FEATURE: Blacklash: Why Dave’s New Anthem Deserves Greater Respect and Should Open Our Eyes to the Way Race Is Viewed in This Country

FEATURE:

 

 

Blacklash

IN THIS PHOTO: Dave/PHOTO CREDIT: Press/Getty Images 

Why Dave’s New Anthem Deserves Greater Respect and Should Open Our Eyes to the Way Race Is Viewed in This Country

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I have not long finished a piece on sexism in Metal...

 PHOTO CREDIT: Getty Images

music and I am now thinking about race and how people view black artists in this country. One would not expect an artist discussing race and black identity in music to create a stir…but that is what has happened. Dave is one of the most promising newcomers and rising stars in music – a fantastic Rap artist with terrific flows, sharp lyrics and instantly recognisable songs. His latest song, Black, is one of his finest and, as the title suggests, is about racial identity and a very personal story. There are a lot of wonderful black British artists but how often we hear them talk about race and identity? This is not their fault: there is a general uncomfortableness regarding race and a black artist telling their story. Genres like Hip-Hop are almost defined by black artists telling their truths and casting a spotlight on society – for the most part, these are American artists. We have Grime in this country – where a lot of artists write about their experiences – but are we fully comfortable and accepting of artists such as Dave talking about black Britishness? There has been a lot of discussion after Annie Mac played Black on her show and it was met with a lot of negative responses on social media. I can only imagine what the worst responses were but, at the end of the day, why would anyone have an issue with a rapper honestly talking about their experiences and race? It is almost like attacking a female artist for highlighting female empowerment and the fact there is inequality in the world.

I was shocked by the reaction and wonder whether the current political climate has led to this. I am not suggesting the country has become racist and intolerant because of Brexit delays and the fact we are all divided and fractious right now. I do believe that some of the political embarrassment and heat that is surrounding us is impacting the way we think about certain types of artists. Dave himself has not responded to the backlash and negativity – keeping it classy and his head above the water in this respect – but Annie Mac was baffled by the reaction Black drew. NME reported the news and how the situation unfolded:

“Earlier today, Mac revealed that the song had received backlash from listeners who were “offended by the idea of a man talking about the colour of his skin and how it has shaped his identity.”

“It’s a real issue that a song so intelligent, so thought provoking so excellently put together can actually offend you,” wrote Mac on Twitter.

Now, the Radio 1 stalwart has elaborated on her original comments – and told NME why the criticism is being lead by fear.

“People are scared of the word black and the word, they seem reluctant to have conversations around it.  People are feeling on the defensive and act like it’s not necessary to talk about it any more,” she explained.

“I find that really depressing and an absolute justification for that song. It’s so important that the song exists and it’s only when you see the texts and tweets coming in that you realise how important it is and how much work needs to be done in this country for racial equality”.

 IN THIS PHOTO: D.J. Annie Mac/PHOTO CREDIT: Getty Images

Greg James talked about the song on his show and was keen to point out that is should not only be down to black artists/people to talk about race. The more people that are adding to the discussion and raising awareness the better. It is a very odd time we live in where there are such obvious divides and problems such as racism and sexism continue to burn and cause huge problems. Dave actually visited Annie Mac to play the song and talk about his upbringing. He wrote Black as a sort of way of getting something out of his system; talking about his experiences and how he was affected. It is nobody’s business, black, Asian or white, to have any problem with an artist’s song or have a negative view. If they are a woman talking about their struggle or a black man discussing his story then why would this garner any bad reception? It is as Annie Mac says: maybe we are afraid of the word ‘black’ and it being brought into music. This is a great time for black British talent. It is coming more into the mainstream right now: from fantastic artists headlining Glastonbury and getting their voices heard to brave playwrights shaping minds and opening up debates. I feel there is an underlying nervousness and reservation in this country regarding race but one cannot ignore the fact British culture and art is crucial and long-overdue. Again, it is not the artists themselves delaying the process but the rest of us.

 

Dave’s upcoming album, Pyschodrama, will be much-celebrated and anticipated and I cannot wait to hear it. We have a long way to go regarding pushing black artists more into the mainstream. There are entire genres – like Country and Metal – where there extremely few black artists and even the Pop mainstream is largely white. Look at Rock and Alternative scenes and how many black faces does one see? It is not the case black artists gravitate to other genres. They see genres which are hugely white and fear their voices will not be heard. There is not a great deal of positive enforcement happening and genres like Rap, Hip-Hop and Grime provide black British artists the chance to speak and be open – this is not good enough and we need to open barriers in other genres and encourage integration, understanding and evolution. Maybe music is ahead of other areas of the media when it comes to progression and equality. Back in the 1990s, there were more shows that showed black faces and were assimilated in to the mainstream. Now, how many comedies, dramas and other formats do we see that have black faces at their centre? Dave’s Black – and its subsequent reaction – has, on the one hand, illuminated a feeling that we have a long way to go regarding black artists in this country but, on the other hand, it will open debate and get people talking.

 IN THIS PHOTO: Yomi Adegoke (she is the co-author of the bestselling book, Slay in Your Lane: The Black Girl Bible)/PHOTO CREDIT: Simon Kimmel

In this article from Noisey by Charlene Prempeh, the role of Black Britishness in popular culture was examined; how far we have come and what needs to be done. In her article, Prempeh (and her contributors) raised an issue regarding the racial makeup of those who make decisions in the music industry:

“…Yomi, of Slay in Your Lane, puts this stuttering progress down to a lack of black people in decision-making positions. “The reason that these things go out in and out of fashion is because white people still—just as ten years ago and ten years before that—get to decide when black people’s stories are allowed to be told, and when they matter. It’s important to have black people in roles that are high enough to systemically change an organization.” That means doing more than paying lip service”.

“We’ll need some fundamental changes to properly integrate black creatives in our cultural institutions. There has been some improvement in music. Genres that were once ghettoized as “urban” (whatever that’s supposed to mean today) now form the backbone of pop, and are given room to grow at labels like Sony’s Since ‘93 imprint, founded by Glyn Aikins and Riki Bleau. In journalism, the numbers look pretty dire. Black Journalists Collective UK (BJCUK), a group of more than 100 journalists, wrote to UK editors in December 2018 asking that they grow diversity among their staff in order to improve their reporting of race issues and subjects...

PHOTO CREDIT: @rawpixel/Unsplash 

They highlighted 2015 research by the Reuters Institute for the Study of Journalism that found only 0.2 percent of British journalists are black. Joseph 'JP' Patterson, of Complex UK and founder of youth culture magazine Trench, is also acutely aware of black underrepresentation, pointing to the the small number of black music editors and staff writers. “When it comes to commissioning, we always strive to include young black writers,” he says. “Because there’s such a lack, it’s important for us to take that on our shoulders”.

