FEATURE: Snowflake: Why 2019 Is the Perfect Year for the Unique Brilliance of Kate Bush

FEATURE:

 

 

Snowflake

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IN THIS PHOTO: Kate Bush photoed by her brother John Carder Bush in 2011 

Why 2019 Is the Perfect Year for the Unique Brilliance of Kate Bush

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SNOWFLAKE is the opening track from...

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 ALL ALBUM COVERS: Getty Images

Kate Bush’s last album, 50 Words for Snow. I am not sure whether ‘last’ is the right word: ‘current’ or ‘latest’ might seem more appropriate and less final! Whatever terminology you want to dust into the conversation, it seems the song’s title is the most apt description of Kate Bush. They say every snowflake is unique – I am not sure whether that is a myth – but I was excited when 50 Words for Snow arrived back in 2011! Having released Director’s Cut – a series of reworkings of songs that appeared on The Sensual World (1989) and The Red Shoes (1993) – it was a shock to get a second Kate Bush album in a year! Gaps between releases have become a more regular part of Kate Bush’s work since 1982’s The Dreaming. She took three years to follow that album (Hounds of Love appeared in 1985) and there was another four years until The Sensual World. Then it was four years until The Red Shoes and there was that larger gap...twelve more years until Aerial arrived from the sky. There was pressure in Bush’s life right from the debut. After The Kick Inside’s success and unexpected beauty in 1978; EMI were keen for a quick follow-up. Given time constraints and a rushed feel; Lionheart was released in 1978 and did not fare that well. That need for greater care, personal control and time enforced increased gaps between albums.

It was not just about being able to make albums at her own pace. If there is a new album every year or two then the sound will be very similar and it would not allow great depth, exploration and originality. It was not a shock to see a four or five year gap between records given the pressure that was on Kate Bush’s shoulders and the fact she needed to make music in her own way. Many were not expecting her to be off the radar so long after 1993’s The Red Shoes but new family commitments, personal priorities and a new creative phase came to the fore. Aerial’s 2005 arrival was a shock but you could see the twelve-year wait was worth it. The textures and sheer effort in the music; the influence of her new son, Bertie, and a feeling of ease and personal happiness made the (double) album a huge success. If it were released in the 1990s or sooner than she’d hoped then that would have affected the purity and quality. Bush slaved hard and needed the material to ferment. She never felt the album would be released and had her fears – it must have been joyous seeing Aerial on the shelves! It was a relief to only wait another six years before we got some new material. Director’s Cut and 50 Words for Snow marked the most productive recording year of her life since 1978.

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I can understand why she wanted to re-record some of the tracks from The Sensual World and The Red Shoes and that creative and interpretative burst led to original thought and a fresh concept. As with every Kate Bush album; nobody could have predicted what it would be about and how it would make you feel. Ever since Hounds of Love, people have always wanted the next version of that. No matter what you produce after your masterpiece, everyone wants a similar version of what they love most – rather than a natural evolution and something out of that. Kate Bush created something very different to her 1985 benchmark with 50 Words for Snow. With featured vocalists such as Sir Elton John and the legendary Steve Gadd on percussive duties; it was another big leap and revelation from an artist in her fifties. We were never going to see the same songwriter we did in the 1970s and 1980s but I doubt many were expecting 50 Words for Snow. It is hard to put your finger on but maybe it is the change of sound – more Jazz influences than we have heard from her – or the length of track (only seven tracks overall but most of them are over eight minutes). There are a select few artists who subvert expectations and produce something totally fresh every single time – Kate Bush must be at the very top of that list.

When she was interviewing and promoting the album – she gave a smattering of interviews for Aerial but really went all-out for 50 Words for Snow – she talked about its themes and tones; explaining how it has been a creative period for her and the shock of putting two albums out in a year! Talk, in interviews, invariably turned to touring and whether Bush would embark on her second-ever tour (her first, The Tour of Life, started in 1979 and promoted the songs from The Kick Inside and Lionheart). Bush explained how she lived touring and its energy – noting how it was like a circus (in a good way) – but turned into a record artist and had been busy in the ensuing years. We did not have to wait too long until those tour-related prayers were heeded. Some thirty-five years after she began her last tour, Before the Dawn took to the Hammersmith Apollo stage. The 2014 tour was a huge hit and was a massive sell-out. Critics raved and many were noting it favourably to her first tour – in terms of the theatrics, scope and sheer ambition of the sets/concepts. The Guardian’s Alexis Petridis, in his review of 26th August, 2014, was filled with praise:

“The staging might look excessive on paper, but onstage it works to astonishing effect, bolstering rather than overwhelming the emotional impact of the songs. The Ninth Wave is disturbing, funny and so immersive that the crowd temporarily forget to applaud everything Bush does. As each scene bleeds into another, they seem genuinely rapt: at the show's interval, people look a little stunned. A Sky of Honey is less obviously dramatic – nothing much happens over the course of its nine tracks – but the live performance underlines how beautiful the actual music is...

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IN THIS PHOTO: Kate Bush in a promotional image that captures her at the Hammersmith Apollo for her Before the Dawn show/PHOTO CREDIT: Kate Bush/Getty Images 

Already widely acclaimed as the most influential and respected British female artist of the past 40 years, shrouded in the kind of endlessly intriguing mystique that is almost impossible to conjure in an internet age, Bush theoretically had a lot to lose by returning to the stage. Clearly, given how tightly she has controlled her own career since the early 80s, she would only have bothered because she felt she had something spectacular to offer. She was right: Before The Dawn is another remarkable achievement”.

After a long wait for new material after The Red Shoes, we had been treated to two original albums, a series of reworkings AND a new tour all within the space of nine years. That might sound like a long period of time but considering the quality put forward and the fact that at her commercial peak she was leaving three or four years between new albums means this new phase of her recording life was ripe, receptive and bountiful. Many were expecting a relatively quick response to 50 Words for Snow but there was no response. Although there has not been a studio album since 2011, the legendary songwriter has not been sitting idle! Her book of lyrics, How to Be Invisible, was released at the end of last year and Bush, in a great move, re-released and remastered her entire back catalogue.

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 IN THIS PHOTO: Kate Bush captured in 1985/PHOTO CREDIT: Guido Harari

One of my biggest frustrations was never being able to pick up a vinyl Kate Bush at any record shop! One might see albums like Aerial here and there but you try and get a copy of Hounds of Love or The Kick Inside! Casual and committed fans want all of her work in its vinyl glory and that, before last year, involved rather expensive trips to Amazon or eBay! The fact we can now get every one of her studio albums on vinyl for a fairly good rate. She released a series of remastered boxsets, each representing a different period of her life. There are four different boxsets and I guess each vinyl costs about twenty quid. It varies between boxsets but you get a good deal for your cash. Not only can you own all her albums – you can buy each record separately if you want; about fifteen or sixteen quid for single-album studio efforts – but there is a final instalment that collates some covers, rarities and unusual gems. If you want, you can buy your favourite Kate Bush album remastered and available in rare vinyl form. If you want to dive in then I would urge people to invest in the boxset editions. Buying each set would prove a triple-figure expense but – and I would if I had the money – one that is worth a rather painful monthly bank statement!

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 IN THIS PHOTO: Kate Bush in a promotional shot for Director’s Cut/PHOTO CREDIT: John Carder Bush/Kate Bush

Like she did in 2011 – and in 1978 – Kate Bush brought out two projects in the same year! Although we were not treated to new material in 2018, it was more a year of retrospect, housekeeping and setting the record shape. We had not seen a book of lyrics from Bush until that point and, when you consider her lyrics are unique and very much her; having a book with a selection together was a long-overdue necessity. Getting all her albums re-released and having them available on vinyl was a vital move that meant people could increase their collection and new listeners could buy them – accompany them with the book of lyrics to boot! Cynics might have seen 2018 as a money-making bonanza for Bush and one where she could trade on her older material – the fact she had her own pop-up shop in London (raising money for the homeless charity, Crisis) meant, for the first time, there was this bespoke Bush shop where you could buy her new remasters and lyrics book and ensure profits from the sale went to a charity. It was a crazy and intense period for Bush (2018) and let’s consider the fact she only finished her tour in 2014. Getting all of that out in four years is an impressive feat! The most-recent audio interview we have from her is from 2016 – she spoke with BBC Radio 6’s Matt Everitt in 2016 to promote the release of Before the Dawn on C.D. and vinyl.

We are only just in 2019 now so one can forgive Bush the chance to work off some post-Christmas stress and spend some time getting her home in order! I know she will feel good having her back catalogue out and lyrics available in printed form. She silenced rumours about a tour and has been able to tick a lot off of the ‘rumours and to-do list’! Maybe we will get more live Kate Bush before retirement (if she ever does!) but I think the Hammersmith shows, in a way, were a swansong and a good way of bookmarking things. The only real question remains whether another studio album will come. She has released quite a fair deal since 2011’s 50 Words for Snow but I have heard interviews she did around that time where she says there are new ideas and concepts. It has nearly been eight years since that album and many will be hungry for another Kate Bush original. She took six years to follow up Aerial and one feels she will not want to let the clock tick into double-digits before another studio album. I think this year is a perfect one regarding new Kate Bush material. A lot has happened in the world since we saw a studio album from Kate Bush. There has been increased political turmoil and divisions in the U.K.

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 PHOTO CREDIT: John Carder Bush

We have seen reports come out suggesting vinyl has stalled in sales (sales stalled for the first time last year after enjoying record sales before) and C.D.s are on the way out. We see reports about streaming booms but a bit of turmoil regarding music business. I feel, despite the streaming boom, there is uncertainty regarding parity and whether these big streaming numbers equate to fair revenue. Record shops are threatened and more and more live venues have closed down. We will never live to see a day when all venues and shops will close but I feel electronic claws are exerting more power and voice by the year. The landscape has shifted a lot since 2011 and I feel there is this great need for some sort of order, recovery and discussion. I feel 2018’s vinyl freeze will end in 2019 and sales will pick back up. There has been some uplift and joy in music the past few years but I think there is still a trend towards the dour, depressed and overly-personal. Female artists are shouting loud but I still think there is an imbalance and sexism – despite the fact most of the best albums from last year were recorded by female artists. This might sound like I am building up to a superhero fanfare but we need Super Kate to swing back in and start to kick butt!

