album is out, we can see what has been happening and get a real sense of Satanic Ritual Abuse. Maybe I will come around to the name – might take a while! – but one cannot argue with the music and the quality available! It is a wonderful thing to discover an artist that is very different and kindles some excitement. I have lacked a certain bite and curiosity the past few months and it is something I am going to remedy next year. I am going to end things by looking at where Satanic Ritual Abuse and Memorials of Distinction can head next year. I feel the label is one of the more popular around and is building a lot of steam. The social media following is impressive and the artists being represented are putting out great work. I think they can go further and there are some underground artists that would be a perfect fit. I am not sure how they recruit new signings – whether it is word of mouth or they listen to demos on streaming sites etc. – but I know a few other acts that would be a nice fit for the label.

There is a great deal of respect for Memorials of Distinction and that is down to its founder, Josh Cohen. He has put his everything into the label and his musical project, Satanic Ritual Abuse. I feel he could tour quite extensively next year and progress from the comfort of home and studio and get his music around the world. I am not sure what he has in mind regarding gigs and how it translates to the stage but I would love to see it brought to life at a gig. Maybe there are technical difficulties making the music resonate the same way from the stage but Hurting is a great album that warrants a lot of affection. I will wrap things up here and go about my merry way. Before I do that; I wanted to advise not only Satanic Ritual Abuse to get that music as far as possible – I know Cohen is doing as much as he can to get it to the masses – but people in general to be more open and aware of the selection we have in modern music. Still we focus on the mainstream or what is being recommended by radio stations. It is hard to get a good handle on the best out there – given the vast array of sounds – but we are missing out on so much. I am not saying we need a revolution but there are so many great artists being overlooked because they do not conform with what is deemed ‘popular’ and ‘trending’. It is hard to change things radically and have said this a lot recently. I do think we need to consider music as a spectrum and ocean rather than something very narrow; stop following trends and be more open to unexpected and unusual sounds. I have been looking for someone like Satanic Ritual Abuse and it is great to see this rare and ambitious composer/songwriter who can go a long way. As I start to wrap things up for 2018; I am thinking about next year and what I want from music. I am keen to up my game regarding the popularity of artists featured and need to think about moving to the next level. I also want to be more daring regarding sound and the type of thing I produce. It is good, therefore, to review Satanic Ritual Abuse, and someone who is very different to anything I have covered this year. Best of luck to him because, after only one review, I have been compelled by this rare talent who, I feel, can go a long way...

  PHOTO CREDIT: Tom Brydges

IN a short space of time.    

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Follow Satanic Ritual Abuse/Memorials of Distinction  

Official:

http://modrecords.co.uk/

Twitter:

https://twitter.com/m_o_d_rcrds

Facebook:

https://www.facebook.com/memorialsofdistinction

Spotify:

https://open.spotify.com/artist/0SImbZcSBgrJoxtLAA26Fy?si=3-qREBh5SQOgiVyzyMPgCQ

Instagram:

https://www.instagram.com/memorialsofdistinction/

YouTube:

https://www.youtube.com/channel/UCTYWRnNu2LRvZNA5IK3wHnQ

Bandcamp:

https://memorialsofdistinction.bandcamp.com/

FEATURE: Vive la Résistance! Album of the Year: IDLES – Joy as an Act of Resistance

FEATURE:

 

 

Vive la Résistance!

IMAGE CREDIT: Getty Images 

Album of the Year: IDLES – Joy as an Act of Resistance

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THIS opinion has been echoed by many others...

 IN THIS PHOTO: IDLES/PHOTO CREDIT: Ebru Yildiz

and, in the course of deciding on the best albums of 2018, this record has been at the top of my mind. I guess, like many, I was only made aware of IDLES after their debut was released last year. Brutalism seemed to come out of nowhere and signalled this brave band who was taking no prisoners. I had detected a revival and fronting of Post-Punk and a heavier sound but have not really been embraced fully in Britain. Other bands like Slaves were coming through and it would be a few months before Shame joined the one-word band party. I have seen more bands come into the mix since then but IDLES, to me, are at the summit. Brutalism scored big reviews and many wondered why it missed out on a Mercury Prize in 2017. The album was eligible for nomination – not this year as many people wrongly felt – and it would be an absolutely miscarriage of musical justice were 2018’s defining album, Joy as an Act of Resistance, miss out on a nod. I think the boys should already be ordering the top hats, suits and canes so they can casually swan into the ceremony, say how much they love the other nominees – to get their hopes up – and act all shocked when they get the award. I do not think there has been a stronger British album in years and would be flabbergasted if one equalled IDLES’ sophomore L.P. by the time the Mercury shindig rolls around!

 IMAGE CREDIT: Getty Images

Many knew the band would produce an epic and biblical album after their lauded debut. The press were right behind them and there was there was this genuine excitement. The band are already talking about the third album and, given the touring they have completed and where they have been, I am surprised they even have time to go to the toilet! The buzz has been immense and they have pummelled the globe with their extraordinary live set. Led by the charming and hirsute Joe Talbot; the band are this incredibly connected and innovative band who are unbeatable as a unit. Each player is unique and can improve any other band: together, they have this majestic connection, chemistry and brotherly kinship that feed into the music. I am not sure many, the band included, knew how strong Joy as an Act of Resistance would be. Released on 31st August; IDLES had time to absorb all the splits, stresses and strains that defined the year before. Brexit was, believe it or not, in the mess it is now back then but the band was feeding from the anxieties and uncertainties many felt. We are all in a very scary and pitiful situation and it seems this floating island of ours is getting further from the rest of the world by the day. IDLES talked about important subjects such as the nature of masculinity and manhood on their debut. On its follow up, they seemed to reach new peaks and crystallise their thesis.