We do need to look at areas like journalism and people who can make decisions in music (and other disciplines). I still think there is a long way to go still regarding music and actual equality. It is great we have artists like Dave and his peers telling their stories and bringing their experiences to the people. I do think most of us are unaware about the realities for black artist and the black popular in the U.K. I look at music and feel there is still a divide and segregation that needs to be tackled. There are genres and entire swathes of the industry where there are very few black faces. It is almost seen as a novelty when we hear a black artist getting attention and that needs to stop. Why should an artist like Dave or newcomers such as Little Simz not be able to talk about their lives and be able to do so in a very honest and unapologetic way?

The anger and confusion felt by D.J.s such as Annie Mac and Greg James - Clara Amfo was also miffed by the negative response – is understandable and I think, at the very least, we need to have these discussion and ask why there seems to be this unease regarding black Britishness. Artists should not have to suffer tokenism: black Britishness needs to be part of the musical lexicon and each of us needs to be more conscientious. It all comes back to the current climate and whether, as a nation, we are too divided and strained. I cannot directly link the endless Brexit drama to a lack of understanding but it is a perfect time for all of us to open our eyes and minds; become more engaged with subjects such as black artists in music and accepting their voices. It is not the case that everyone needs to re-examine their heads and be more understanding but there is a clear problem. In Black, Dave addressed black society and covers subjects like random killings, child armies and hate in the community. Songs like this are educating and illuminating and should not be met with a sense of refusal and the negative. It is as Dave says...

PHOTO CREDIT: @clar_san/Unsplash

“LOOK, black is beautiful, black is excellent”.

FEATURE: Fool’s Gold: Can Metal Every Get Rid of Its Sexism Problem?

FEATURE:

 

 

Fool’s Gold

IN THIS PHOTO: Ithaca (their lead, Djamila Azzouz, has recently responded (in an article) to sexist comments in the Metal industry)/PHOTO CREDIT: Ben Gibson Photo 

Can Metal Every Get Rid of Its Sexism Problem?

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IT might sound harsh to make that proclamation...

 IN THIS PHOTO: Amalie Bruun of Myrkur/PHOTO CREDIT: Getty Images

but I am hearing about so many cases where women in Metal are being overlooked or diminished. Think about the typical make-up of Metal and how many women and black artists do you see?! The gap regarding gender is narrower compared to race but it is not exclusive to Metal – there are not many black faces in Folk for that matter. Every part of music has a sexism issue but, in terms of the perception of women, I feel Metal and its sub-genres is especially culpable. I explored Hip-Hop and Rap a while back and asked why few women are booked for festivals and why the gender ratio is so imbalanced. Some people argued women did not want to enter the genre and it was all based on merit: men were what people wanted to see and were the most popular. I find these responses flawed because there is no substantial evidence to suggest women avoid Hip-Hop and Rap for reasons of taste and preference. In fact, many do not enter the genres because there is an issue with misogyny, sexism and discrimination. In terms of the women in the genre right now, they are evident and visible but that is not being translated into gig bookings and headline slots. I know there are some great female Metal and Hardcore bands; some terrific female-fronted acts – which is more common than all-female – but there is a core of fans who feel this is not right. By that, they think Metal is a man’s genre and women cannot project the same force and quality as the boys.

I was shocked to read this article that brought together the female lead of the bands Ithaca (Djamila Azzouz) and Svalbard’s guitarist/vocalist Serena Cherry. It was a reaction to another article – that I shall bring in soon – that highlighted how so many of Metal’s best new voices are female. It is rewarding to see women in Metal striking gold and not being deterred by sexism but, as the comments and reaction to that positive article demonstrated, many Metal fans cannot accept this. I am not suggesting ALL Metal fans are sexist because this is not the case – look at the time it has taken for there to be progression and acceptance and it is quite shocking. I think Metal, more than any other genre, has a problem with sexism and the way women are portrayed. The two Metal leads responded to comments that had been made – it shows how shocking people’s views are and how there is this rooted problem with equality in the genre.

“Without exception, every female fronted metal band is shit.”

Serena (Svalbard): I’m really impressed that you’ve taken the time to listen to every 'female-fronted metal band' ever. So, you must be well aware that Darkened Nocturn Slaughtercult sound nothing like Nightwish? Or Walls Of Jericho sound nothing like Myrkur, right? But despite these vast variations between women in metal, you’ve still concluded that we’re all 'shit'. Every single one of us. The term 'female-fronted' needs to get in the bin. It's defining a band by their sex, not their sound. It's reductive. It enables this dismissive, blanket way of thinking. Not all women’s voices in metal are the same... 

"This is one of the most accepting subcultures of all time. It's not about time because it's always been here. This is obviously written to make some demographic happy that most likely have no desire to be part of what we represent."

Djamila (Ithaca): Says the person whose demographic has always been represented to the detriment of everyone else. Stop telling us that our lived experiences are a lie. What do you represent? Sexism? Misogyny? Exclusion? Delusion? I can assure you, we have no desire to be part of what you represent. Take a day off, mate.

IN THIS PHOTO: Svalbard

“The only ones saying women are 'suppressed' in metal always happen to be women.”

Serena: I think you'll find that the person who wrote the article is a guy. But you’ll know that, since you took the time to read it and then comment.

Yes. Women are saying they are oppressed in metal, because they are sharing their experiences, their stories of what it’s like to be excluded, diminished and dismissed by a music scene that treats them with so much hostility. You may not have experienced the disrespect female musicians experience in metal, but that doesn’t mean it doesn't exist. You want evidence of the hostility? Read the Facebook comments on the original piece. Read the YouTube comments on any music video featuring a woman. Then remember that’s just the tip of the iceberg of what we endure”.

I have chosen these two quotes/answers because it sort of shows some of the views out there regarding women in Metal. A lot of the other comments talked about women being sex symbols and why would a woman screaming turn a man on – the assumption being that men fronting Metal bands are there to get the crowd engorged?! Many Metal fans still see women either as sexual beings who are there for their pleasure or a huge anomaly in a male-dominated scene. Others commented about women representing a lack of quality and we need to impose a meritocracy in Metal. I had this argument when talking about Hip-Hop and feel the argument is hugely flawed. We know there is sexism in Pop and Country but there is as much brilliant music from women as there is men. Women are not a minority because their music sucks: they are being ignored because men rule the scene and make the decisions; they are the ones who are holding back progress. The same can be said in Metal. There are, as we know, so many different tones and sounds in every genre so I feel many are uneducated and ignorant regarding the changing face and blood of Metal. In any case, assuming men are dominant because Metal is quality-focused is a bad logic.

 IN THIS PHOTO: Rebe Meyers of Code Orange/PHOTO CREDIT: Getty Images

One could argue men are booked as festival headliners because they are better than women but I could rattle off dozens of female artists who are better and more worthy then most of the male acts we are seeing headlining big festivals in this country. Female vocals, in some cases, might not be as intense and vitriolic as men but, if you listen to Metal purely for the animalistic roar and nothing else then you are not really listening for the right reasons. Female vocalists are as nuanced and engaging as any men and I have seen plenty of female-fronted Metal bands where the lead can switch from intense and captivating to something more subtle and calm. Others can argue – those men who feel there is no issue – women do not listen to Metal and it is not a genre they want to go into; women are not being held back and can do what they want. Countless women listen to Metal and every genre on Earth. There is no genre that sees a huge majority of men or women listen and you could say that about every genre with a sexist problem. Country and Pop have a gender issue and these are areas of music with as many women (if not more) listening to the artists as men. The problem is not that women are listening to other forms of music and avoiding Metal: the problem is they are not being represented fairly, being given a platform and, therefore, there is this feeling they will be overlooked or not given a fair passage – the same issue that blights genres like Hip-Hop. Serena Cherry of Svalbard and Djamila Azzouz of Ithaca responded gracefully to puerile and idiotic questions and highlighted what a real problem there is in Metal.