I feel we are less concerned about physical forms and albums as a whole; more drawn to something insular and less magical. Her music, to me, seems to be the antidote. Even when she is discussing a wintery scene or a personal theme; magic, beauty and incredible joy seems to be sprinkled on every page! Her arresting voice and incredible musicianship puts you in a better frame and the fact her remastered albums garnered such interest shows how much of an ‘albums artist’ she is! You feel guilty and short-changed hand-picking songs from a Kate Bush album: her records need to be experienced in their full state and, as such, I think a new album from her could help fight the case for vinyl and C.D.s. Not only can she spur a fresh interest in the album as an artform but, for those who prefer to select a few tracks here and there, having a fresh Kate Bush album on Spotify means one can select a few fresh tracks and combine them with material from all her other albums – create their own Kate Bush mix and a special playlist. Although she (and I) would prefer people bought the album and listened to it without skipping; any time someone bonds with her music is a special and unique occasion. Kate Bush turned sixty last year and I think there is a real clambering for the iconic artist to enter her sixth decade of recording with something that reflects the past few years.

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 PHOTO CREDIT: John Carder Bush

She has a grown-up son now and there have been no real seismic shifts in terms of the music landscape – no phenomenon like Britpop or Grunge that would mean a new Kate Bush album would stick out and be marginalised. Another sixty-year-old Pop icon, Madonna, will definitely release an album this year and it would be good to see Bush join her and bring out something new. One knows Bush works at her own rate and you can never predict what will come and when it will arrive. I am excited to see whether we will get a concept-type record or a new sonic shift (Kate Bush tackling Electro, perhaps?!). Knowing her work inside out; the compositions are likely to be fairly similar in tone to her previous couple of albums and not a return to her early style. I feel the fact she has remastered her albums and released a lyrics book means there is this phase complete and she is ready to enter the next one. I am not suggesting she will release an album this year but I think there is something in the water. It has been eight years since her last original and I can guarantee she has been working on songs since she completed work on 50 Words for Snow. Look at the ten albums (including Director’s Cut) she has released so far and one can see a trend emerge. The Kick Inside was released in February (1978) whereas Director’s Cut came out in May (2011). Aside from that, every single other album came out between September and November.

If we had to wait until September this year then that would be okay but I’d like to think Bush has a more The Kick Inside-like release plan. Of course, as soon as there is a new album out people will ask if there is another to come after that! I do get the sense Bush has been keen to tour, remaster her work and get the lyrics book out before thinking about something new. Now that this has been achieved, I wonder what we might get. There are more than just me yearning for a new Bush album and something that indicates where her creative mind is. It is clear the love of her work is fierce and people, of all ages, want to experience her unique genius. There have been some incredible albums unleashed to the world since 2011 but none that match Kate Bush in full flight. The fact we received treats last year means we should let that settle and be thankful but you know many are eager to experience something new. 50 Words for Snow is a fantastic album I keep listening to and am discovering nuance and revelation time and time again. Among the chill, snowmen and frozen tundra is this unique snowflake: the one and only Kate Bush. I am not sure how she will follow that 2011 work of brilliance but let’s hope this year sees her eleventh studio album arrive (tenth if you see Director’s Cut as re-workings rather than new songs). Although, as I said, where Kate Bush is concerned...

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  PHOTO CREDIT: John Carder Bush

YOU can never predict what she’ll do next.

FEATURE: NO CD: Have We Lost a Love of Physical Music?

FEATURE:

 

 

NO CD

IMAGE CREDIT: Dribble

Have We Lost a Love of Physical Music?

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THERE is something sad about the decline...

 PHOTO CREDIT: @crew/Unsplash

of physical music and how seldom we are actually buying albums anymore. I have mentioned the rise and continuation of vinyl: here is a form of music that is not as popular as it was decades ago but is not in any real danger of disappearing. I guess, given the fact vinyl is doing okay and more music shops are stocking them; can we really say we are unwilling to buy music?! Vinyl has been growing over the past twenty-five years and I think last year was the only one where sales stagnated. That is not much of a worry because there has not been a decline as such – maybe we have come to a point in time when the ease and low cost of streaming means buying records is a bit of an extravagance. I am one of those people who will always go out and buy records and C.D.s but fewer of us are. We are being told unemployment figures are low and we do not necessarily have less money in our pockets than we did years ago. I guess, with chains like HMV being threatened, we have less visibility on the high-street and there are fewer outlets one can buy physical music. Sites like Amazon are always around so I feel that excuse does not hold much water. The reason I bring this up is as a reaction to a report that says C.D. sales are dropping.

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 IMAGE CREDIT: Nick Veasey/Getty Images

The BBC have presented the facts and figures:

“Sales of CDs plummeted by 23% last year, as consumers flocked to streaming services for their music.

Just 32 million CDs were sold in 2018 - almost 100 million fewer than in 2008; and a drop of 9.6 million year-on-year.

The growth of vinyl also began to plateau, with 4.2 million records sold, a rise of just 1.6%, said the BPI.

Shrinking shelf space in supermarkets contributed to the slowdown, but HMV's troubles suggest we are increasingly uninterested in owning our music.

The CDs that did sell in large quantities tended to appeal to older, non-traditional music buyers - with six of the year's top 10 albums either film soundtracks or Now compilations”.

It is interesting looking at these statistics. I do love the fact compilation albums are popular and the true way of listening to these is on C.D. I always gravitate towards the Now That’s What I Call Music! I have been buying that series since the 1990s and it is great to collect them and see how music has changed since the series started back in 1983. I can understand why older listeners would not want to abandon the C.D. and vinyl format. We have been raised on this form of listening and the sentimental and physical value cannot be replaced by streaming. I do feel a lot of younger, new listeners are instantly going online and prefer the more streamlined version of music.

 IN THIS IMAGE: Over seventy percent of those who own George Ezra’s new album either bought in on C.D. on vinyl (as opposed to streaming)/IMAGE CREDIT: Getty Images

I can understand why the physical side of music might appear a bit clunky and old-fashioned. Records are great and have that weight to them but they can take up a lot of space and time. Listening to vinyl is a time commitment and you cannot skip through tracks and listen on the go. The same is true of C.D.s. Now that portable players have been phased out and there is no real portable manner of experiencing these albums; many are constricted and either listen at home on a laptop or in the car. I do wonder whether C.D. sales would pick back up if we brought back into circulation C.D. players and ways to play away from a laptop – almost taking music back to the roots. I think we all so conditioned to use laptops and Smartphones now that the notion of detaching music from these devices seems foreign and counter-intuitive. The BBC article spoke to various figures about the slump of C.D. sales and what this meant. A segment caught my eye that we all need to remember:

“Jon Tolley, who runs the independent record shop Banquet Records argues that streaming can co-exist with vinyl and CDs.

"I don't buy it that physical music is necessarily competing with streams. We all access music and film on the internet, and that's fine and healthy and valid, but you wouldn't look at the Mona Lisa on your phone and think it's the same thing as going to see it in a gallery."

"The reason vinyl sales are at a 25-year high is because people are rejecting this part of modern society where everything is immediate and nothing means anything"

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IN THIS PHOTO: Jack White/PHOTO CREDIT: Rosalind O’Connor  

Jack White recently gave an interview with Rolling Stone and said that the C.D. was on its way out. He feels the new dynamic will be streaming music on the move and listening to vinyl when at home. That sounds like a good balance and fair compromise but it does leave the C.D. out of the party. I think a couple of issues come up when we think of C.D.s. The fact there is a lot of plastic in the casing means it seems jarring at a time when we are opening our eyes to the amount of plastic waste. Companies are being told to reduce the amount of plastic they use – so how will music react? You can use cardboard instead but one wonders how rigid and durable this sort of packing is. Another drawback is the lack of players and devices specifically for C.D.s. It is a lot easier to stream music and listen on a laptop. If we can do that then why unpack a C.D. and pop it in a tray (on a laptop) and do it that way? A lot of laptops do not have a drive for C.D.s so it is getting harder and harder to actually play them. Whereas records are large and you seem to get a lot of bang for your buck; C.D.s are smaller and there is less visual pleasure. I think the biggest gulf we see is what sort of albums people are streaming compared to downloading.

 IN THIS IMAGE: The cover of Anne-Marie’s 2018 album, Speak Your Mind/IMAGE CREDIT: Getty Images

The BBC article shows how strong the streaming market is:

“A total of 91 billion songs were played on Spotify, Apple Music and their competitors last year - the equivalent of 1,300 songs per person in the UK - and streaming now accounts for nearly two thirds (63.6%) of all music consumption in the UK.

The popularity of on-demand music was enough to compensate for the slump in CD sales and downloads; giving the industry its fourth consecutive year of growth.

A total of 142.9 million albums were either streamed, purchased or downloaded, with an estimated retail value of £1.33 billion, said trade body the BPI.

However, it was a poor year for new talent. Anne-Marie's Speak Your Mind was the year's biggest-selling debut album, shifting 160,000 copies - but no other debut sold more than 60,000, the threshold for a silver disc”.

If streaming is a bit more balanced regarding the old and new; most of the top-ten vinyl records bought last year were from older acts. Aside from Arctic Monkeys, George Ezra and The Greatest Showman’s soundtrack; the remainder of the top-ten were albums from older artists. It makes me wonder whether this is the type of people buying vinyl. Do younger listeners, in general, have the money or appreciation of vinyl? It may seems troubling for new artists when they realise the most popular vinyl are the older ones but streaming is booming and they need not worry.