Once was the time – and it still happens to a degree – where male bands talked brashly about sex, being a bloke and ‘manning-up’. That notion that men should not disclose their feelings and remain aloof has been a common thread in music for decades. Other bands are talking about toxic masculinity but none have done so as effectively and loudly as IDLES. The boys have thrown away the men-in-bans-who-play-loud rulebook that has been stained, tattered and abused for years. They have come in, proved they can pen this immediate and energised songs but not compromise in terms of intellect and emotional maturity. Maybe that is the reason I prefer Post-Punk to the original movement. Newer artists are not nearly as brash, sexist and emotionally closed-off as their forefathers. I love groups like the Sex Pistols and The Clash but they did not often talk about opening up and talking about your feelings. To them, and their peers, that notion seemed counter-intuitive and not suitable for a movement that spat, smoked and shagged its way into the heart. Another reason why I feel IDLES’ Joy as an Act of Resistance is this year’s king record is the sheer range of subjects. They can talk about masculinity on Never Fight a Man with a Perm but stand up for immigrants and this country’s rich tapestry on Danny Nedelko.

 IN THIS PHOTO: IDLES captured for The Line of Best Fit/PHOTO CREDIT: Mike Massaro

In the course of two tracks they manage to open your mind and eyes; shout against the push of anti-immigration and those who feel men should be men – meaning they need to keep things bottled in and not be too emotive. Samaritans is an intense and deeply striking look at male suicide – one of the biggest killers in young men – and, again, this is the sound of a band more akin to a political party. I have jokingly suggested IDLES should run the country and one feels having Joe Talbot as the Prime Minster and his brothers in the Cabinet would lead to a richer and much more stable country. The man should seriously consider a role in the Government but, in many ways, Joy as an Act of Resistance is the revolution, rebellion and rouse that has awakened the music scene. Other charged and socially-aware albums from Anna Calvi, Shame; Christine and the Queens and SOPHIE have helped make 2018 one of the best years for music in a long time. The 1975 have also made a late charge for ‘album of the year’ with A Brief Inquiry into Online Relationships and, again, social subjects and political touches have made their music so bold, exciting and relevant. So much of what has come before has been the traditional mainstream fare: songs about love, the usual balls and not really reflecting what is happening in the wider world.

IDLES are at the forefront of this new scene that takes responsibility and holds others to account. One might think their second album is a judgmental and needlessly angry affair. Rather than scorn and smash against people with no constructive side and humour; IDLES infused Joy as an Act of Resistance with plenty of laugh-out-loud moments and wonderful asides. They are, as this Guardian review states, a band who can mix the absurd, emotional and humorous and create this strange and wonderful effect:

“But he can also be laugh-out-loud funny. “You look like a walking thyroid / You’re not a man you’re a gland,” he sings at the small-town bully in Never Fight a Man With a Perm: “a Topshop tyrant / Even your haircut’s violent.” Conversely, June addresses the death of Talbot’s daughter at birth, with a version of the poignant, six-word poem often attributed to Ernest Hemingway: “Baby’s shoes. For sale. Never worn.” The band tackle everything from I’m Scum’s Fall rockabilly to soul classic Cry to Me, previously recorded by Solomon Burke and the Rolling Stones. Idles won’t be for everybody: this isn’t good-time, aspirational, radio-friendly pop. But for anyone in need of music that articulates their concerns or helps them to work through their troubles – or anyone who simply appreciates blistering, intelligent punk – they might just be Britain’s most necessary band”.

There is a lot of emotion and charged sentiments at play on IDLES’ masterpiece. As AllMusic stated in their review of Joy as an Act of Resistance; the band manage to make the heavy and intense sound accessible, digestible and instructive:

“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”.

Reviews like this have flooded in over the past few months but I know the band do not take them lightly! They have been touring like nutters but Talbot and the gang have taken to social media to show their appreciation and affection for the fans and journalists who have helped make their latest album this sensation. The credit should be given to the band that have made an album with such urgency have this complexity. Unlike so much Punk and Post-Punk music; this is not about creating flammable and enflamed music that is designed merely to get people chanting and moshing. So many bands exert little wit, thought and maturity when it comes to making an album, in their mind, primed for the legions of fans and masses. Listen to opener Colossus and how it has these layers and nuances. Danny Nedelko is crammed with witty lyrics and unusual lyrics that paint pictures whereas Samaritans provokes tears with its directness and emotional weight. Guitar lines are often bursting with colour, flavour and invention. So few bands have the same ability to cram so much into a song and still have it sound effortless and easy to understand. Each of the twelve album tracks are bursting with life and it is hard to decide upon a defining anthem. From the snarling and brilliant closer, Rottweiler, to the peerless I’m Scum; each song has its own skin and each thrills the bones!  Love how some songs can completely change directions and do not conform to cliché and rigid structure.