Stephen Hall wrote this article that highlights the new evolution in Metal and the women coming through. It is rare to see a male journalist backing female artists and tackling sexist views. That sounds strange to say but there is an issue with male journalists turning their eyes away from sexism and thinking it is not their concern. One reason why I feel Metal is expanding and sounding much more varied – as Hall explains – is their influences and tones. Consider strong female artists like PJ Harvey and Kate Bush and how many men are inspired by them? I find male-led Metal can be too generic and tends to rely on a set formula. That is not the case with every single band but it is a problem. Metal, interestingly, is one of those genres that is exclusively about bands – can you think of any Metal solo artists?! If Hip-Hop is almost exclusively about solo artists then Metal’s lure comes from the thick and big sound you can get from a proper crew. I like the more traditional and older Metal sound that was pioneered by the likes of Judas Priest – some might put them in another genre but they are a Metal act – but modern Metal introduces new sounds and ideas; it is far more expressive and emotionally-rich than it has ever been. Women represent a new wave and a much more interesting voice.

 IN THIS PHOTO: Sheffield band Rolo Tomassi/PHOTO CREDIT: Getty Images

I feel a reason why many people ignore Metal and write it off is because of that thrash and sense it is all about making as much noise as possible and being very loud. I think the sexist issue in Metal comes down to a staple who think the genre should not break from its foundations and seems impure if it becomes less intense and feminine. Hall, in his illuminating article, illustrates how Metal’s women are adding fresh perspective and a much broader and captivating voice:

“This past weekend, I found myself listening to the self-titled debut EP by London-based troubadour A.A. Williams, recently released on Holy Roar records. It’s quite brilliant: fragile and beautiful; dark and threatening. In a run time of just twenty minutes, Williams has established herself as one of the most exciting new artists of 2019. Inspired, I was led down a rabbit hole of some of my other favourite releases of the last few years that capture a similar sentiment. After a few hours spent in the company of some wonderful albums, I came to a conclusion that has been staring metal in the face: a female perspective is the most original voice in heavy music right now.

And the influence isn’t just a sonic one. While the sound of musicians taking inspiration from the beauty of iconic female artists like Kate Bush, Joni Mitchell, PJ Harvey or Tori Amos and melding it with the harshest elements of extreme metal has broadened the dynamics of heavy music way beyond what we’re used to, there is also a new attitude and a new kind of anger reflected in this class of 2019...

Right now, I’d rather listen to Employed To Serve, Oceans Of Slumber, Ithaca or Blood Command fuck with my preconceptions and offer me a new world view than I would another standard metal band thrash their way through another bunch of enjoyable but unremarkable genre conventions. If you’re looking for the next evolution in metal, it’s already here”.

Every single music genre can only succeed, remain and inspire the next generation if it is balanced in terms of gender. If there is inequality and voices pushing women away then it means women will not get into those genres and music as we know it will lose so many essential and promising possibilities. I get tired of the arguments that say Metal (and Hip-Hop) are man-heavy because that is what people want to hear. If one has not been given an alternative – because women are being held back – then they will always gravitate towards men. Many in the Metal fraternity claim women lack power to appeal and reveal this very unappetising sound that is not attractive or sexual. There is a toxic mindset that assumes women are in Metal to titillate and almost act as chattels: possessions of male bands who are there to look pretty but not say much. It is great writers like Stephen Hall are raving about women in music because, as he says, it is about bloody time!

Whether other genres will get the same sort of boost – not men writing about women doing well but ANYONE writing about the great women ruling – I am not sure but it is clear Metal’s face is changing and is much more interesting because of women. Even if there are so many great women coming through in Metal (and there are), it does not mean it will translate into bookings and festival equality. I am not an expert when it comes to Metal festivals but I am pretty sure the majority of their headliners and bill will be men. So many of the bookers and organisers are men and, whilst more women are taking power and having their say, so many decision-makers are men. I have heard stories of female bookers (for venues) who have been belittled and laughed at because it is felt they lack the knowledge to succeed; they do not know Metal and it is best left to the men. Maybe this sexism relates to a minority but I am still seeing too many ignorant voices shouting way too loud! There has always been gender-imbalance in Metal and sexism raging. So many songs from the past have objectified women and, therefore, fans feel this is how women should be treated. If they dare come into Metal and want to be taken seriously then, well, that ain’t right. I feel the majority mentality will change with more female-led/female bands emerging.

Every single musical genre is at its very best when you have a balance of male and female artists and you can have that emotional and vocal spectrum. If Hip-Hop and Rap’s sexism problem is slightly different to that of Metal, it is clear heads need to bashed together and people, mainly men, need to be educated. I think there are these views that are decades old and are stubbornly holding back progress. The assumption women do not like Metal or are betraying its ethics; they are not being repressed and looking for excuses to complain – this all dates back decades and, in 2019, we need to eradicate these Stone Age opinions! I shall wrap this up but I think Metal is in an interesting space right now. We have great females adding something golden and essential to the mix – as Stephen Hall examined – and, to me, the most interesting new Metal right now has a female perspective. They are pushing through a more eclectic, nuanced – able to elicit wonder and surprise the more you listen – and interesting sound. I feel the reason Metal will be able to cross barriers and recruit those who have been reserved and scared before is because of women. If people realise Metal is more than men screaming and singing about the same things then they will be attracted and, as such, real progress can begin.

 IN THIS PHOTO: Alissa White-Gluz is the lead of the Metal band Arch Enemy/PHOTO CREDIT: Getty Images

We are a way off seeing genuine equality in the genre and I feel Metal does have a huge problem with sexism that cannot be washed away with soap in their mouths, a hot shower and a slap in the face. Until the larger Metal community realise the genre needs to do more to support women and redress the gender issue – the sheer volume of men being favoured is appalling! – then we will get nowhere. I am angry that we have to have these discussions in 2019 and women need to come out and defend themselves. Only a few days ago, The 1975’s Matty Healy took to the BRITs stage to talk about music misogyny and how men are seen as ‘troubled’ when they act like dicks yet women are seen as hysterical and diva-like. How many men in Metal are making the same speeches at the moment?! It should not purely be down to women to highlights sexism and I know there are plenty of male Metal fans who are supporting them and outraged by those who perpetrate such narrow and horrifying views. From venue bookers, label owners; bands, crew and everyone else in Metal, why should women have to feel like crap and fight their corner?! Sensational bands like Ithaca are leading a charge but I do feel the toxic stink of sexism is more disturbing than anything. The most progressive and compelling Metal music around is being made by women (has a female voice at the front) and, the more stubborn male fans and those with power realise that then the sooner...