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 IN THIS IMAGE: Fleetwood Mac’s Rumours was the third-biggest-selling vinyl of 2018/IMAGE CREDIT: Getty Image

I do not think physical sales will end anytime soon – even if vinyl sales have not risen in the last year – but it is concerning to see C.D.s tumbling in value. I, for one, love a C.D. and keep tonnes of them in my car. For me, they are a link to my childhood and I like the fact I am paying for music. How much of that cost goes to the artist is hard to say but I’d like to think it is more than if I streamed that album. It would be easy to discontinue C.D.s but there are many established artists who rely on the revenue; smaller labels and artists who need that merchandise pull and ensure their artists are visible. Streaming is great but it is easy to get buried and lost in the sea of digital options. The thrill of seeing your album on the shelves, in C.D. form, is huge and I would not like to see that go away. I do worry about the decline and think the lure of free music means people are not bothering to go out and buy albums. So many people say they do not pay to download music and that troubles me. The older generations and established listeners will always buy vinyl and C.D.s but, as their numbers dwindle and the dominance of streaming takes over...where does that leave us?

 PHOTO CREDIT: @florenciaviadana/Unsplash

We need to ensure music can be streamed online but the culture of buying albums and interacting with people needs to survive alongside it. This tricky relationship always makes the news and I do not want to live to see a day when all physical music has been replaced. I think vinyl is great but I love the portability of C.D.s and the fact I can easily play them in the car or on the laptop. It is vital we buy music and compensate artists but, with streaming allowing free passes it is making it harder to achieve a perfect state. Physical music is a way of seeing money go to the artist and I feel there should be a way of making everyone who uses sites like Spotify to pay a small fee each year. Maybe the slide is inevitable but I do not feel we will completely abandon the love of physical music. Whether it is the Now That’s What I Call Music! series or some older record, people somewhere will grab a C.D. or vinyl and prefer that method. Whatever way we look at the new figures; it signals a lacking affection for C.D.s and, for a brief spell at least, no addition love of vinyl. I do hope 2019 sees chains like HMV survive and vinyl sales pick up. Even if physical music is still alive and influential, it seems the days of people going out and buying C.D.s...

 PHOTO CREDIT: @usefulcollective/Unsplash

ARE numbered.

INTERVIEW: Rie fu

INTERVIEW:

Rie fu

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BEFORE I move on with my interviews...

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and assess a different type of artist; I have been speaking with Rie fu about her upcoming album and what we can expect from it; which artists have inspired and a few albums that are important to her – she recommends some rising musicians that we need to look out for.

I ask what is coming up this year and whether there are any gigs approaching; how she chills away from music and whether Rie fu has advice for songwriters coming through – she ends the interview by selecting a great track.

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

Cold but great.

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

Japanese singer/songwriter/painter based in the U.K. I’ve been releasing ten+ albums under the name Rie fu and a few E.P.s under the name Rié.

I believe you have an album due in March. What might we expect in terms of themes and song ideas?

The album is organic and in tune with nature, inspired by British daily rituals seen from the foreigner’s perspective. Emancipation and seclusion, connection and isolation; conformity and idiosyncrasy…mirrored images of the everyday-life, depicting ordinary British things. There’s even a song about my husband’s daily commute on the M25 (which, of course, sounds very frustrated!). 

What has it been like putting the album together?

For the past three years, I’ve tried electronic-leaning songs and worked with brilliant producers and released two E.P.s and two singles, which has been amazing. But, I realized my lifestyle is not electronic at all; I live in a beautiful countryside listening to birdsongs every morning, smelling the fresh air. Then I started to create this album with a brilliant producer Dan Cox (who has recorded Laura Marling, Lianne La Havas; Thurston Moore, etc) at Urchin Studios and was finally able to make the most true-to-life, honest album.

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

I grew up wanting to sing like Karen Carpenter, also listening to Carole King; Joni Mitchell and Kate Bush and looked up to them as unique female songwriters.

Given your heritage and background; do you think your mixture of Western and Eastern influences is the reason your music stands out?

There’s definitely a mixed influence. The Japanese music market is like another planet and I’ve always thought I had a Western (music) style as opposed Japanese but after moving to the U.K., I realized I do have some of those twee and quirky Japanese traits which I’m proud of and embarrassed by at the same time!

Do you already have plans for this year?

It’s my fifteen year since I debuted in Japan, so I’m planning an anniversary tour in Japan.

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

Touring in China for the first time and discovering two-thousand fans I’d never knew.

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

Songs in the Key of Life - Stevie Wonder

Every song is pure magic and joy that never grows outdated. I’ve been listening to it all through my years.

The Spirit Room - Michelle Branch

I started songwriting because of this album. I was seventeen and all the songs in the album resonated with my thoughts at that time.

The Miseducation of Lauryn Hill - Lauryn Hill

Around the same time, I was religiously listening to this album; even translating all the lyrics into Japanese.

If you could ask for a post-Christmas gift; what would you go for and why?

A beautifully decorated family home with no mortgage. (My husband and I have been moving countries every two-three years!).

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

St. Vincent and a sushi bar.

 What advice would you give to new artists coming through?

Don’t go anywhere near a person who questions your talent or self-worth

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

5th Feb, 2019 at the Moonpig in Fitzrovia. A Japan tour announcement in the New Year.

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 IN THIS PHOTO: Suzi Wu

Are there any new artists you recommend we check out?

Suzi Wu, Charly Bliss.

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 IN THIS PHOTO: Charly Bliss

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

I’ve been doing a lot of subtitling (English to Japanese) which is an insightful way to watch films and documentaries.

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).  

Ella Fitzgerald - It’s Only a Paper Moon

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Follow Rie fu

FEATURE: Going Deeper: Getting to Know Musicians Better in 2019

FEATURE:

 

 

Going Deeper

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PHOTO CREDIT: @othentikisra/Unsplash  

Getting to Know Musicians Better in 2019

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MODERN journalism is all about quick...

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 PHOTO CREDIT: @sammcghee/Unsplash

turnaround and smaller articles that are quite easy to read. We pitch articles and interviews that are digestible and do not really take up a lot of our times. There is a plethora of websites where you can find your musical fix and get all of the latest news. We do not need a lot of depth when it comes to news: just the essentials and make it as punchy as possible. A lot of album reviews tend to be fairly short and it can be difficult getting to grips based on the odd line here and there. I know there are music websites where contributors put the effort in and you do get a lot of depth but it is becoming rare as more and more music websites emerge. The consistent element I have discovered with music journalism is interviews that are pretty brief and sketchy. I am changing the way I interview and that I go after but, before now, my interviews have consisted quite a few questions that allow the musician(s) to go into detail and explore them from multiple angles. I have my standard questions and those easier ones but like to get to know the people behind the music. I have, until now, emailed interviews and it can even then be tricky discovering the real person. I did it that way for convenience and ease but it occurs to me there are not many people digging that deep and taking the time to explore musicians.

 IN THIS PHOTO: Ellie Goulding/PHOTO CREDIT: Vianney Le Caer/Invision/AP

Maybe modern journalism means we want that bitesize and brief interview where there are a few questions and we do not have to read for that long. I talked about this last year but I do wonder whether a new approach needs to be taken to interviewing. My anger, this time, has been fuelled by a rather brief interview that has been published in The Guardian with Ellie Goulding. She has been away from music for a while and, instead of a detailed and big interviewed; there are a few questions and it is not the most riveting piece you’ll read. I guess it is nice to see her back and you learn a few things from the interview – is it a missed opportunity? One of the reasons I decided to email interviews is because it gives artists more time to explore their answers and put some effort in. I am hoping to move to verbal interviews because I think there are so many sites out there that ask a few questions and that is it. Whether you are a brand-new artist or established musician then you have to ask whether interviews are pressing and long enough? I do not concede we are all looking for short and unchallenging when it comes to music journalism. Too often, you open a website or read a magazine and you get the same interviews with the same questions asked.

 PHOTO CREDIT: @neilgodding/Unsplash

There may be something out there but I wonder whether there is a YouTube channel or video series that sits down with artists and takes time to give them a problem good grilling. That might sound intense but I mean asking them about their musical past and current movements; go deep and get behind the real person. Maybe this applies to mainstream and established acts but I would love to see longer interviews that not only talk about current material and musical favourites but mix in that artist’s/band’s favourite sounds. I am excited to start a new project but I think, at the moment, there is a gap. Even new artists want to talk more and give the public a greater sense of who they are and where they came from. Journalism seems to be about providing these relatively short interviews that you can read without too much trouble and get a brief flavour of that person. Even when I hear musicians on the radio; there is always that ticking clock and it is always hard for D.J.s to squeeze too much in given the time constraints. I am looking around but not seeing too many options where we get to take away all the barriers and really get to know the artist. I am thinking about a podcast – whether it happens this year or not – where a musician/figure in the music industry is sat down and opened up.

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 PHOTO CREDIT: @jmvillejo/Unsplash

Current work would be dissected and discussed but it would go much further than that. By the end of the interview, I hope, you’d get to know so much you didn’t already know and a true impression of them. There is nothing wrong with short online interviews but I do often feel like there is a chance missed. For huge artists and those coming through; I think it would be good to see more interview series that take the time to probe and uncover. I am interested to learn what sounds musicians are influenced by and how their musical life started; if they have favourite records and what plans they have for the year ahead. I think we can go even further without testing patience and being too revealing. I am trying to rebel against rather brief journalism and pieces that are quite irreverent and do not really offer much new insight. Perhaps we have become use to a rather lazy style of journalism but I love interview series – usually involving filmmakers and actors – that take the time to get to know the subject. I think a new approach would make people more interested in music itself and mean we get to bond with that artist/band. As it is now, we flick through new releases and scroll through websites and do not really settle. Rather than go for the standard questions and these ‘tight’ articles; let’s sit down with the icons and best newcomers and really have a good chat. I think that could even translate into print and many would happily sit and read a more thorough interview if some great questions were asked. I think music journalists, in 2019, should resolve to take a different approach and sit back. It may like, on paper, musicians want a rather short and to-the-point interview but when you sit down with them and talk you’ll find they have an...

 PHOTO CREDIT: @skywarden/Unsplash

AWFUL lot more to say.

FEATURE: Christmas Come Late: Great Albums to Snap Up in January

FEATURE:

 

 

Christmas Come Late

PHOTO CREDIT: @sethdoylee/Unsplash 

Great Albums to Snap Up in January

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WE have only just ticked into 2019...