 PHOTO CREDIT: Lindsay Melbourne for DIY

IDLES are a band who play by their own rules and do not blindly follow the pack. This, coupled with the need to speak more freely and purely than any politician out there has led to this amazing album, Joy as an Act of Resistance. I know for a fact the L.P. will be nominated for awards and win most of the silverware. 2018 has been especially strong regarding themes and the importance of the lyrics but IDLES, to me, have reached higher and lingered in the mind longer. I know the guys will have some time to recharge over Christmas and one wonders how they can follow an album like Joy as an Act of Resistance?! We said that after 2017’s Brutalism and, in a short time, the band answered those queries with an album even stronger and more complex. I know a third album will document the same sort of themes as Joy as an Act of Resistance but expect new elements to come into the mix. Given the amount of touring IDLES have done; that additional strength and honing will go into the studio and they will be an even stronger unit than they were this time last year! The band, Talbot especially, have provided incredible interviews this year and spoken more articulately and beautifully than any other artist.

I will wrap things up but this interview with The Line of Best Fit from a few months back seems to define the passion Talbot has; how he sees many of the song as reflections of himself and the need to better himself:

 “...As are all my songs, right?,” he snaps back. “'I'm Scum' is about me! It's because these come from a point in my life where I have had to reflect on myself to improve. I had to get the horrible little corners of my psyche out, and these were not from a time I was proud of – I'm not really proud of anything – but it was a crappy time in my life. I behaved abysmally, and I brought that with me when I came to Bristol. I was a real cunt at times.”

Awakening that kind of reaction is a tall order, but every tiny detail in the album has been crafted to a defined set of goals – a benefit of working to a brief – with an enormous amount of subversion in place to force people to think in new ways. Politics, masculinity, and violence are all turned topsy-turvy for effect, but even the vehicle of punk is subverted – it's traditionally an angry, viscious, masculine artform, but IDLES make it anything but.

“It's all mindful and picked out,” explains Talbot. “Subversion is a perfect word. For instance, the context of 'punk' and all that crap that goes with it – it's a very machismo-driven sphere. Rock 'n' roll is machismo... it's a bunch of codpieces and bullshit ideologies driven by bloated egos and cocaine. We get called a punk band all the time; this album is an awareness of that”.

It has been a hectic, successful and revelatory two years for IDLES and the sheer pace, pressure and pride put their way could see them fold. They are beloved and growing bigger with each record. I hope they afford themselves some time to detox from the rush and sweat of the stage; enjoy a brief break and then think about 2019. The guys have loved the fans’ love and touring all around the world. They must be knackered and I do hope they have adequate space to reflect and ponder. What they have given the world with Joy as an Act of Resistance is a modern-day sermon and mandate that takes tricky subjects and lesser-discussed areas – suicide and immigration, for example – and opens them up for conversation. Not only have the band created these fine and memorable songs but their lyrics have provoked discussion, helped people and made many, myself included, less afraid to speak and be emotional. That is a very special and rare gift and one IDLES should be proud of! Who knows how many lives they have enriched, saved and changed because of their music. I am not saying every album should have the power to do that but if you create a record that potent and universal then how can one not get excited?! This has been the year of IDLES and, to me, there is no other album that can topple Joy as an Act of Resistance. I would love to catch up with the guys next year and see what they are planning next but, given how frantic their year has been, I hope they have a mini-break where they can open presents, relax with family and do some chilling. It was in no doubt after the first listen but, eleven weeks after its release, I am beyond-certain that 2018’s strongest album is the incredible, rich and immaculate...

 PHOTO CREDIT: Pooneh Ghana for DIY

JOY as an Act of Resistance!

INTERVIEW: Delena

INTERVIEW:

Delena

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I do not have too many interviews left this year...

but I have been getting to discover more about Delena and her latest track, Animal. She shares the story behind the track and reveals what is coming next – I ask whether there any particular artists and albums that have particularly inspired her.

She talks about plans for next year and what she thinks of modern Pop; whether she gets time to unwind away from music and whether she grew up around a lot of music – Delena ends the interview by selecting a cool song.

____________

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

Hi! I’m good! Looking forward to the Christmas holidays and New Year! 

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

For those who don’t know me, I am Delena! I was born in Kiev and my music is inspired by my life growing up there, which wasn’t always easy - and you can see in my song titles it’s very freedom-inspired! 

 

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

The story behind Animal is how I feel and used to feel while growing up (and even sometimes now)! I wanted a song which is strong and powerful and anybody in the world could relate! Animal is a symbol of being free, strong and honest to yourself! People every day are struggling to be who they want to be and it’s not okay! Everyone must be able to speak their minds free! 

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

I have got a lot of inspiration in my life! As a child, I would listen to Queen and Michael Jackson! I would also listen to Ella Fitzgerald and Etta James! I would always listen to music as a child and I never got tired of it.

What do you think of the modern Pop industry? Do you think it has strengthened over the last few years?

The Pop industry today has developed in so many ways! And I think it did strengthened! Everyone today has got a chance to show their talent in so many ways! And it requires you to be different in so many ways which I think is amazing!  

Do you already have plans for 2019?

Oh, yes! I am so looking forward 2019! I can’t wait to put out new music and work on my album! 

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

I would say that every memory in music is my favorite! I love it so much that I can’t just choose between them!