WE can see genuine equality and understanding.         

FEATURE: Global Warning: Why Music Needs to Do More to Raise Awareness Regarding Climate Change

FEATURE:

 

 

Global Warning

PHOTO CREDIT: Huffington Post/Thomas Kokta/Caters News  

Why Music Needs to Do More to Raise Awareness Regarding Climate Change

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MANY have been reacting to the unseasonably warm weather...

PHOTO CREDIT: @jonfordphotos/Unsplash

with delight and relief. It is unusual to see temperatures so warm in February but, even though seasonal change happens and we have seen snow in April before, we have never witnessed anything like the weather we have done this week in February! Things will return to near-normal by Thursday but many are worried about the spike in temperature and what it forecasts. It is, as WIRED investigated, hard to pin the warm weather here on climate change:

“Tuesday is likely to be hotter still. Great news for ice cream vans – but is this unseasonably warm weather a sign of climate change? In short, no. Scientists rightly avoid drawing a direct link between climate and weather. An unseasonably warm or cold day, month or even year cannot, and should not, be linked directly to climate change. But, in combination with an unending stream of extreme and unusual weather, it forms part of an unnerving live ticker of our planet’s destruction.

Scientists, of course, need more proof. But the general public really don’t. Climate change is happening all around us. Understanding specifically how and why it’s happening is a major academic and political challenge. But if you’re sitting around waiting for a The Day After Tomorrow apocalypse, it ain’t going to happen like that – though wait a few more years and your seaside villa will likely be in the sea.

Climate change will very likely produce more extreme weather in the future. This time last year, the UK was in the grip of the Beast from the East, with record-breaking cold and widespread snowfall bringing much of the country to a standstill. Fast forward 12 months and it’s picnic weather”.

PHOTO CREDIT: @gavla/Unsplash

Even if this freak warm blast is the result of changing air and not directly linked to global warming, it is clear there is a larger issue regarding the environment and what we are doing to the world. Look at this report that has emerged and the man-made impact on global warming is clear: we are damaging the planet and not doing a lot to reverse things.

“Evidence for man-made global warming has reached a “gold standard” level of certainty, adding pressure for cuts in greenhouse gases to limit rising temperatures, scientists said on Monday.

“Humanity cannot afford to ignore such clear signals,” the U.S.-led team wrote in the journal Nature Climate Change of satellite measurements of rising temperatures over the past 40 years.

They said confidence that human activities were raising the heat at the Earth’s surface had reached a “five-sigma” level, a statistical gauge meaning there is only a one-in-a-million chance that the signal would appear if there was no warming”.

We cannot deny there is a crisis and the predictions are bleak. What will become of our arctic regions in years to come? Will they be able to sustain life and what about our oceans? As the temperatures climb, the fate of sea life grows unsure and the general weather patterns suggest there will be a lot more extreme weathers. Whether that means far less rain or much warmer summers, the impact it will have on the planet is obvious.

 PHOTO CREDIT: @kevin_1658/Unsplash

Many of us are being more conscientious when it comes to our carbon footprint and are using public transport more. We are, in many cases, using less plastic and trying to be aware of what is happening. So much damage has already been done and one wonders how it will impact this generation – let alone ones to come! Whereas major leaders such as President Trump are ignorant regarding global warming and its effects – he doesn’t even believe it is a thing! – there are conservation groups and figures calling for change and reaction. They are doing all they can but is there a role for music?! I feel music, as a means of delivery, can engage with the entire world and raise awareness. Think about the common staple of huge artists and it does not extend much beyond love and personal woes. I am seeing more artists talking about social matters and political issues and that is good to see. When you get a musician discussing Brexit and the wealth divide in the country then it makes people stand up and listen. I have often said musicians hold more power and credibility than most politicians! I am not saying music will be the saviour of the planet but there is an opportunity and need for artists to start talking about the environment. I cannot think of a song/album recently that has addressed climate change – maybe there are some out there but nothing in the mainstream.

PHOTO CREDIT: @truth_from_africa_photography/Unsplash

I feel the arts world holds a lot of influence and its power is obvious. Musicians talk about all manner of things – from sexual politics and racism to warfare – but how often do we hear anything about climate change and how we are damaging the planet?! Maybe it would be hard to articulate a song that provides facts and measures in which we can improve things. If an artist can discuss tough subjects through music then climate change should not be too hard. In fact, not that many are speaking out in general and I think this is a chance missed. The declining state of the planet is something that affects us all and should not be overlooked. I do think there should be more songs and albums that talk about climate change and how it is impacting the world. I feel a concept album around that very thing would be an eye-opener. I know, in the back of my mind, someone has done that before but I cannot think who. That said, how much awareness could we raise is a big Pop artist brought out a song that warned us about the perils of global warming?! I think that would be huge and a refreshing change at the same time. As more mainstream artists talk about mental-health and meatier issues, I feel the environment and our sustainability is something that is receiving very little focus.

 PHOTO CREDIT: @climatereality/Unsplash

The facts are out there and research is being done all of the time. It does not need to be as dramatic as Michael Jackson’s Earth Song – and its sobering video – but we have reached a point where many say we cannot recover. Perhaps our recent spring-like weather is not a sign of increased global warming but it has freaked a lot of people out. The huge changes in weather – this time last year we saw snow sweep the U.K. – should provide pause for thought and I do wonder whether we are all doing enough. I think music should be more than personal concerns and has this immense power. It is not pandering and preaching if we see artists talking about climate change and it can actually lead to change. Maybe a Live Aid-style concert that would raise funds for conservation charities would also be a smart move. I am concerned we are hearing very few musicians, in interviews or on their songs, highlight the plight of the planet and what we all need to do. The potential worst to come is not hundreds of years away: many are predicting catastrophic weather and destruction can affect us in the next couple of decades. We are already seeing the icecaps melt and natural disasters killing scores of people; fires wiping out towns and leaders like Trump turning their backs. Things are pretty bleak and musicians have a duty to get involved.

 PHOTO CREDIT: @juanmount/Unsplash

If we leave it all to charities and experts then how is that being responsible and aware? Many people avoid academic studies as they find them too dry and complex. Musicians would not need to dumb down the facts and realities but, in a way, make them more accessible to many. I feel we have come to this stage where it is getting hard to unpick the damage caused and we may go past the point of no return. I think music should tackle EVERY important issue – from migration and inequality through to L.G.B.T.Q. + awareness and civil rights – and the state of our planet should rank pretty high! The more we can mobilise people and bring the realities home then the quicker we can work together to do something about it. I do worry about the future and what impact will be felt in a few decades from now – will there be a huge loss of life to humans and wildlife alike? We, as humans, are doing the damage and it is down to us to fix up the crap we have left. Whether we listen to meteorologists, scientists or politicians, I feel we cannot ignore and stand by as we turn our backs on what is happening. Musicians should be as involved as they can and I do think more should be addressing global warming in their music. Even if a single artist records an album that puts the focus on our changing climate and what we can all do to help then I think that can make...