 PHOTO CREDIT: @jan_strecha/Unsplash

but it is not long until the first albums of the year arrive. A lot of the bigger releases will not come until later in the year but that is not to say January will be dry and uninteresting! In fact…there are some pretty good records due for release this month. I have selected eleven essential albums that you need to put into your January collection. Many of us would have received money and record gift cards for Christmas and will be wondering which new albums we need to get behind. Others will want a taste of 2019 and what its early runners are all about. In honour of that, take a look at the selection and I am sure you will find something in the pack that tickles your fancy. 2018 was a great year for music and we saw some really fantastic L.P.s come out. It might be a little premature to make predictions but I feel next year can be an even...

 PHOTO CREDIT: @priscilladupreez/Unsplash

MORE exceptional and bold one for music.

ALL ALBUM COVERS: Getty Images

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Jack & Jack – A Good Friend Is Nice

Alice Merton – Mint

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Maggie Rogers – Heard It in a Past Life

Deerhunter – Why Hasn’t Everything Already Disappeared?

Mike Posner – A Real Good Kid

Sharon Van Etten – Remind Me Tomorrow

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Bring Me the Horizon – Amo

Rival Sons – Feral Roots

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Blood Red Shoes – Get Tragic

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Rudimental – Toast to Our Differences

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RAT BOY – INTERNATIONALLY UNKNOWN

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INTERVIEW: From Carbon

INTERVIEW:

From Carbon

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MY final interview of the year...

is with From Carbon who have been talking about their single, Demons. I ask whether there is a new album being planned and what sort of music the band are inspired by – they recommend a rising act that we should get behind and follow.

I ask whether there are any plans for next year and if there will be touring dates; if they have favourite albums and what the reaction has been like to their 2014 debut album – they end the interview by selecting a great track.

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

We’re good, thanks. Keeping busy working on the new material.

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

We’re From Carbon. Were an Indie-Rock band from North Manchester. We play guitars, piano; violins and drums. We’ve been described by a radio station in Australia as “U2 and Black Sabbath’s lovechild!” Not sure that covers all our sound but maybe the heavier tracks we play. We do have a softer side, though.

How did From Carbon get together? When did you all start making music together?

We got together around four-five years ago from the ashes of various other bands we’d been in. We’d all seen each other play in other bands and thought why not form this supergroup of unknown, unsigned artists. We only agreed to do a few recordings together but things developed and were now about release album number-two.

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How important is Manchester and its music vibes to your own sound? Is it a good place for the band to play right now?

Manchester music has been a huge influence on us;; there is such a varied and esteemed heritage. We’ve been lucky enough to play with some of them. There is also a bit of scene developing again bands like Blossoms, Slow Readers Club and Catfish and the Bottlemen all seem to be getting to the next level, so hopefully people will seek out more Manchester bands as a result.

It’s hard to make an impact in this city as there is so much competition and, with venues closing down in the city centre, promoters are only interested in booking bands they know will shift a lot of tickets and that isn’t always the best bands. They also take a huge cut of the money, taking advantage of younger bands. We’ve started organising our on gigs as a result.

Tell me about the song, Demons. What is the story behind it?

Scott: Demons is one of the first songs I ever wrote. It came from a huge argument I had with my closest friend at the time and about the waves of anger it produced on both sides. The song acknowledges that we all have demons and complications and perhaps we shouldn’t always judge people so harshly. It’s still very relevant to us.

The song has been picked up for a movie soundtrack, Strangeways Here We Come. It was a proud moment to hear it blasting out in the cinema and at quite a crucial and delicate scene which depicts the morning after a drink and drug-fuelled party in Salford.

I believe your debut album came out in 2014. What has the band been getting up to since then? What has the reaction been like to the record?

Yes. Wealth came out four years ago and has sold over a thousand copies. We’ve had a couple of support opportunities which helped us get to a wider audience. We supported The ChameleonsVox at the Manchester Academy and a few of their hardcore fans started following us as well. Then we supported Heather Small (M People) on her U.K. theatre tour - which was the main reason we sold so many C.D.s and was a truly amazing experience.

We’ve played various small festivals and released a couple singles/videos this year and finished 2018 off by supported Toyah Wilcox in Manchester at the Ruby Lounge - which is another great venue which is sadly about to close down. However, in between all that, we’ve spent the last two years focusing on recording the difficult follow-up album.

Might there be another album coming along in the next year or so, perhaps?

Yes. We’ve named it Existence because it’s had to fight for its existence. It’s definitely been tougher this time. Not through anyone’s fault; our producer Chris Oliver has been on world tours with The ChameleonsVox and Midge Ure. So, pinning him down has been difficult. However, it’s finished now and currently being mixed hopefully in time for our album launch show which is at The Bread Shed in Manchester on Saturday, 30th March, 2019.

We’ve organised the event ourselves and it’s going to be magical. We’ve managed to persuade Joe Duddell and his Classical ensemble to play a set with us. Joe has done similar things with Elbow, James; The Charlatans, New Order and other great acts. We’re just super-excited to hear what he does with our songs and hearing his arrangements and interpretations. We’ve also got the wonderful Little Sparrow supporting us on the show. Katie has such a powerful and beautiful voice and really deserves to be a household name. We’re delighted to have them on the bill with us.

It seems like gigging is the most important thing for you guys. Is that where you hear the music truly come alive – and get the purest and most honest reaction?

We do love playing live and we are definitely one of those bands who sound better live. People are usually shocked at how good we are live when they see us for the first time. It helps with us having seven people on stage. I suppose there’s always something or someone to watch.

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

Scott: James - One Man Clapping. I bought this album retrospectively as I’d just discovered James around the Gold Mother (‘Madchester’) era, when I first played it (a second hand tape). I thought they’d accidentally mixed up the tapes in Vinyl Exchange as it sounded so different to Gold Mother, like a completely different band. I suppose they were in many ways. I do love a live album, though. This had so much raw energy and an element of crazy that I grew addicted to. Chain Mail, Sandman and Leaking blew me away with their improvisations. The lyrics of Really Hard and Burned certainly resonated with me. It gave you a glimpse of how good they were live and still are.

Gray: A present requested for my tenth birthday bought by my sister because I wanted the music from Tomorrow's World. I played it on a mono hand-held cassette player back to back for years. My first introduction to album music...turns out to be instrumental; not just in genre but in revealing that music was pure escapism. Probably the only album I have bought repeatedly in different formats over the years.

Adam: K by Kula Shaker. The best Rock/Blues mainstream album. It was my first gig at the Apollo. The guitar work was amazing and it was a little bit different from the usual Britpop dross of the time!

Nut: Rush - 2112. I was eighteen; working on a building site in Oldham and the foreman labourer said to me: “You play drums, don’t you?” I said: “I did but haven’t for a couple of years. I’ll bring you a cassette in tomorrow”.  He said: “Listen to the drums; they are amazing”. He brought the tape in and I played it when I got home. Within two weeks, I’d bought myself a kit and started playing again. There have been two people to make me pick my sticks back up. One is Neil Peart and the other is Scott Jeffries.

What do you hope to achieve in 2019?

We’re planning on releasing a couple of singles from Existence and hopefully it will lead to some more exciting gig opportunities, festival slots and we’d love to tour again. It was such an amazing experience and we do have the odd fan dotted about all over the U.K., so it would be good to be able to play live to them again. Fingers crossed.

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

Two favourite memories? The first has to be the first time the audience started singing and clapping along to our song, Demons, on the Heather Small tour. It was at the Lancaster Grand Theatre and we really weren’t expecting to go down well on the tour - as our music is very different to Heather’s - but each night we were blown away by the reaction we were getting and we grew in confidence. It was just a great feeling to see complete strangers enjoying our music.

The second is when Andy Diagram from the legendary band James joined us on stage to play trumpet on Demons. We hadn’t rehearsed it and it was such magical feeling to have one of your heroes playing along with you and improvising on a song you’d written fifteen years earlier. We followed it up with a cover of Laid. Again, we’d not rehearsed it with him so we were flying by the seat of our pants. I think we did it justice. I get tingles thinking about it.

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

Each one of us would have a different answer to that. For me, I would love to support either U2 or Arcade Fire. Not just because it would be a sell-out but I feel we’d have a lot of fun.

I think our rider would have a lot less alcohol than in previous years.

What advice would you give to new artists coming through?

My advice to young musicians is never wait for someone else to do things for you! If you want to record an album do it yourself and definitely plan things.

 IN THIS PHOTO: Eliza Shaddad/PHOTO CREDIT: Melanie Tjoeng photography

Are there any new artists you recommend we check out?

Scott: My favourite new artist is Eliza Shaddad. I’ve seen her develop over the last five years and if you haven’t heard her E.P.s, Waters, Wars and the new album, Future, you haven’t lived.

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

We never unwind. We don’t have time for that (smiles).

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

Please play Eliza Shaddad - Make It Go Away (with headphones on and in a darkened room on a rainy day)

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Follow From Carbon

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

FEATURE:

 

 

Music Sounds Better with You

IN THIS PHOTO: Self Esteem (Rebecca Lucy Taylor) 

Ones to Watch 2019: Part VI

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THIS might be the final recommendations rundown...

 IN THIS PHOTO: grandson

of the year – but there are some pretty good names on the list! I have been looking at the recommended music names from other areas of the music media and there seems to be some consensus. It has been a great year for music and I feel 2019 has a lot to offer. I am not sure what direction things will take regarding sounds and direction but I think we will see a lot of underground and near-the-mainstream acts get to the big leagues and exert some influence. Whatever happens; here is my last list of musicians you need to keep an eye out for and follow in 2019. Have a look and listen to these great artists and make sure you end the year with loads of...

 IN THIS PHOTO: Anna of the North

PROMISE and quality.