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

Music is my source of inspiration! It helps me when I’m down and it helps me when I’m up! I don’t know what I would do without it! I would probably end up listening to the winds. Ha-ha.

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

I would ask to be with whole family together because this year we all going to be in the different parts of the world! 

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

I would probably want to support The Weeknd or Bruno Mars! They are great talented artists and I love their music! And, in my rider, I would probably ask for some Ukrainian food like Pirozhki. 

What advice would you give to new artists coming through?

I would say that it’s very important to be true to yourself and understand what you really want! Take advice and be open to anything coming into your life. It’s all happening for a reason! 

Which three albums mean the most to you? 

If I’m honest, I don't really listen to many albums! I mostly listen to singles and go to shows of artists I love. I'm a big fan of Adele, The Weeknd and Sia though. 

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

Not yet! But I will be working on this very hard! 

 IN THIS PHOTO: Kali Uchis

Are there any new artists you recommend we check out?

I really like Kali Uchis! She is so interesting to listen to! Her music can be very inspiring! And also, I like Lauren Jauregui! Her new single is great and the video is amazing!

 IN THIS PHOTO: Lauren Jauregui

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

Usually, I don’t want to chill from music because, as I mentioned before, music is everything to me! But I love to travel and spend time with family! There is nothing better than being all together! 

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).

Could you please pay Kali Uchis - After the Storm 

___________

Follow Delena

Official:

https://www.delenaofficial.com/

Facebook:

https://www.facebook.com/DelenaMusic/

Twitter:

https://twitter.com/_delenaofficial

Spotify:

https://open.spotify.com/artist/2eJcMcN7LjLK6gWStAVG4G?si=pKJyoSjISD2quzanAmsOAg

YouTube:

https://www.youtube.com/channel/UCdbgRIE_RTOb4_tZX0v3xbQ

INTERVIEW: BABYTEETH

INTERVIEW:

BABYTEETH

___________

THE epic BABYTEETH...

have been talking with me about their cracking song, Cocoon, and how it came to be; whether there will be any more material coming and how the band came to be – I ask which albums are most important to them and what sort of music compels them.

BABYTEETH tell me whether there are tour dates coming up and who they’d support given the chance; if they have a favourite memory from their time in music so far and what advice they would give to artists coming through - they select me select a quintet of songs to end things with.

____________

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

BITCHIN’! Sam was bitten by a wild animal and fell down a hole in the pub. The rest of us are dandy. We’ve been rehearsing.

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

We used to be babies…and now we have teeth...

Cocoon is your new single. Can you talk about the background and how it came together?

Camilla and Sam write the songs; we then arrange it together in our sweaty little rehearsal room. We recorded this one a little while ago in London with the awesome Cam Blackwood producing it.

Will there be more material coming next year do you think?

YES! Itching to share it all with everyone.

How did BABYTEETH get together? What drew you to one another?

We met through friends. And, after all of our periods synced up immediately, we knew it was the perfect match.

 PHOTO CREDIT: Gastón Torres

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

We just love really great song writing, regardless of genre. There isn’t any music snobbery with us. Our music tastes are pretty eclectic.

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

A trip to Chessington World of Adventures with Gareth Gates.

Do you already have plans for 2019?

Big ‘yes’. We’re not allowed to tell you yet but it’s gonna be mega. We’re excited. 

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

Playing with Adam Ant this Wednesday will be our best new memory. Unless we fall of stage or piss our pants in front of thousands of people or something.

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

Hole – Live Through This; Beach Boys – Pet Sounds; Deep Purple - Made in Japan; Radiohead - OK Computer; Rage Against the Machine – Rage Against the Machine. Because they inspired us to become musicians and songwriters and give us the belly feels. It’s more fun if you guess which one of us chose what.

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

Garbage. And we’d like a team of dancing dwarves and a massive bottle of Bourbon.

What advice would you give to new artists coming through?

Do something else...music’s full. If you just can’t help yourself though then work absolutely ridiculously hard to get better than everyone else - and maybe also be willing to sell an organ or two to pay your rent.

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

Yes - but they’re not announced yet so keep checking in on our Facebook for updates. Thank you, please.

Are there any new artists you recommend we check out?

Us, us and us. There are lots of other great acts but we need you more. And we’ll love you more than they will, we promise.

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

Stroking cats, eating chips and snogging people.

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

Thank you very much for playing our music. We love you more than Santa loves children. As it’s Christmas, we’ll let you pick a song from each of our all-time favourite albums!

___________

Follow BABYTEETH

 PHOTO CREDIT: Gastón Torres

Facebook:

https://www.facebook.com/Babyteethmusic/

Instagram:

https://www.instagram.com/babyteethmusic/

Twitter:

https://twitter.com/babyteethmusic

Spotify:

https://open.spotify.com/artist/0UeCjdNcuD0atlbAPfW7pZ?si=eGHWq8pZRUKLHGQJMdSssQ

YouTube:

https://www.youtube.com/channel/UCDH44sVlMToaV7nB2imfqxg

FEATURE: The December Playlist: Vol. 4: Is It the Sort of Sunday Driving The Beatles Talked About in Day Tripper?!

FEATURE:

 

The December Playlist

IN THIS PHOTO: The Raconteurs 

Vol. 4: Is It the Sort of Sunday Driving The Beatles Talked About in Day Tripper?!