PHOTO CREDIT: @raquelraclette/Unsplash

AN important difference.

FEATURE: Wanna Be Startin’ Somethin’: 26th February, 1983: The Start of Thriller’s Chart Dominance

FEATURE:

 

 

Wanna Be Startin’ Somethin’

IMAGE CREDIT: Spotify 

26th February, 1983: The Start of Thriller’s Chart Dominance

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SOME might say this is not the best time...

 IN THIS PHOTO: Michael Jackson in a photoshoot for the Billie Jean video in 1982/PHOTO CREDIT: Getty Images

to be celebrating Michael Jackson but, as his name and reputation is being dragged through the mud, I do not feel embarrassed putting him in a good light! It is hard to separate the artist from the person but, today, I want to focus on the music and one of the greatest albums ever made. This day in 1983 was the start of Jackson’s Thriller dominating the U.S. charts – it hit number-one thirty-six years ago. I was not even born then but I got hold of Thriller as a child and instantly connected with it. Maybe albums such as Dangerous and Bad are more consistent in terms of quality and hits but Thriller has that legacy and huge reputation. It is amazing how fast Thriller took off and how it seemed to elevate his status from the Off the Wall days. That album was denied a lot of awards and Jackson was unhappy that it was overlooked by many people. That 1979 gained some huge reviews but there was a feeling it was underrated in some fields and deserved more. Thriller, perhaps, was Jackson’s response: a confident, huge and tight album that provide some of the biggest hits of the 1980s and took Michael Jackson to a new level. Thriller explores genres like Disco – that was a big staple of his previous record – and, in just over a year, Thriller became the biggest-selling album in the world.

Unlike some of Jackson’s other albums, Thriller sounds tougher and tauter. There is Funk and Rock melting inside Disco. Thriller would go on to win a record-breaking eight Grammys (including Album of the Year) and sent Jackson’s career into the stratosphere. Before then, he was a huge star but Thriller exploded his career and meant he was the undisputed King of Pop. Jackson would struggle to get his singles played on MTV – due to the station not playing many black artists – but the eventual exposure of Billie Jean and Beat It was a huge milestone. The fact MTV would eventually rotate his videos and gave him that boost meant many rushed out to buy the album. I do wonder whether we will ever see anything like Thriller again! We do not see big albums from huge artists arriving and there being this storm and enormous celebration. Maybe we will never see that again and, whilst that is sad, it is good to look back at Thriller and how it made such an impact. Off the Wall was a big commercial and critical success but one feels there was unhappiness in Jackson’s mind regarding its lack of Grammy attention – it did not scoop as many awards as it deserved. Around the time (1979 onward) Jackson was in an unhappy state of mind and experiencing loneliness. It was a definite time of transition and, in many ways, music was his outlet and comfort.

IN THIS PHOTO: Paul McCartney (who duetted with Michael Jackson on the song, The Girl Is Mine) captured on the Upper West Side (N.Y.C.) in 1982/PHOTO CREDIT: David McGough

Jackson teamed with Quincy Jones (who produced Off the Wall) and the two would go on to work on Thriller’s follow-up, Bad (1987). Relations between Jones and Jackson would become strained as both were looking for different sounds. Jackson and Jones remixed each song alone after the album was recorded and spent a week doing so. Even though both were on different pages, you can hear unity a common goal on Thriller. Jackson wanted to create a muscular album where every song was a potential hit. Even if there are one or two slightly forgettable songs – such as P.Y.T. (Pretty Young Thing) and The Lady in My Life – there were plenty of solid-gold smashes! Many dislike the Paul McCartney and Jackson duet, The Girl Is Mine, but I kind of like it! Jackson’s duets received a bit of scorn – he did not receive great reviews for his Bad duet, Just Good Friends (with Stevie Wonder) – but this one works well. Jackson was always unconventional when it came to songwriting and, for Thriller, he would dictate songs into a recorder (rather than write them down) and play them from memory when in the studio. It is remarkable to think a songwriter could work that way, less they could create something as iconic and revolutionary as Thriller! Thriller was the first album where Jackson was moving away from lighter themes and embracing something darker and a bit more shadowy.

There is paranoia and obsession; the tense and supernatural. Billie Jean is about an obsessive fan who alleges Jackson fathered her child. Beat It is about gang violence and is the first successful attempt of Disco/Pop-Rock crossover. Maybe it was Jackson’s increased fame and loneliness at the time contributed to the lyrical themes but there was a sense of this artist changing and maturing. I love the fact Jackson was balancing the more traditional and familiar love songs with this new thread that was tougher and more electric. Many artists would struggle to unite them and make a cohesive album but Jackson’s assurance and exceptional command ensured Thriller was a giddy success. Songwriters like Rod Temperton created some of the best tracks on the album – Temperton’s Thriller and Baby Be Mine are highlights – but Jackson was blossoming as a songwriter. Jackson penned, debatably, the greatest trio of songs on the album: Wanna Be Startin’ Somethin’, Beat It and Billie Jean (he also wrote The Girl Is Mine alone). Critics were noting how Jackson was expanding his vocal range and losing a lot of the boyish side. Gone was the purely sweet sound and in its place was this incredibly rounded and complex voice. Tough and gritty at the one moment, sensitive and lovelorn the next – nobody in the world could match Jackson in vocals terms in 1982. When Thriller arrived on 30th November, 1982, people were amazed by the vocal performances and how extraordinary there were!

 IN THIS PHOTO: Michael Jackson in 1982/PHOTO CREDIT: Getty Images

It was unsurprising reviews for Thriller were universally positive. In fact, I do not think another Michael Jackson album has fared as well with critics. AllMusic, in 2008, had their say:

“It's calculated, to be sure, but the chutzpah of those calculations (before this, nobody would even have thought to bring in metal virtuoso Eddie Van Halen to play on a disco cut) is outdone by their success. This is where a song as gentle and lovely as "Human Nature" coexists comfortably with the tough, scared "Beat It," the sweet schmaltz of the Paul McCartney duet "The Girl Is Mine," and the frizzy funk of "P.Y.T. (Pretty Young Thing)." And, although this is an undeniably fun record, the paranoia is already creeping in, manifesting itself in the record's two best songs: "Billie Jean," where a woman claims Michael is the father of her child, and the delirious "Wanna Be Startin' Something," the freshest funk on the album, but the most claustrophobic, scariest track Jackson ever recorded. These give the record its anchor and are part of the reason why the record is more than just a phenomenon. The other reason, of course, is that much of this is just simply great music”.