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

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Iyamah

Ailbhe Reddy

Emmy the Great

Hey Charlie

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Natalie McCool

grandson

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Catherine McGrath

YONAKA

The Aces

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Cautious Clay

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Pale Waves

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Kelsey Lu

Nilüfer Yanya

Saweetie

Self Esteem

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Pillow Queens

Loski

Nina Nesbitt

TRACK REVIEW: Elder Island - I Fold You

TRACK REVIEW:

 

Elder Island

PHOTO CREDIT: Ash Holdsworth 

I Fold You

 

9.3/10

 

 

The track, I Fold You, is available via:

https://open.spotify.com/track/26lF5mVfDEctMHJFxbvPtc?si=VJLiWLK6SYibUQVqrzhAUQ

ORIGIN:

Bristol, U.K.

RELEASE DATE:

28th December, 2018

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The album, The Omnitone Collection, is released on 8th February, 2019. Pre-order here:

https://ffm.to/omintonecollection

GENRES:

Dance/Electronic

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I am still in the...

rather uncomfortable grip of a cold right now - so I hope my words make sense. This is my final review of the year and with a band I am not overly-familiar with. I want to talk about Elder Island but I will chat about Bristol and its scene; artists that are new to me and I have discovered through social media; acts that can vary their aesthetic and have nimbleness for 2019; cross-pollination and how effective that can be. I will look at what 2019 will be like for Elder Island and how far they can go. We often get too obsessed with London and what is happening there and overlook Bristol. I think music has changed the last couple of years and so much of what we are looking and listening to is from outside the capital. I have been listening to a lot of London music the past few years but, more and more, I am discovering really cool stuff elsewhere. I think there is the assumption that London has all the great music and, when you consider all the labels and money here, it is not worth looking elsewhere. This is wrong because, as we can see with Elder Island, Bristol has ample ammunition. I have always loved what has come out of the city and it has always produced epic stuff. Consider all the Trip-Hop music that came from there and incredible bands like Portishead and Massive Attack. In fact, Bristol is responsible for the Trip-Hop movement and was offering something genuinely new to music. The genre is still existent today and evolving every year. We have Bristol and its innovation to thank for that. I think the city does not get the credit it deserves and we overlook all the great music there. IDLES are probably the most successful newish band from Bristol and show how diverse the culture is. I think things have changed from the 1990s and Bristol has become more varied and adaptable. There is still Trip-Hop coming from Bristol but I am discovering wonders from other genres and some great sub-genre work happening.

Maybe the strength of the live scene there means artists are able to flourish and survive. London is seeing a lot of venues close and other areas like Brighton are losing big venues. Bristol is susceptible to the same dangers but it seems the live venues there are safer. The Louisiana, Exchange; the Trinity Centre and The Old Duke are a few different venues that offer platforms to the next big things. I have not been to the city myself but know how much good music is coming from Bristol. It has been this way for decades but I think we often overlook what is emerging from there. If we keep focused on London and follow media guidance – there is still that preference for the capital – then we will not get anywhere. To be fair, things have gotten a little better regarding the imbalance and how the media perceives music’s epicenter. It was the case, not too long ago, when London ruled the roost and other areas did not get a look in. Now, there is still an unfair weight towards London but there is greater awareness of other parts. Elder Island are adding to the rich music scene in Bristol and actually tying together a range of sounds. One gets a little bit of Bristol history in the electronics, beats and experimentation but there are so many other elements to the music. I shall explore that later but I think being based in Bristol is good for them. They have so many talented peers and great venues around them. London can be great but I know hoe suffocating and isolating it can feel. There are more musicians here so it is a little hard discovering how to listen to and getting your voice heard. I can see the balance shifting and think Bristol has a lot to offer right now. Not only do we have great bands like Elder Island making moves but there are some great venues growing and remaining.

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I stated how Elder Island was new to me and I wanted to end this year by looking at a band who I think will do very well. A lot of my recommendations and reviews come from direct contact where artists will get in touch and I will go from there. It is an easy way of discovering music and getting something out there but I have not often stepped away from that and done my own searching. What I have missed is a bit of diversity and change. A lot of what I have featured is good but the sounds are not hugely different. Elder Island’s usual work is very different to their latest track, I Fold You, so this might be a bit of a red herring in terms of who they are. I came across Elder Island through social media and was intrigued to see what they are all about. I have listened to some of their other music and I can see how they have changed and how fresh they appear. Their current track is different to what we will get with their upcoming album, The Omnitone Collection, and that title might be a little ironic. This suggests we will get something very similar and basic in terms of sonic exploration. What the Bristol band will actually provide is a diverse and ever-changing sounds. They have their own sound and identity but songs burst with life and adventure. I will come back to that but I think social media and streaming sites are important when it comes to music discovery. Maybe radio still holds most of the sway and influence – I think so – but you cannot discount the role of social media. Twitter is a great platform for musicians and fans alike and I have found so much cool music there. Elder Island came to me when I was looking at another site’s ‘ones to watch’ list for 2019. Elder Island were included in that and I instantly got to grips with this great band.

Next year, more and more, I am concentrating on artists who are big or at least are making strides in the industry. It has been interesting looking at smaller acts but I think I need to start focusing on acts who are a little further ahead. I am not sure where you’d put Elder Island in the list but the band are definitely capturing the imagination and making some interesting stuff right now. I will come to their latest single in a bit but I am always stunned how much great music I am getting to hear through social media. It is a huge market and it can be really challenging filtering your own tastes and honing it down. I think you have to go in with energy and hear as much as you can; put aside what sounds great and discard the rest. Maybe radio is a more reliable way of getting the music you want into the ears but social media offers great variation and eclecticism. Elder Island instantly struck my ear and I think I will check them out as we head into 2019. I am not sure which other artists will come to mind before next year but I continuously look at social media and discover something exciting every week. This time of year is when many are recommending their tips for 2019 and, of course, that means plenty of possibilities will come through. I am taking note and observing the best new artists who will make impact in 2019 and it is great to hear other people’s viewpoints. I would like to see social media go a bit further a new music site fostered that can concentrate solely on sounds and make it easy for people like me to discover great artists. I do not think we have a site like that where it is all about music and nothing else. You can locate artists based on genre and location and get a news feed that recommends wonderful acts.

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 PHOTO CREDIT: Will Pace

I have argued the case for social media but I do wonder whether there needs to be these bespoke sites that are dedicated to music, new and older, where we could go to find fantastic artists. Elder Island would benefit from that exposure and, whilst they have a great fanbase; I feel an extra boost would do them good. Maybe there would be a way of integrating social media and the way we find music there with something concentrated and specialist. It is interesting to ponder but, for now, I think social media is a fantastic method of getting to grips with all the best new music around. The sheer range of artists we discover through social media is staggering and it can be fun seeing all these wonderful acts sparkle. In do not think there will be a huge shift in terms of sounds next year but there will be some changes. I do think certain genres will make their voices heard and there will be greater experimentation at the forefront of music. If you consider the artists coming through and those being tipped for next year; you can get a sense of what the year will be about. Elder Island have a great name and there is so much about them to recommend. I hope I would have discovered Elder Island through radio or other forums but social media allowed me to find them a lot sooner. Considering a website and how useful it would be having a central port; consider all the music websites that deal with reviews and news and putting all that into a single site would make it easy for music lovers to focus. I am going to continue to use social media for music discovery in 2019 and am thankful they have given me another fantastic name in Elder Island. I do wonder, again, whether there is a way of having a site/area of channels like Twitter and Facebook that are dedicated to music and can make it simple to get behind the best of the old and new.

 PHOTO CREDIT: David Thomas Smith

One of the reasons why I was attracted to Elder Island is because of their eclectic spirit and the way they fuse sounds. Reviewers have noted how the band mix myriad keys, guitars and other instruments to create this rich and rousing brew. I am fans of artists who have a singular sound and can focus effectively but there is always greater promise and opportunity when you push things and are more open. Elder Island are a great band who can create identity and singularity in their own way. I do like artists who are less experimental but am interested in the bolder sort who bring different shades and colours to the party. One other reason why I like artists who take music in directions is because it gets the imagination enflamed and can be a lot more interesting. I think it is hard to keep people invested and arrested if you have just one level. That might seem harsh but it can also be difficult staying focused and appealing if you marry sounds. So many people go off the rails or seem quite uneducated. Elder Island have a great knowledge of the Bristol scene, past and present, and bring a little of that into what they do. The band look further than Bristol but there is a nice balance. It is hard to put into words how Elder Island go about things but I think they are keen to express as many emotions as possible through their sound. You get so many different colours listening to their songs and it is a fascinating experience. If you are not a fan of one particular sound or line then you are not disappointed for long. If an artist is limited or they have a sole sound then you are pretty much stuck with it. That might sound a bit dismissive but I have a lot of respect for those who tease genres and sounds.

Maybe I should move onto a new subject but I am interested in the musicians who are not willing to sit still and stick with one direction. Listen to a song like I Fold You and it is very different to everything else the band are about. They have that ability to rotate their dish and try something new with every cut. Maybe I Fold You has a calm and simpler aspect because it is Christmas they want to end the year with a softer moment. I know the band have an album coming up and one can expect to see a lot of different beats and notes fused. It is hard for any artist to keep things focused when they throw so much into the mix. Elder Island do not overdo things but they are a band who keep things busy and diverse. Look at the best artists from this year and I think the focus has been on lyrical integrity and portraying something deep. The best albums of 2018 have not been hot on sonic variety but the words and intention have rung true. I think next year will be more about sonic width and promoting artists that are broader when it comes to sounds. I think, as time elapses, it is harder to capture the mind with a singular or narrow texture. I don’t know. What I am sure about is how we need to encourage musicians to be bolder with their work and inspire the listener. That is why I am hooked on Elder Island. They definitely have an identity and their own skin but they can easily splice genres and different aspects to create this bursting and wonderful environment. I love what they are doing and, whilst there is clear chemistry and excellent songwriting; the guys strike and shine because of the way they create this interesting and fulsome brew. It might sound like Elder Island throw tonnes in and it is a head-spinning experience but that is not the case.