__________

IT is mostly about the smaller releases…

as the bigger artists are hibernating or have released their material earlier in the year. It will be exciting to see what comes along next year and which singles make a big impact at the start of January. It has been a busy and great one for music and, before we wind down and look to 2019, there are more songs coming through. Aside from the smaller releases, there are some big cuts from Dido, Sir Paul McCartney and The Raconteurs! There is no denying the quality and variation there and it is good we have some of the big artists making statements around this time of year. Ensure you have a look at the new singles out and I know there is enough in there to keep you busy! I am not sure whether there will be another playlist before next year as I cannot imagine many songs coming out between then and now – you never know! In honour of what might be the final assortment of new songs until 2019; enjoy what is on offer now and, whilst there are not many Christmas songs in the pack, there are songs in here that will…

IN THIS PHOTO: Sir Paul McCartney

WARM the heart.

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

__________

The Raconteurs – Sunday Driver

Paul McCartney – Who Cares

Ally Brooke – The Truth Is in There

Cigarettes After Sex – Neon Moon

Dido – Friends

Jay Sean – Need to Know

Florida Georgia Line – People Are Different

Nipsey Hussle – Perfect Timing

Kevin Gates – Discussion

Meek Mill – Trauma

Kelsy Karter – Catch Me If You Can 

Phoebe Bridgers – Killer

Picture This – One Drink

5 Seconds of Summer – Lie to Me

Sam Smith – Fire on Fire

6LACK – Been a While

IN THIS PHOTO: Gia Genevieve & The Raconteurs (The Saboteurs)/PHOTO CREDIT: Julian Pinder

The Saboteurs – Now That You’re Gone

Goody Grace – Rest Your Eyes

Loren Gray – Queen

Alex Aiono – As You Need

BB Nobre –Oportuindad

Mighty Oaks – Like an Eagle

Sophie Rose – Best Friend

Alanna Matty – Loved You First

PHOTO CREDIT: @nathangroff

Yung Pinch – Cloud 9

Sofie de la Torre - Voicebreaks

Alice Glass – I Trusted You

Maya Jane Coles – Waves & Whirlwinds

Robbie Rivera – Tribal Man

Vindit – Sayeh

Richard Ashcroft – Rare Vibration

Rusko – Mr. Policeman

Delta Sleep – Dream Thang

Rudimental (ft. Maverick Saba & YEBBA) – They Don’t Care About Us

Petrie – Too Damn Busy

TRACK REVIEW: Rachael Sage - Myopia

TRACK REVIEW:

 

Rachael Sage

Myopia

9.4/10

The track, Myopia, is available via:

https://open.spotify.com/track/5yjKamYcJep1mGnM3NC80a?si=drQ0HgVCTzebubd-VPvnqg

GENRE:

Singer-Songwriter

ORIGIN:

New York, U.S.A.

The album, Myopia, is available via:

https://open.spotify.com/album/2SDxgZrPIHEIOUenCrAlfk?si=_CypwmMsSMusvIXYpN9kxA

RELEASE DATE:

4th May, 2018

__________

I am not sure how many reviews I will do before the end...

of the year but there might only be another two or three after this. There are some new tracks coming through that are worth exploration and consideration but, at the moment, I am catching up with an artist who I featured earlier in the year. I will talk about Rachael Sage and her sound in a bit but, right now, I wanted to look at changing style and hooking up with collaborators; artists who have a boldness and colour to them; artists bringing more positivity and reflection into their albums; those who are achieving a lot and look set to make a big break in 2019 – I will talk about New York and why it is an area more of us should explore. Sage’s new album, Myopia, sees her in a different light and it is a bit of a move for her. It is hard to believe that this is the songwriter’s thirteenth album and that sort of longevity is very impressive indeed! I guess artists can produce that many albums if they do not have a label and that sort of commercial pressure. One feels, if Sage were signed to one of the big labels, she would still have that endurance and be making records still. I have not seen many modern acts who have managed to sustain themselves through the years and continue to evolve. There are some great artists out there but few manage to crank out so many albums! Sage has managed to endure and survive because she puts so much life and colour into everything. Every album from her has its own themes and skin and you never get the same thing. Myopia is a new step for Rachael Sage and a different turn to what we are used to. If you are familiar with her piano stylings and something familiar; there are collaborators and the guitar is put more to the fore. It is not a huge leap in terms of sound but Sage has managed to add new touches and brought fresh voices to the pot.

It is good seeing names such as James Mastro (Patti Smith, Ian Hunter) and a new instrument is put under the spotlight. I think longevity is underrated and many tend to forget about artists if they drop off of the radar. Rachael Sage has a huge love for music and would not be doing anything else – it is a world that suits her perfectly and every album from her is a huge delight. I love how she manages to say something new with every album and how you get this artist very much connected to themes, images and aesthetics. I will talk more about visuals and that side of thing in a bit but I think making changes and taking your music in a new direction can revitalise what you do. I am not a fan of those who throw in too many producers and collaborators because it can crowd things and make an album sound impersonal. When you bring in a few select names and get that balance right; listening back and you have this rather wonderful and inspiring thing. That is what has happened with Myopia and the songs throughout. I shall move through and look at other topics but I wanted to look at how Sage has moved forward and what she is doing right now. Sage, when looking at the album, titled it as such to reflect society’s narrow views and bad sight. There is a lot of prejudice and discrimination; people struggling and so much hatred around. Rather than get angry on the album; Sage has brought something inspiring, warm and hopeful to the plate. There is a look at the negative sides of life and how we can be myopic – I shall go into detail when reviewing the album’s title cut – but she has taken a big leap on her thirteenth record. As owner of her own label, MPress Records, for two decades now, you have someone who can take control of their own sound but is always eager to explore. So many artists get stuck in a rut or reproduce the same thing every single time. Rachael Sage is somebody who, here, has abandoned (to an extent) the piano-centric sound and brought some guitars to the party. The change is not radical enough to abandon and alienate her core base but it will tempt new listeners in.