SLANT, in 2003, reviewed Thriller and were (as you’d expect) suitably impressed:

“With three quick rimshots, “Wanna Be Startin’ Somethin’” is like the court fanfare. What is a seemingly silly fight song is actually a complicated tapestry of colliding hooks and pop references. Jackson starts with his own collection of non-sequiters (“You’re a vegetable,” “My baby’s slowly dying”) and puts them in the context of other borrowed quips. (“Too high to get over, too low to get under” is almost an exact copy of Funkadelic’s opening salvo for “One Nation Under a Groove,” and anyone who loved Manu Dibango’s underground disco hit “Soul Makossa” knows where the holy-rolling “Mama-say mama-sah ma-ma-coo-sah” came from.)...

 

By combining the hooks of earlier black pop benchmarks with his own, it’s as if Jackson was suggesting that everything in pop history was setting the stage for his arrival. One wonders if Jackson’s statement in a recent TV Guide interview that he is no longer satisfied with the way “Wanna Be” turned out is less a comment on the quality of the song than it is about the unsatisfactory implications it has for a man whose career afterglow seems scarcely worth a “coo-sah.” Think Norma Desmond watching her own youthful glory in isolation. Thriller is still big, and Jackson’s getting small only serves to highlight its pop (musical and cultural) achievements”.

Thriller is the second-biggest-selling album of all-time and, by the end of 2015, it was certified thirty-times platinum! Its popularity cannot be dented and there was no doubt it would go to the top of the U.S. album chart. It hit the number-one spot on 26th February, 1983 and it would spent thirty-seven weeks in on the Billboard 200 – setting a record for the longest run at number-one by a studio album. Thriller transformed Pop in the 1980s and turned Michael Jackson into a global megastar. Jackson struggled to get his videos played and threatened MTV by saying he would tell the world they were refusing to play videos by a black man.

 IN THIS PHOTO: Michael Jackson and some zombie pals on the set of the Thriller video/PHOTO CREDIT: Sony/Legacy

They would relent and Jackson’s videos soon were being played; giving Thriller more exposure and being a big reason why people tuned into MTV. There are several iconic videos from Thriller but none more memorable than the John Landis-direct title cut. Its zombie theme and incredible choreography was a revelation at the time and became the standard in terms of direction, editing and performance. It remains one of the best videos ever (if not the very finest) and is impossible to forget! One of the great things about Thriller is the videos and how you associate them with the songs. By that, I mean you listen to Beat It and picture Jackson and that red jacket. You hear Billie Jean and can see Jackson and the famous scenes. At a time when MTV is not really playing videos there is not the same commercial zeal and appeal, it is wonderful looking back at the 1980s and remembering a time when music videos were important. Jackson’s Thriller helped put MTV on the map and take it to new heights. A lot of classic albums tend to fade with time and do not age as well as you’d imagine. Thriller has gained new generations of fans and will continue to do so. A lot of 1980s-released albums have that dated production and decade-specific sound that seems odd and cheesy now. Thriller’s exceptional production strength – even if Jackson and Quincy Jones were on different pages and not getting along all the time – is one of the reasons the songs continue to amaze and compel.

Thirty-six years ago today, Thriller started its chart dominance. That might have been helped by the fact Beat It was released twelve days before and proved to be another huge hit. Many argue – including myself – Dangerous is a much bolder and hits-packed record (look at all the songs on there and how many are regarded as Jackson classics!) – but Thriller was a huge step forward and an evolution from Michael Jackson. Off the Wall was a triumph but he stepped up a level by 1982 and crafted this album that was taking no prisoners but, at the time, retained its heart and compassion. Thriller helped break down racial barriers on MTV and opened the door for black artists to have their videos seen. Listen to the artists who came after Michael Jackson and how they try to embody his same moves, mixture of sounds and vocal traits. You can trace this back to Thriller; an album that still holds a very space in music and is indispensable. If I were to recommend anyone buy an album that is near-perfect Pop then this would be it. There are so many moods and stories being told; Jackson’s vocal work is insane and the catchiness of the material is peerless. It is an album with very few songwriters so seems a lot more focused and personal than many Pop albums of today.

I was not alive to see Thriller hit number-one on the U.S. charts and grow from there but it arrived in my life by the late-1980s. Its trio of world-class gems – Thriller, Beat It and Billie Jean – did not overshadow the rest of the album and I think there is only one disposable track, P.Y.T. (Pretty Young Thing). It is great listening to the album through and having every song hits you and sink into the brain. I am not sure whether we put as much emphasis on chart positions these days and whether Thriller would gain the same acclaim and popularity in 2019. When it hit the top of the album chart in 1983, many could not predict it would stick around as long as it did and sell so many copies! Listening now and it is clear why Thriller was such a mega-seller and, today, is regarded as one of the finest albums ever! If you have not heard the album in its entirety – or not investigated it for a long time – then I urge you to. It is a remarkable album and one that extends beyond the songs themselves. There is so much to unpack and discuss regarding Thriller and how it changed music. Jackson would record several more studio albums before his death in 2009 but none received the same acclaim and stature as Thriller. It is a masterpiece (albeit a flawed one) and an album that was still at the top when I was born on 9th May, 1983. It is a remarkable thing and, in 2019, and album whose potency, layers and songs sound as striking as they did...

IN THIS PHOTO: Quincy Jones and Michael Jackson (circa 1982)/PHOTO CREDIT: Ron Galella/WireImage

BACK in the 1980s.

FEATURE: Spirit of Eden: Remembering Talk Talk’s Brilliant Genius Mark Hollis

FEATURE:

 

 

Spirit of Eden

IN THIS PHOTO: Mark Hollis/PHOTO CREDIT: Getty Images 

Remembering Talk Talk’s Brilliant Genius Mark Hollis

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MANY are in a state of disbelief that...

 IMAGE CREDIT: Spotify

Talk Talk’s Mark Hollis has died aged sixty-four. The news broke late yesterday and social media has been filled with sad messages and posts that talk about Hollis and his amazing work. Many are saying the same thing: there was nobody like him and nobody expected this to happen. The details regarding the exact cause of death are unclear but big names and the public alike are taking to social media to leave their condolences and memories of Hollis. Songs like Life’s What You Make It (from The Colour of Spring) were part of my childhood as were tracks such as It’s My Life (from the album of the same name). I was shocked to hear the news come through: it is always tragic when an iconic musician dies so young. My real exposure to Talk Talk and Hollis came fairly late in life. I know Elbow’s Guy Garvey is a huge fan and his personal favourite album is the band’s key album, Sprit of Eden. By 1988, Hollis was taking in more Jazz influences – people like Miles Davis and John Coltrane were making more of a mark on Talk Talk than ever before. With more spiritual and religious lyrics, this was the least accessible album from the band but that did not alienate fans and critics. Reviews were extremely positive and, in this extensive review, Pitchfork expended some passionate words:

““I like sound. And I also like silence. And, in some ways, I like silence more than I like sound.” It’s another Hollis zinger, but never was there a sentiment so apt for the man. Like a mute slowly placed into the bell of a trumpet, Talk Talk’s final albums gradually pulled focus away from the sound of pop music near the end of the century. Over here, in this pasture, was an untilled field of possibility to use with just some guitars and drums and bass. Spirit of Eden was the great inhale of religious feeling, one rock and pop music had been expelling for years and years. The thrill and stasis of a held breath carry the album from beginning to end. “Take my freedom,” Hollis sings on the closing hymn, as the band uses its last bit of thrust before drifting away”.