There is subtlety in what they do. It is not about tossing everything into the blender and seeing what tastes good. There is expertise and professionalism. You can tell the guys spend a lot of time on what they do and there is huge consideration. I am a big fan of musicians who tease genres and can create their own universe. I think, to stand out in 2019, you need to be nimble and have a sense of mobility. Rather than be rigid and not experiment; artists have to be aware of what the market needs and how things are changing. A lot of the best from this year have struck the critical mind because of their words and a powerful projection but this is not necessarily the case for underground acts. Instead, the ones we are tipping for 2019 have this keen mind for cross-pollination. I have run a series recommending artists for 2019 and feel many are taking sound and pushing it to the limits. I come back to Elder Island and what they are doing right now. I am excited for their approaching album and know it will grab some fantastic reviews. I keep thinking about what they do with tones and genres and how they can bring in their own vibe. Rather than replicate the sounds of Bristol Trip-Hop – like so many have in the past – the band briefly nod to it and bring in other influences. I am looking at next year and seeing which artists will reign. I have indicated diversity and cross-pollination will take a bigger role for new artists but it is not as easy as that. I think Elder Island will be among the best of 2019 and, the fact they are releasing an album in February means they’ll make an early impact. Let me move onto Elder Island’s latest song, I Fold You.

PHOTO CREDIT: Ash Holdsworth

I have heard a few other songs from Elder Island but cleared my mind as I prepared to review their latest song, I Fold You. Unlike a lot of what we will hear on the band’s album; there is a sadness and sense of lost on their new single. We open with moody organ and this rather funeral atmosphere. There is not a big distraction in the background and the song has this great live-sounding feel to it. Rather than being too polished and cluttered; the band has created this track that is earthy, floating and ghostly. Elder Island are known for their mixing of Techno and Dream-Pop but here they are definitely on the softer end of the scale. The heroine talks about being out in the open and there being this bridge. It may seem like she is close to the hero but she is far away. Maybe the heroine is this ghost figure or maybe the scene symboilises a broken relationship and being separated. I like the imagery and how the song is given conviction and chills through the organ. One half of the mind looks at a church and somewhere quite stately whereas the other half is out in the wilderness, following the song. The lovers measure distance in the darkness, as it is told, and there are a lot of smart and original lines in the song. The entire song is quite slow-moving but that is not to say it lacks physicality and soulfulness. Rather than be bombarded with noise or restless energy; you get this track that hits the soul and get into the bones. It is hard to create a song with so much atmosphere and emotion without it being draining but Elder Island manage to do it. They are never too heavy and create this great balance throughout the song. The vocals become more charged and intense as the song goes on.

Starting from a somewhat gentle and brooding start; now we step into this quite bristling and stormy scene where the full pains of emotional break and disconnection are laid bare. It is easy to see signs of artists such as London Grammar and Adele in the vocals and compositions but the lyrics are a lot smarter and the song richer and more sophisticated. Beats start to come through and create this racing heartbeat. I feel the instruments represents part of the body and emotions. The organ is the soul and consciousness that is calming and looking for answers. The beats symbolise the heart and seem to be overtaking logic. Maybe there was a bad reason for love going cold but it seems the heroine cannot stay away. Perhaps there is too much at stake and it is difficult walking away from something so special. I love how the vocals twist and turn to match the emotion of the song. There is a lot of power and conviction coming from Elder Island and you can tell how meaningful the song is to them. Following it through, you get a repetition of the song’s lead coda – measuring distance in the dark – and it provides the song with an unofficial chorus and gravity. Vocals start to layer but the most effective burst is when the voice bubbles, echoes and has this choral effect. The band are always mobile and changeable and do not rely on cliché structures to get the most from their song. Rather than stick to worn paths, they create this always-moving song that gets you thinking. I wonder whether there is a current relationship at play and whether there is any way back. The guys have been through a lot and this is all coming out on the page. We hear a lot of dignity and grace in I Fold You and that balances with the rawness that comes from the front. The song gets busier and more atmospheric as it ends. It started with the somewhat sparse and roomy opening but gets more busy and intense towards the ending. Beats get stiffer and there are strings in the mix; synths play a part and we get a great blend of genres and decades. I love the song and think it is a great way to end the year. The band have a busy 2019 already and I am excited for them. I Fold You’s title suggests origami and emotional manipulation but there is heart and tenderness to be found. It is a complex track but one that reveals new layers and revelations with each listen. In a way, it is like that game we played as children where you’d fold paper in a structure and open up individual flaps – they reveal a message or something you have to do. New listeners will really enjoy the song and bond with the band. Make sure you buy their album is February and experience what they are all about – you can pre-order it now. I have only listened to I Fold You a few times but will keep going back and I am sure there will be fresh things coming to light. It is another triumphant for a brilliant and original band who are on the rise.

A lot of love and attention has been aimed the way of Elder Island. The Bristol band has not been around for ages but they have managed to establish themselves and released some fantastic singles. I am excited to see where they can and what they can achieve in 2019. I know their album, The Omnitone Collection, will be received well and it will contain the band’s knack of balancing sounds and genres with confidence. There is so much to recommend beyond the sonic element with Elder Island. Listen to the way they come together and how focused everything is. You can feel how tight they are and how much respect there is within the ranks. All of these elements fuse together to bring about this glorious and unique sound. I am fairly new to the band but will follow them into next year. I think they can influence a lot of other artists and are showing what can happen when you show some bravery. It is going to be interesting seeing what is favoured next year and which artists make an early break. I said early how there will be a split in expectation between the underground and mainstream and what is required. In terms of the new breed; many are looking for something interesting, more experimental and bold. Elder Island are just the band to get under the skin and stay in the memory. They are a brilliant force and get stronger with everything they release. When their album is released, we will get to see them on the road and bringing this material to the people. I am not sure what they have planned regarding locations but I hope they get to tour the U.K. quite extensively. I know they will play Bristol a lot and the local audiences will get to hear a growing band in their elements. Right now, as we head into 2019, I feel Elder Island will continue to progress and there will be fresh opportunities. I shall end things here but it has been great to discover this great band who already sound assured and focused. They know where they want to go but are open to new sounds and idea. There is a lot to love about Elder Island so make sure you get right behind them. They have had a great 2018 but next year will be…

  PHOTO CREDIT: Will Pace

EVEN bigger.    

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Follow Elder Island  

FEATURE: Against Consensus: Underrated Albums That Outshine the Critical Favourite: Nirvana - Bleach

FEATURE:

 

 

Against Consensus: Underrated Albums That Outshine the Critical Favourite

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IMAGE CREDIT: Getty Images 

Nirvana - Bleach

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MAYBE it is outrageous to suggest classic albums...

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IMAGE CREDIT: Getty Images  

can be written off or are not as lofty as they appear. I am not suggesting that but feel there is this big critical weight that is paid to some albums. In the case of Nirvana, Nevermind is seen as their defining statement. That came out in 1991 and is considered one of the best albums of all time. Many people overlook Bleach and Nirvana’s start. The record came out in 1989 and is a very different beast to the polished and blockbuster Nevermind. It is amazing to think how the Washington-formed band changed between records. Nevermind is this titanic and all-conquering record that was not expected to be a success. Given the popularity of its lead single, Smells Like Teen Spirit, the album took off and became a smash. Look back to 1989 and a rather modest introduction. Although Bleach failed to chart upon its original release, it was received well by critics and announced the introduction of this unique and soon-to-be-world-dominating group. I think Bleach is a stronger record than Nevermind because it has that rawness and I love the ragged edges. Maybe the songs are not as polished and there are fewer huge smashes but it seems like a more thrilling and genuine record. I will come to look at highlights from the album but I listen to Bleach and it digs deeper and stays in my memory longer.

Their November 1988 debut single, Love Buzz, got people talking and, to many, it is the standout cut on Bleach. Nirvana rehearsed for two to three weeks in preparation for recording of Bleach and Sub Pop had only requested an E.P. (the band would release an E.P., Blew, between Bleach and Nevermind). The band headed to the studio with producer Jack Endino and it is Nirvana in the days before drummer Dave Grohl. On their debut, the band worked with Chad Channing (on the majority of songs) and Dale Crover (on Floyd the Barber, Paper Cuts and Downer). Many critics noted a slightly weaker percussion sound compared to subsequent albums from the band – the magic and meat of Dave Grohl was lacking. The album was recorded and laid down fairly quickly and inexpensively but there was to be a delay. Sub Pop head Bruce Pavitt wanted the album to be re-sequenced which caused a delay until the funds could be raised. I think, although Bleach is incredible, it is a little top-heavy so I wonder whether the original track sequence would have afforded a greater spread and balance. In any case; there was a feeling from Nirvana lead Kurt Cobain that the music conformed to the Grunge expectations at the time. Cobain felt Bleach was designed to fit into the Seattle sound and, as such, the lead felt quite angered at the time.

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 IN THIS PHOTO: Nirvana (Kurt Cobain, Krist Novoselic and Chad Channing) in 1989/PHOTO CREDIT: Getty Images

He claims most of the lyrics were written the night before recording – many were penned whilst driving to the studio – and had no real meaning. So long as they were not sexist then it did not really matter. It was clear, when listening to the songs, that there was truth and biography. Songs like School are a commentary on the Grunge scene and labels like Sub Pop; About a Girl is a Beatles-inspired gem that shows the balance of moods and tones on the album. Bleach is not only a stunning debut album but something that does not get the attention and acclaim it warrants. It is that anger from Cobain that propels the album and, alongside Krist Novoselic’s chunky and malleable bass, there is a goofiness and playfulness that sits alongside the aggression. Mr. Moustache was about masculinity and being macho; directing itself to Nirvana’s male fans. Negative Creep is about Cobain himself whilst About a Girl showcases the songwriter’s talents as a Pop crafter. Cobain was keen to hide his love of Pop – and affection for bands such as R.E.M. – because he did not want to alienate their Grunge core. He knew the risk of putting a jangly Pop song on a Grunge album but he need not of worried: About a Girl is considered one of the very finest in the Nirvana cannon.