There is a natural versatility that comes with Sage – always producing varied and brilliant work that is stronger than most of the stuff out there. It is her wide-aiming songs and a sense of vibrancy that catches the eye. Look at the photos sprinkled throughout this review and you will see someone who has that rather vivid and exciting look. Sage is a character and a musician; someone who seems to embody an icon and pioneer. I see so many musicians who are listless and rather boring when it comes to their sounds and music. I will address positivity and bringing more of it to music but, looking at Sage, and I think about those who are gripping and provide us with relief. Sage can and does talk about serious subjects – not someone who overlooks what is important and urgent. Rather than being all about the gloom and anger; albums such as Myopia showcase plenty of hope and life. I was drawn to Rachael Sage because of her sense of character and colour. Too many artists do not draw the eye or capture the imagination; Sage is somebody who has that potent, dynamic edge and sense of adventure. I love what she is doing and have seen how she has grown as a performer through the years. One wonders where she will head from here but, right now, the music being put out into the world makes you stand up and take notice! I have not got time to review more than one track but, on Myopia, tracks such as Alive capture you with a retro sound and real drive; Snowed In is about the ever-controversial Edward Snowden and Haunted by Objects is about a hoarder whose only option is to set fire to everything! Those stories might sound darker and sinister but, in the hands of Rachael Sage, they are spellbinding and accessible. Lesser artists might make them too dark and depressed…but that is not what you get here.

Instead, we have someone who can introduce humour and a sense of fun into songs; make sure a message is being put across but grab you with a big personality and an even bigger voice. I am looking out more for artists who have the ability to get under the skin and infuse the senses. What amazes me about Rachael Sage is how she can create these deigns and concepts for albums and bring together so many great stories and songs. I feel the fact she has changed style/sound a bit and brought in a few different names means she is free to wander and open her imagination. I know there are artists who can meet my requirements and get into the blood but there are few who do things like Rachael Sage. I know she will continue to grow and enjoy success. She should act as a guide to other artists who are looking for ways to get their music heard and bring something fresh to the plate. Sage can discuss current events and address the world at large but ensure there is little aggravation and sense of misery. I love all the different facets and sides to the songwriter. The way she can entice and allure with her fashion and look; how her promotional shots really do draw you in and how you dive into the music and remember it for a very long time to come. I think a lot of music in 2018 has been about a rather angry and unhappy mood and, whilst that is fine, I am looking at artists who can give some uplift and hope. I am finding too many acts who are endlessly downbeat and cannot really present anything encouraging. Let me move on and talk about that particular side of things because I would like to see more of it in 2019 – a redemptive and hopeful spirit that counteracts the tension and stress that is out there in the wider world.

This year has seen a lot of stress and strain permeate music. The political landscape has been fractured and fraught – many artists have reflected this and tried to make sense. It seems 2019 will start with the same sort of friction and dislocation as we have seen; as we try to make sense of it all and move forward. I can understand why many would want to add their sense of disgust to what is happening but it has been rare to see sunshine and brightness in 2018. Even bigger Pop artists are not showing their usual verve and optimism and I wonder whether that is the way music is going. I feel 2019 is a chance for many to change the tide and, even though it is important to assess what is happening in the world, ensure fun is not lost and we can inject some positive spirit in. Rachael Sage does talk about the myopia of the world on her new album and figures that are controversial. She looks at serious things and big problems out there but does not weigh things down with anger. Instead, there is that hope of things thawing and what can happen if we take a more positive stance. We can be quite short-sighted and blind but, instead of fighting and being naïve; getting together and trying to make things better is what is required. Sage taps into this feeling of hope and being able to make the world better. That stance is to be applauded and, throughout Myopia, we have an artist who wants everyone to try harder and show that positive spirit. In fact, the balance of emotions we get on the L.P. is incredible. We are able to have this brightness and sense of hope but that does not mean the problems in the world are overlooked. I think Sage has created an album that is perfectly suited to this year and seems to match some of the very best albums from the mainstream. I am seeing more and more modern songwriters abandon more traditional aspects of love and relations and investigate politics and their world.

I shall move and round off this first section of the review but it might be worth looking at 2019 and what can happen there. I feel there will not be huge shifts in terms of subject and sounds; maybe there will be some minor shifts but I wonder how much politics and the state of the world will impact music. Artists are entitled to have their say and interpretation but I do hope many take a lead from Rachael Sage and see what can happen when you offer a more optimistic perception. She is not ignoring the seriousness of things nor is she making the music too weighty and bleak. Striking that balance is vital but I feel more fun in general needs to come into music. It has been a bad year in so many ways and many are looking for refreshment and new starts. If you are unfamiliar with the work of Rachael Sage than Myopia is a good place to start. It would be ironic if you overlooked the album but I feel like this is her most confident and complete work yet. The record is packed with textures and nuance; there are songs that take a few listens to get to grips with and others that are instant. It can be impossible navigating the underground and making sense of everything that is happening right now. I feel artists like Sage warrant more focus and love and, let’s hope, she will be afforded the chance to tour around the world next year. I will come to the reviewing part of the review soon but I wanted to look at Sage and what she has achieved so far in her career. Not only has her sound and style changed and grown but the plaudits have come in and she has played in some really good venues. I think those big moments and adventures can impact the work and create confidence.