The Guardian reported news of Hollis’ death yesterday and (looked at) who is paying tribute to him:

“With Hollis as its singer and creative mastermind, the group made a name with 1980s hit singles such as It’s My Life, Today, Talk Talk and Life’s What You Make It. They progressed to albums like Spirit of Eden, which was hailed as a “masterpiece”, and Laughing Stock.

His cousin-in-law Anthony Costello tweeted on Monday: “RIP Mark Hollis. Cousin-in-law. Wonderful husband and father. Fascinating and principled man. Retired from the music business 20 years ago but an indefinable musical icon.”

Talk Talk’s bassist Mark Webb, aka Rustin Man, paid tribute to Hollis on Instagram. “I am very shocked and saddened to hear the news of the passing of Mark Hollis,” he wrote. “Musically he was a genius and it was a honour and a privilege to have been in a band with him. I have not seen Mark for many years, but like many musicians of our generation I have been profoundly influenced by his trailblazing musical ideas.”

Hollis’ influence has often been referenced by musicians, including Elbow’s Guy Garvey. “Mark Hollis started from punk and by his own admission he had no musical ability,” he told Mojo. “To go from only having the urge, to writing some of the most timeless, intricate and original music ever is as impressive as the moon landings for me.” Bands including Broken Social Scene, The The, Doves and Mansun have all paid tribute on Twitter”.

It is hard to put together an ultimate Mark Hollis playlist – I have attempted to at the end of this piece – as there are so many great songs in the catalogue. Everyone will have their own favourite songs from Talk Talk and that one album they gravitate towards. Many love the finale, Laughing Stock, which saw the then-three-piece of Mark Hollis, Lee Harris and Paul Webb produce something spectacular. That record, released in 1991, featured more Art-Rock and shifted from their earlier Synthpop sound. Although every Talk Talk album is fantastic, most people feel Spirit of Eden and The Colour of Spring are the ultimate works. I love The Colour of Spring because it features the amazing Life’s What You Make It and the songwriting, in my view, is more accessible and memorable. I love how they developed from their first two albums and created more ambitious arrangements and textures. Whilst many argue The Colour of Spring is less accomplished and ambitious as Spirit of Eden, I love every song on The Colour of Spring and what it does to you. AllMusic, in this review perfectly assessed the album:

“With It's My Life, Talk Talk proved that they could pull off an entire album of strong material. With The Colour of Spring, they took it one step further, moving to a near-concept song cycle, following the emotional ups and downs of relationships and pondering life in general. Musically, they built on the experimental direction of the previous album with interesting rhythms, sweeping orchestration, complex arrangements, and even a children's chorus to create an evocative, hypnotic groove. Though the songs were catchier on the earlier efforts and the ambient experimentation was more fully achieved later on, The Colour of Spring succeeded in marrying the two ideas into one unique sound for their most thoroughly satisfying album”.

 IMAGE CREDIT: Spotify

Talk Talk broke up in 1991 but Mark Hollis did release his own solo eponymous album in 1998. Hollis was inspired by Classical music of the twentieth-century (rather than contemporary music) and fusing that with elements of Jazz from the 1950s and 1960s. Hollis recorded the album in a way that meant it could not be played live; he did not want to do so and it was a record very much to be listened to rather than heard on the stage. That did not put off critics who noted that, even without his band, Hollis was creating these gorgeous textures and exquisite songs. The tracks mixed between the beautiful and the stark; an arresting blend that uses moments of silence to incredible effect – the entire ensemble is fantastic. Many critics hoped it would not take Hollis seven years to produce another album and, given news of his death, it is sad we will not see another album from him. Mark Hollis’ solo album was darker than the Talk Talk material but hinted at a new and intriguing direction. The reason why Mark Hollis and Talk Talk made such an impact on my child mind is the unique sound and the unmistakable vocals. I had never heard a singer like Hollis and it was so different to anything around in the mid/late-1980s. It is so sad we will not hear another Hollis-led song but many, myself included, will revisit the album and realise why Hollis is regarded as one of the greatest voices who has ever lived.

Everyone has their own impression of Talk Talk and Mark Hollis’ genius but, for so many musicians, the music represented something uplifting, different and truly affirming. You cannot listen to a Talk Talk song without feeling moved and affected! Every track from them gets into the bones and elicits some kind of emotional response. Doves’ Jimi Goodwin, in an extract of Spirit of Talk Talk spoke about the band’s magic and what they meant to him:

“I remember seeing them on The Tube, Channel 4's amazing live music programme, later that summer, and that further cemented the idea that this band was special. Mark Hollis, chief writer, bass player Paul Webb, and drummer Lee Harris were on fire that day!

IMAGE CREDIT: Getty Images 

Fast forward to 1991 and to Doves (or Sub Sub as we were then). We were still in the grip of dance music when Talk Talk's next release Spirit of Eden came out. Andy Williams was the first to buy it and we would come in from clubbing somewhere in the wee smalls and put this record on. Probably the only so-called rock record at the time that we would listen to.

There is some good stuff out there about Talk Talk, some great footage of them performing on the web. I can't really describe this music. Others have managed in words what I can only feel. Okay, I'll try. Put simply, this music was, and still is, life-affirming. To me it's like going to church. Shit, I feel I'm doing this band a disservice. I know what it's like to be written about by someone who hasn't a clue! But I do love them, so sorry, strike me down...

Mark has always been very secretive and I think he is now retired from music, which as a fan is really sad - but I'm sure he's not sad! There isn't enough mystery around bands any more and the enigma of Talk Talk and Mark Hollis suits me just fine”.

I have stated how The Colour of Spring is my favourite Talk Talk album but I think Spirit of Eden will last longer (also check out The Party’s Over that, whilst not as strong as their other albums, has some great songs on it). It seemed ahead of its time in 1988 and still sounds radical in 2019. I do wonder whether music is too safe and whether artists are taking few risks. Listen to the best Mark Hollis/Talk Talk work and it seems to inhabit its own world. Hollis was a restless and perfectionist songwriter who wanted the music to sounds like nothing else; to have this otherworldly quality that was different to anything out there. You cannot easily compare another band to Talk Talk: there are no songwriters and singers like Mark Hollis. Before wrapping up, I wanted to talk about Spirit of Eden and why it is such a bold and stunning album. In a piece last year, Popmatters looked at the songs on the record and examined their beauty and unique angles. The album was, as they explained, a commercial risk:

“When Spirit of Eden was released on September 16, 1988, it was considered commercial suicide. The lyrics too obscure, the instrumentation too odd, the tempos too slow, the vocals too soft for the tastes of the majority of music listeners in 1988. This was not Mark Hollis' concern. He was no longer interested in releasing music with any commercial potential whatsoever. His was a more ambitious concern: creating an album that would encompass genres, heal the listener's wounds, and transcend its time. Spirit of Eden masterfully accomplishes all three of Mark Hollis' goals...