In his earliest interviews, Cobain explains that the lyrics are among the least important considerations for him. He said he goes through two or three subjects in a song and the title can mean absolutely nothing at all. Maybe a few tracks on Bleach do not hit the heights of Love Buzz and About a Girl but the band’s debut is overloaded with quality. It is a dirty and rawer record than Nevermind and, whilst it does not get the same focus and acclaim as the 1991 gem; I feel Bleach is a more interesting, rounded and rewarding album. I love Nevermind and have endless respect for it but feel it is too polished has that commercial edge. The band’s final album, In Utero (1993), would see them return to a grungier and dirtier sound. If Cobain was sceptical about Bleach’s brilliance and legacy; reviews for the album have shown plenty of love. Pitchfork, writing in 2009, reviewed the twentieth anniversary edition of Bleach:

“But rather than unfairly compare it to the platinum sheen of sophomore release Nevermind, Bleach is best appreciated today as a snapshot of a specific time and place, of a Seattle scene bubbling up before it turned into a media adjective: In the Aero Zeppelin grind of "School" and the Mudhoney-quoting scum-bucket thrash of "Negative Creep", you have the perfect audio manifestation of the stark, exhilarating black-and-white Charles Peterson photos that captured late-80s Seattle like a series of strobe-light flickers (and which populate much of this reissue's 52-page photo booklet). Original producer Jack Endino's new remastering job gives Bleach a much-needed boost in fidelity, but there's an intrinsic, primordial murkiness to this album that can't be polished-- while Axl was welcoming the masses into the Sunset Strip jungle, Nirvana dragged the Sub Pop set into the bleak, chilly backwoods from which they came.

Though briskly paced, Bleach is a front-loaded record, the maniacal/melodic contrasts of its stellar first half-- anchored by the epochal anti-love song "About a Girl"-- ceding to the more period-typical grunge of its second”.

 

NME reviewed Bleach in 1989:

“This is the biggest, baddest sound that Sub Pop have so far managed to unearth. So primitive that they manage to make label mates Mudhoney sound like Genesis, Nirvana turn up the volume and spit and claw their way to the top of the musical garbage heap.

Included here (natch!) is their brilliant single 'Love Buzz', shorn of its original Looney Toon opening but still a magnificent couple of minutes.

Equally glorious is 'Negative Creep', a leash strainer of a song that eventually gets loose and goes on the rampage like a rabid Rottweiler. Fab!

'Bleach' could be accused of being a record that is slightly top heavy with too much filler (the overlong 'Shifting' being a prime example), but give it enough spins and even the silt rises to the top. Nirvana are undoubtedly at their best when they're playing short and punchy songs as opposed to drawn out experiments with sound…But what the hell! For a first LP this sounds pretty damn good to me”.

I don’t think there has been a debut album since with the same mixture of textures, moods and thrills. Most people who love Nirvana will edge to Nevermind and hold that dearest but I prefer Bleach. The grubbiness and anger is terrific but you do get melodic moments like About a Girl. The absence of Grohl does mean the percussion is not as pronounced and physical as it would be on Nevermind but that is a minor complaint.

 IN THIS PHOTO: Nirvana in 1989/PHOTO CREDIT: Michael Lavine

Almost thirty years after its release; Bleach remains, to some, a curiosity and promising start whereas others view it as a huge statement from a band who would soon take a gigantic step. I love their scrappy debut and even love ‘weaker’ songs such as Scoff and Swap Meet. Bleach is a record that will always be close to me and I feel many modern bands can take guidance and instruction from it. If you have not heard it then set some time aside and investigate the 1989 debut from the Grunge icons. Bleach is a wonderful album that is a lot stronger than many critics (and the band themselves) claim. It did not get the same big reviews as Nevermind but I feel reinvestigation is needed. As it turns thirty next year; let’s shine a new light on a brilliant debut from a sensational trio. Stocked with great songs and a restless energy throughout; I think a new generation needs to discover Bleach. I adore the album and think its real influence and impact is hard to describe. I will spin it now because, every time I play it, something new comes to light. A stunning record that holds up after all these years; the majestic and stunning Bleach deserves a bigger audience. Maybe Nevermind will always win out and get the biggest shout but I think there is an awful lot to be said for Nirvana’s...

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 IN THIS PHOTO: Nirvana in 1989/PHOTO CREDIT: Getty Images

AWESOME debut.

TRACK REVIEW: Gold Baby - Maggots

TRACK REVIEW:

 

Gold Baby

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PHOTO CREDIT: Keira-Anee Photography 

Maggots

 

9.4/10

 

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The track, Maggots, is available via:

https://soundcloud.com/goldbabyband/maggots-1

GENRES:

Punk-Pop/Rock

ORIGIN:

London, U.K.

RELEASE DATE:

3rd December, 2018

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MAYBE this is going to be my last review...

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 PHOTO CREDIT: Keira-Anee Photography 

of the year - because there isn’t anything in mind that suggests itself for tomorrow. I shall do my best to do Gold Baby justice but I am a bit sore at the moment – I have a wicked cold and moving about is rather tricky! I do not need to be that mobile but I wanted to discuss the band in the context of a dance-worthy noise; a combination of Punk and Pop that we could do a lot more with and bands who get stronger between releases. I also want to look at song inspiration and doing something different in music; who I am tipping for 2019 and why I am making changes. It is hard to see which acts are worth recommendation and how the next year will progress. I think the artists who will go far and make changes are those who can produce something upbeat and energised but has some substance. I do think this year has been a good one but we need more acts that are capable of bringing some fun and depth. Gold Baby take the basis of Punk – its rawness and direct energy – but they can produce some excellent Pop and mix it together. What you get is a nice balance of spritz and colour and some great physicality. The band pride themselves in being able to bring something fantastic and ripe that gets you moving and stays in the mind. I have heard a few songs with this ideal in 2018 but it is good to see Gold Baby strike and promise something cool for 2019. It is all very well offering some spirit and catchiness but you need to be able to balance this with nuance and substance. I will bring these words up again but I have encountered acts that throw together aimless sounds and they have not stuck around. Gold Baby are masterful when it comes to getting you to the dancefloor and keeping your mind rattling; they are North London’s catchy troupe who can get you involved and stand aside from the competition.

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 PHOTO CREDIT: Chris Patmore

I will move to another subject in a bit but I am keen to look at songs that provide a catchy swing, some distinct swagger and a colorful brew. The title, Maggots, might not sound like a great song for those who want to dance and get together but you’d be wrong. I think next year needs to be synonymous with upbeat and alive songs. We have had so many lower-beat tracks that have done their work but how many rousing and colorful songs have we all witnessed? I think something has been missing so it is good to see Gold Baby come to the fore. Variegated and bold songs that get your feet moving is a rarity on the scene and many assume you cannot provide something uplifting and catchy without compromising. It is a hard balance to achieve but, if you are like Gold Baby, there is a natural intuition and guidance. The band manages to take the energy and edginess of Punk and marry that with the softer edge of Pop. Pop-Punk is a common genre today and one that is appealing to a lot of new artists. It is much more credible and varied than Pop and you can match an aspect of snarl and spit with a smiling and spirited vein of Pop. Gold Baby want people to take them seriously but they do not want to come across as overly-serious and po-faced. I have studied a lot of the artists emerging this year and there are none that have the same components as Gold Baby. They have a special energy and one that will continue into 2019. I shall move things on and talk more about Punk and Pop but I want to stay with the subject of noise and a sound that gets you uplifted. I will talk about it later but music has showed very little optimism and positive spirit through 2018. I think we need to start promoting acts who can make a great brew that gets you to the floor and stays in the brain for ages.

 PHOTO CREDIT: Keira-Anee Photography 

Let’s investigate Pop and Punk a bit more and what can be produced if they are united with great care. I am a fan of both genres and feel the unification is a natural and wonderful thing. Gold Baby sort of have the Pop glee and skip of some of the mainstream’s best but they fuse that with the sort of Punk you’d catch Kim Deal playing. These worlds might be difficult to cut together in lesser hands but Gold Baby manage to keep the glee and pop solid but sprinkle in the grime and authority of Punk. I do wonder whether Pop-Punk is going to take over next year and whether it will dominate. I have been a bit concerned with the lack of happiness and forward-thinking ethos in music this year so I think we need to embrace and expose Pop-Punk more in 2018. We need to show more hope in 2019 and I think Pop-Punk has a big role to play. If we are going to showcase bands that stick around and can influence us then the music needs to possess something cheery and smiling. That is not to suggest Gold Baby are exchanging credibility and coolness to write songs that are easily marketable and commercial. They manage to bring us the accessibility of Pop and sounds that can appeal to a certain demographic but there is the swagger and punch of Punk. It is the best of both worlds and here is a band that can please everyone without making any concessions. The music that comes from them is pure and well-constructed and there are bags of fun. I love how they can mingle Pop and Punk and not manage to repeat what is already out there. With Pop-Punk, you can get artists that sound the same and it is a little generic. Rather than repeat what is out there; Gold Baby provide their own brand that should be highlighted. I think Pop-Punk will replace Pop in terms of popularity because you have the best of both worlds. The Pop is not too sugary and commercial whilst the Punk side of things can be understood by everyone.

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 PHOTO CREDIT: @Muldooon

Look at the influences one can find on a song like Maggots. The band has mentioned artists like Kim Deal and Courtney Barnett. One gets earnestness in the lyrics but you also get plenty of humour, determination and catchiness. It is a fantastic and complex cocktail that many will want to drink down for a long time. I am still hooked on the song and need to spend time investigating more. I will follow Gold Baby into 2019 and feel they have a lot more to say. This is their second single and I will talk more about the way they have developed and matured. I do think Pop has reached a bit of a limit at the moment and there is a lot of room for development. What we have now is quite inward-looking and does not possess the same positive energy and catchiness as times past. I am a bit worried that Pop is getting too serious and concerned with being personal and revealing. Some of the joy has been sacrificed and I do feel Pop-Punk is a good way of bringing it back. Maybe Gold Baby alone cannot revitallise the Pop industry but they are releasing music that definitely works its way into the mind and gets the body moving. I think Punk has the danger of becoming too intense and aimless but, if you are a band like IDLES or Shame; you can write something deep and inspiring without being too gloomy or aggressive. I do know there is some upbeat music around but, more and more, it is escaping and being replaced by something downbeat. It is sad to see but maybe we can reverse it in 2019. I do think artists need to remember why a lot of us listen to music. We want that escapism and release that we might not get anywhere else. I shall come to another topic as my bones are aching quite a bit right now!