Sage has shared the stage with artists as lofty as Judy Collins, Shawn Colvin and Beth Hart. She performed in the U.K. last spring and performed alongside Howard Jones. That appeal on both sides of the Atlantic mean she has these big fanbases and can experience very different music scenes. I love the fact Sage has that experience and she can bring all of that into the music. She has performed at the Fringe in Edinburgh and won several music awards here in Britain. A lot of her tracks have been played on T.V. shows and it has been a busy last few years for Rachael Sage. Of course, this will continue next year and I am excited to see how far she can go. The music industry is a tough one but Sage has managed to make her impressions felt and is growing all of the time. I feel 2019 will be a massive year for her and all of the past experiences she has had will come into play. Myopia is a fantastic album that seems to integrate all of the previous records and moods and signals another direction. I am already excited to see what her next album sounds like but shouldn’t get too carried away! I love how many different ideas and stories are explored throughout Myopia and what you get from each one. It is a packed and fascinating album that seems to perfectly look at some darker sides to the world but, above all, urge for movement and something more positive. We do need more songwriters like this and need to embrace those with big hearts, personalities and voices. I shall talk more about Sage in the conclusion but, as she does have an album out that is doing very well; it is time I got to looking at Myopia’s title-track and what it is all about. It is a wonderful song that gets into the heart and bones but also makes you think hard and deeply.

The opening stages of Myopia bring together wordless vocals and a rather tranquil setting. I have mentioned how piano has been overtaken by guitar to an extent throughout the album but you get a nice and potent piano sound that brings the introduction to life. Sage is wordless to start and the introduction has this very bold, effusive and romantic quality that seeps into the skin and creates a very distinct mood. Even through the track suggests short-sighted people and something more negative; the heroine is talking about someone who knows what they can live with and without and, right away, you start to wonder. Maybe it is about someone who is materialistic or people who are uncompromising when it comes to their own lives or others. All of these thoughts went around my head but I struggled to get over the beauty of the performance. There is no real aggression or urgency that would put you off. Sage is comforting and soft but able to project power. It is a brilliant concoction and sound that catches you by surprise. Sage talks about people seeking answers and, when they have received all the answers they need, they will have more than enough to survive. Maybe we all do get too fixated with being spoiled or seeing ourselves as victims; expecting too much and taking so much for granted. It is hard to listen to the song and not think about political figures and what they are doing. Although it is not a direct message to leaders and how they control countries; I feel it looks at society in general and how we do not often look beyond our own lives and think more deeply about the wider world. Sage suffers from myopia herself – as do I – and uses the word in a couple of different ways. There is a literal sense of poor vision but, away from that, she has been a little selfish and not bold enough. She talks about holding a kite too tightly and lacking some perspicacity.

Sage’s voice always has that sweetness and breathlessness that gets into the soul and makes the song come alive. I can see Myopia as a call to everyone to be a little less concerned with their own universe and having a more positive outlook. The lyrics have that oblique nature in places that means you are free to interpret and take things in your own direction. The heroine talks about earning an embrace and that feeling of having enough. Maybe we do value our own worth and success in terms that seems unreasonable and, if we let some things go or change our views, then we can all become a little richer and see things differently. Myopia brings in yearning strings and all sorts of elements. You get little bits of Country and Folk and it is a wonderful blend. Sage – sounding like Briana Corrigan to an extent – talks about a screen of myopia and being tangled up in her own way. Things were piling up and she was not able to get through that. She does not say whether relationship burdens or the busy nature of everyday life meant she was being selfish and not taking stock of things. Whatever was causing this burden and strain seems to have been lifted and she is now in a more productive and clear space. It is nice to hear her looking forward and in a different space. I am not sure whether the change will be instant but the heroine is urging others to remove the clutter and take a different view of the world. Maybe things can get a bit much and we do not often think rationally about what we have and how much we possess. The musicality and strength of Myopia means the song will remain firmly lodged in the mind for a while.

Everyone will get something different from Myopia but, in essence, it is about changing your way of thinking and taking a more positive approach. I love the song and how much life is in it. The music is never too heavy-handed but it is lush and has a real sense of the romantic. Within the yearning strings and the tender notes; Sage lets her voice shine through and guide. She offers laughter and syncopation; some really nice expressions and a real personality. It is a song filled with heart but that message regarding a different viewpoint and perspective. If we can be content and satisfied with what we have and not being too demanding then that will make us look more clearly at the world. I took something from the song and I know many others would have too. It is a number that you can learn a lot from but the music is accessible enough so you can play it in the background and let it wander. Few songs have that ability to get right into the brain or float in the atmosphere. It shows what an accomplished songwriter Rachael Sage is and how she can deliver songs with such confidence and ability. There are plenty of other songs like Myopia on the album but I feel the title offering stands from the pack. It seems to hold the most weight and nuance and I think it is the representation of what Sage is trying to say. It is a wonderful song and one that is perfect for this time of year. We are with family and giving a lot but many of us are caught up in the tensions around us and maybe not being as open and humble as we can be. I think next year provides an opportunity for reassessment and change and we all could do with something more positive. Sage is definitely one who wants change and is offering the listener with excellent wisdom and guidance.

I have explored various sides of Rachael Sage and I hope I have done justice to her work and endeavour. Even though the Myopia album came out a few months ago, I was keen to review a song from it and not let it slip by. Ensure you investigate every track from the record and do not let it pass you by. There are some fantastic songs throughout and you will get something different from each of them. I was hooked by so many of them and will make sure I listen more through the weekend. It is a bit too early to see where Rachael Sage will go and what the next few months will be about. I think there are touring dates booked but make sure you look at her social media channels and get to grips with her moves. I know there is a lot of love for Sage in the U.K. and, although I mentioned it in the introduction, I forgot to talk about New York. Maybe I have not left myself enough time but it is an area of the world that always produces sensational and deep music. Perhaps it is the sheer size and variety there but you have the history and richness that runs through the streets. It can be hard living in cities and built-up areas of the world and finding peace and positivity. So many urban songwriters are beholden to a general mood of fatigue and suffocation and, whilst it is genuine and understandable, we need to embrace those who have that hope of positivity. N.Y.C. seems like a very intimidating and scary place to live but there is humanity and so many different nationalities living there. It is hard living in the U.S. and U.K. right now and there are so many problems that need to be tackled. Songwriters cannot ignore everything going on around them but music’s role, in my view, is to help guide and to offer something comforting. Rachael Sage is a natural leader in the sense she can write music that makes you feel better and there is so much going on that spike the mind. I know she will be very busy next year and many more people will be turning onto her music. I hope she gets back to the U.K. and we get a chance to see her take to the stage here. I shall wrap things up in a bit but I have loved listening to Myopia and getting involved with its title offering. The song is brilliant and it is one of those cuts that get into the brain and you will be remembering it for a long time. I might do a couple more reviews before the end of 2018 but I was keen to involve Rachael Sage. Make sure you have a listen of the album and follow Rachael Sage on her social media channels. Congratulations to Sage on a brilliant and productive year and let’s hope this continues into 2019. I have heard so many different songwriters and offerings but few have the same qualities and highlights as Sage. She is one of those artists who stands aside from everyone else and offers much food for thought. We need that in music right now and a lot more of it next year. I shall end the review now but want to encourage people to listen to Myopia in its entirety and, if they want a track to pick for special consideration, then its eponymous offering is, to my mind, the best. It is another wonderful, intriguing and spectacular release from an artist who...

FILLS the heart with something special.    

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Follow Rachael Sage

Official:

http://rachaelsage.com/

Twitter:

https://twitter.com/rachaelsage

Facebook:

https://www.facebook.com/rachaelsagepage/

Spotify:

https://open.spotify.com/artist/7EedWEoxpzbiPNkqkDp3Vw?si=t65XcWO7RayhZek0r90HLA

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YouTube:

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

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Jackie Venson/PHOTO CREDIT: Daniel Cavazos

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

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BEFORE I look ahead to next year and what is happening...

 IN THIS PHOTO: FiFi Rong/PHOTO CREDIT: @stefanoboski⠀⠀

I am still fascinated by the music of 2018 and the artists making a big impression. I feel the best albums of this year have been made by women and they have added so much to the musical landscape. To honour them and the music the underground is putting through; I have collated another winter-ready playlist that unites some of the very best female artists emerging (there are a couple of older tunes in the mix). It is a stocked and impressive playlist that demonstrates great variety and potency – and the contrasting moods and shades of winter.  Have a look through these songs and I know there is enough in there that will be able to warm you and bring plenty of cheer...

  IN THIS PHOTO: Hailee Steinfeld

BEFORE Christmas comes.  

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

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Raindear - World Below

 Jackie Venson – A Million Moments

UPSAHL – The Other Team            

Emma Sameth (ft. Jeremy Zucker, WOLFE) – Spin with You

Zuzu – Distant Christmas

Kill J – Dead Weight Soldier

Hailee Steinfeld - Back to Life (from Bumblebee)

PHOTO CREDIT: Zuzia Zawada

Ishani – Stormy Emotions

Alice Glass – I Trusted You

PHOTO CREDIT: Jessica Chanen

Joyeur – Daisies

PHOTO CREDIT: Hob Junker

DOTT – Floating Arrows

PHOTO CREDIT: Filmawi

SIPPRELL – Journey

Y.A.S – 100 YEARS

Carla J Easton (ft. Michael Pedersen) – Song

Sarah & Julia – Hooked on the Hype

Emma Charles – Comfort in the Chaos

Phé - Feel You

Elles Bailey – Medicine Man

Rina Sawayama - Flicker

Emily Hackett – Yours

Daisy Gray – Rumours 

Lex Panterra – Lies

Loren Gray – Queen

Sofi de la Torre – Voicebreaks

beabadoobee – Eighteen

FiFi Rong (ft. LO) – Foreign

Kirsty Merryn (ft. Steve Knightley) - Forfarshire