 PHOTO CREDIT: @snapperchap

Maggots is the sound of Gold Baby stepping things up and writing their finest cut. The theme of the song is about missing the boat or being eaten alive by your own expectations. They have already released the single, What Party?, but Maggots is the band discussing expectations and being late to the party. This is a theme that is not often explored in music. I have listened to a load of songs this year and a great deal of them are personal and relate to relationships. I have experienced music that casts its view outside and takes a more general approach and I am always attracted more to these tracks. Music is full of the personal and sad and I think we need to encourage artists to be a bit more diverse and open their mindset. I love Maggots because it is a move up for Gold Baby but its subject matter is something we can all get behind. I think we will remember music and artists will get further in the industry is they write songs that step away from the love-based and take a different approach. I feel we can take greater heart and direction from songs that have a bold message and are uplifting. Rather than bemoan what is happening in love and put that onto the page; let’s step away from that and write songs that provide guidance, strength and general drive. That notion of missing out on things or putting too much pressure in yourself is something I would like to see explored in music more. How often do we see artists going away from love and being braver?! I think there are a few who are bold and do that but so many that are obsessed with their own love and heartache. It is sad to see the obsession with the self and relationships but bands like Gold Baby are making big steps. You can definitely relate to Maggots and bond with the messages.

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 PHOTO CREDIT: Chris Patmore

I shall come to look at my final topic in a bit but I want to stay on the idea of subject matter. Gold Baby have taken a big step forward from their debut and have found a new focus. What Party? was a great start and opening but I can feel the band upping it and opening up on Maggots. The title might not provoke joy and lovely images but it is apt regarding the subject matter. The notion of being consumed by expectations or missing out on the boat is an intriguing one and it marks a new creative leap for Gold Baby. I am curious what will come next from the London band and how they develop. I am curious to find out whether the band will release an E.P. or album or put another single into the world. Maggots is a great offering from a band on the rise and a track that has captured the imagination. I am always interested how artists approach a song and what compels them to write how they do. Maybe Maggots is based on their own experiences and struggle to get noticed. Maybe it is based on something else but I can hear personal experience and relevance in the song. I am not suggesting the band will always look away from love but I like how they approach music and they are not beholden to familiarity. 2019 is a big year for them and one that will see them get to a new audience and capture the public imagination. There are a lot of Pop-Punk bands around but Gold Panda seem to have that advantage. If we always have the same songs that talk about love then we are not going to make any progress and change the industry. Let’s move on from this subject and look at 2019 and what will come through.

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 PHOTO CREDIT: Don Blanford

I am excited to see what is happening next for Gold Baby and where they take their music. 2018 has been a good year for them and they have ambitions afoot. In terms of sonic shift and what will come through; I feel Pop-Punk will take more of a stand. Other great bands like The Wild Things are brewing together Pop and Punk and writing in an original and electric way. I would like to see Pop continue in the mainstream but I do wonder whether it is too insular and focused on love. It can be dangerous carrying down that line and not pushing away from the personal. I am making changes in 2019 and making moves in another direction. One of the dangers of stepping away from the comfort zone and embracing something fresh is that it can be a gamble and risky. Look around music and what is happening right now. There has been a lot of negativity and insular expression and we need to start holding artists that are willing to look at the wider world and different themes. Post-Punk will continue to reign and I do feel like Pop will evolve and step in another direction. Maybe it will not be as joyous and catchy as it once was but it will not quite be as serious and moody. I do hope things change and we see some real development. Gold Baby are among the chasing pack who will be putting their music out into the world and trying to make an impact. They have not been a band for too long but they have already taken strides and achieved quite a bit. I will come to the song in a bit but feel Gold Baby will keep growing and adding their magic to music. After only two singles, they have shown diversity and grown as a unit. I feel 2019 will be a very big one for them and they will keep on recruiting fans and getting some pretty awesome gigs.

 PHOTO CREDIT: Keira-Anee Photography

There are softer strums and tender notes that open Maggots. You get something almost Country-like that beckons in Maggots. Whilst the Punk and harder edge is not as pronounced as the more gentle side to the song; one is drawn into this terrific song. The chorus tells of being covered in maggots and things getting on top. Maybe the song’s hero/heroine has been a bit late to the party and tried their hardest to make things happen. Maggots concerns always missing the boat – regardless of what time you get there – and letting things slip away. One feels the lead project from her heart and one wonders whether there is a bit of the personal in the song. You can definitely sense some emotion and longing in the performance and, backed by touching yet physical backing; the song perfectly balances the soft and pressing. In the first stages, we get hints of Sixpence None the Richer and The Cardigans. The singing is pure and beckoning but one experiences a determination and need for things to change. Maybe that will not come yet but, as you get settled in, the song kicks up a gear and things get cutting. The song changes course and goes from this rather delicate and gentle thing to something much more attacking and spiked. This brief explosion and bite gives us a very physical and evocative revelation. I am not sure whether the coda is designed to bring maggots and that sense of being eaten but it is a rather unexpected and thrilling little stab. It does not last long, as I say, and we get a return to the melodic and rhythmic line. I love the sound the band have created and how it sounds like Pop but not like anything that is around at the moment. I know what Maggots is about but unravelling the lyrics and we get new insight. The tones and lines we hear can be applied to the heroine but they can be taken to heart by everyone that listens to the song. If What Party? was about not having friends and being alone to the celebration then Maggots carries similar weight.

 PHOTO CREDIT: Chris Patmore

The heroine says (to the subject) that they learnt things along the way and things would have been better. I love how the song seems direct and clear but there is an oblique nature. You can sort of guess where the words are coming from but there is mystery and room for interpretation. I was listening back to see if I could pick up on anything new and whether there was any fresh revelation. Maggots is a great song that boasts an incredible melody and tune that gets into the head and enlivens the senses. I do not think I have heard another band take this approach to song and show the same influences. In any case; Gold Baby are a fantastic band that stand aside from the pack and genuine show legs. I love Maggots and the way it makes you feel. Maybe the themes and messages have a sense of struggle in them but Gold Baby never drag you down and show any sort of negativity. Ensure you get into the mind and heart of the song and let it do its work. I think the band has hit on a rare and exciting vein and they should be congratulated. Everyone will take something different away from Maggots but the song’s sheer smile, sense of complexity and mystery will surely resonate. I have been excited to play it again and again and discover stuff that passed me by the first time. It is testament to a band that, while new and not as experienced as some out there, has that individual experience and combine their brilliance. The songwriting is astonishing the connection between the band members is tight and wonderful. There is so much colour through Maggots and do not be misled by the rather gruesome title. I think the London band have already come a long way but, if they keep producing songs like this, their road to success will be straight and golden.

Gold Baby started life early this year but the members have been part of the toilet scene for a long time. They have been around for a while and combine their knowledge into this incredible and solid band. Gold Baby is a great project built from strong foundations and an effortless spirit. The members have a love for one another and they are incredibly tight. I know they will have to rely on smaller gigs for a lot of 2019 but I think they will be able to attract bigger gigs later in the year. Maybe it will not be an instant transformation but, the more their music gets out and attracts, the larger the demands will get. I would like to see them play the larger venues because I think their music warrants that space and can definitely get the room buzzing. Perhaps Gold Baby will stick with smaller gigs for a time and cut their teeth - and you know there will be more material. I hope we get an E.P. but I am not putting pressure on the band. Maggots is a great track that announces its ambitions and colours very quickly and you’ll keep coming back time and time again. I shall end things here but it has been great getting to know the band more and seeing where they are headed. Despite my aching bones – it has been tricky! – I hope I have managed to assess the band well and got to the core. The Pop-Punk band has only been in circulation a little but I am excited to follow them and watch them strike. We need more bands like this around to offer original intent and upbeat expression in music. I might get together another review by 2019 – if I am still alive tomorrow – but it is good to end things with Gold Baby. They are a formidable force and have given the world some brilliant music.

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  PHOTO CREDIT: Keira-Anee Photography

I am hopeful the band will be among the biggest acts of 2019 and a lot of journalists get behind them. I have not even talked about the images and social media outlay for Gold Baby but that is a great weapon in their arsenal. There is a professionalism and sense of passion that goes beyond the music and feeds into social media. One gets some great shots of the band and can find them across all platforms. Many might assume this is a minor aspect but so many artists overlook stuff like photos and being across social media channels. You know Gold Baby have thought about everything and are a lot more prepared than most musicians around. I will end things now but recommend everyone seek out Gold Baby and check out their latest single, Maggots. They have so much passion and energy and their songwriting is a lot more engrossing and deep than most of what is out there. It is a great time for the North London collective and Maggots is a song that burrows under the skin and sticks around forever. Few bands come along that create such an impact but, in the final throes of 2018, we have a band that has the promise to go as far as they like. Make sure you get behind the incredible Gold Baby and step with them...

 PHOTO CREDIT: Keira-Anee Photography

INTO the coming year.    

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Follow Gold Baby  

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

FEATURE:

 

 

Closing Time

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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...

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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...

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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.

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 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...

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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...

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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:

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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.

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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

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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...

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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...

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 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.

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 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...

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  PHOTO CREDIT: @helloimnik/Unsplash

MAKE that break.

INTERVIEW: Tim Johnson Jr

INTERVIEW:

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Tim Johnson Jr

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

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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.

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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.

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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.

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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!

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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).

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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.

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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

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

FEATURE:

 

 

Evolution Within the Resolution

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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...

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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.

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 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...

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

2018 had to offer.

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Childish Gambino - This Is America

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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.

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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.

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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.

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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.

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 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

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Follow Joey Walker

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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

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IMAGE CREDIT: Getty Images 

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

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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.

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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.

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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.

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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.

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 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

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Follow Marike Jager

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...

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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.

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 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:

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Nella Cole

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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.

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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. 

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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. 

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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. 

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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!

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Follow Nella Cole

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