 

At the age of 33 (the same age as Blind Willie Johnson when he finished recording his 30 timeless spiritual blues songs), Mark Hollis completed Spirit of Eden, a cycle of music that was equally spiritual and timeless. Spirit of Eden is similar to Van Morrison's Astral Weeks in its method of surrounding a poetic singer-songwriter with genre-defying guest musicians who embark on exploratory improvisations. Spirit of Eden influenced and inspired the three most experimental and innovative albums of the 1990s: Lazer Guided Melodies (Spiritualized), A Storm in Heaven (Verve), and Hex (Bark Psychosis). All three albums followed its patterns of dynamic intensity, free jazz improvisations, and spaces of silence.

Spirit of Eden is still as stunning and sublime in 2018 as it was in 1988”.

One of the results of Mark Hollis’ death – sadly or pleasantly - will be a new generation experiencing his music for the first time. It is always great when a legendary band such as Talk Talk find new audiences so I think any new attention is a good thing. The news we all heard yesterday came out of the blue so the exact details and circumstances of Hollis’ death are not yet clear. What is clear is the impact he made on so many lives and how, for generations to come, his staggering and genius vision will continue and compel. It is sad we have to say goodbye to a music legend who, for a brief period, transformed music and brought this wonderful voice to the world. Whilst his death is tragic and incredibly unexpected, many people will be discovering Mark Hollis’ music for the first time and it will stay in their memory forever. In a world of familiar and unspectacular artists, Mark Hollis was truly…

IN THIS PHOTO: Talk Talk/PHOTO CREDIT: Getty Images/Press

A light in the dark.

INTERVIEW: Hawksley Workman

INTERVIEW:

Hawksley Workman

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IT is a bit of a brief chat but Hawksley Workman...

has been telling me about his single, Stoners Never Dream, and its music video; what we can expect from the album, Medium Age Wasteland (out 1st March), and whether he has a favourite cut from the record - I ask whether he has any particular favourite albums and sounds.

The songwriter reveals a few approaching artists worth a look and whether he prefers life in the studio or stage; what he does away from music and the advice he would give to songwriters emerging right now - he selects a cool song to end the interview with.

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

Great. Excited for new music to come out on March 1st, though it’s always a strange time… 

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

I’m Hawksley Workman: writes songs; does the shows; wrote a play; started a Rock band; wrote some more songs.

The video for Stoners Never Dream is out. How did the concept come together? What is the song about?

I thought it might be funny to portray babies. So full of life and promise... as stay-at-home stoner burn-outs.  

Tell me about the album, Median Age Wasteland, and its themes? How did the music come together?

There's a lot of nostalgia on Median Age Wasteland. Lots of looking back at the late twentieth-century. Some humorous stuff, some awfully sad stuff. As usual, too, there's all the standard anthropomorphizing of birds and wolves and foxes. I wrote this record in the mornings on coffee. It was mostly winter and I was hunkering down. It was my first winter in Montréal.

Do you have a personal favourite song from the album?

Definitely Battlefords. It feels like a real beautiful surprise.

Which artists were important to you growing up? Who do you rank as idols?

The Beatles, Michael Jackson; Led Zeppelin, Chick Corea; The Smiths, Bruce Cockburn and Laurie Anderson.

Do you have a standout memory from your time in music so far?

I played with David Bowie in a Roman coliseum in the South of France one time. That was a definite standout.

What is the music scene like in Canada right now and how do you think it differs from the rest of the world?

The scene is changing - like it is everywhere I imagine. But maybe I’m not really part of a scene and maybe I don't really know. But my sense is the new music models like streaming are having a drastic affect.

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

It's really hard to say. That list might change every day but at this moment: Joni Mitchell - The Hissing of Summer Lawns, Bruce Cockburn - Dancing in the Dragon's Jaws and Frank Zappa - Joe's Garage. 

What advice would you give to new artists coming through?  

Well, goodness. I'd say that music is a calling, which is to say it is the life that chooses YOU, you don't choose IT.

Do you think there are going to any tour dates coming up?  

There's lots of tour dates posted and still being announced at hawksleyworkman.com.

How important is performing? Do you prefer it to life in the studio?

I love both. I really, honestly, don't have a favourite.

 IN THIS PHOTO: Daniel Romano

Are there any new artists you recommend we check out?  

Daniel Romano, Andy Shauf and Donovan Woods.

 IN THIS PHOTO: Andy Shauf/PHOTO CREDIT: Zach Caddy

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

Music kinda just lives in my skin - at least that's how it feels. I like riding my bike and lifting weights too.

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 love to hear Laurie Anderson - Gravity's Angel. Thanks for this!

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Follow Hawksley Workman

Official:

http://hawksleyworkman.com/

Twitter:

https://twitter.com/HawksleyWorkman

Facebook:

https://www.facebook.com/WorkmanHawksley/

Instagram:

https://www.instagram.com/hawksleyworkman/

Spotify:

https://open.spotify.com/artist/6TXT0xgAes45U8vyHeCIZJ?si=PJABWcSqQ2O5PfS0iPvnwQ

FEATURE: Is the Dream Possible? Social Media, Reality Checks and Taking a Risk

FEATURE:

 

 

Is the Dream Possible?

PHOTO CREDIT: @daria97/Unsplash 

Social Media, Reality Checks and Taking a Risk

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I don’t recall the exact moment...

IN THIS PHOTO: The Labour and Wait in East London/PHOTO CREDIT: @tomasjolmes/Unsplash

I moved up to London (it is early and I can’t be bothered to check) but we are getting on for eight or nine months right now. Before then, I was living at home and working in temporary roles – the last full-time role for me ended in May 2018. The reason I came to London is because I felt it was impractical living outside the city when most of the music capital and opportunities are hear. I briefly flirted with Manchester but, after going up there several times and not being able to find accommodation, it seemed like that desire would have to be turned down. It was a shame but I couldn’t figure how I would be able to find a place when people rented to those who already had a job. Figuring out how to make that work – when I was still living in the South and was waiting for a job – was a nightmare so I think it was wise to try London, even if I did/do love Manchester a lot. I hope to move there one day and will get back up there this summer. London was a sort of compromise but, because it is close to home and there is a lot going on, it seemed to be logical still. Everyone says the same thing: there is so much going on here and you will be able to make it work. Maybe that is true for some but, despite some good aspects – there are worse things than having days like today off – it has not worked so far. Maybe I need to give it a bit of time but it has been a hell of a long time since I have had a full-time job and actually woken up feeling secure.

 PHOTO CREDIT: @tomasjolmes/Unsplash

There were a lot of bad aspects regarding living where I did – not in terms of accommodation but the jobs I was doing – and I was not a fan of being in that environment. I felt a bit isolated and trapped; like I was spending a lot of time working jobs to pay rent and exist and not really doing what I wanted to do. London, therefore, was the breakthrough moment and chance to chase that. I have seen many people relocate and get great jobs; achieve their dreams and settle in really well. There is this hard decision, now, as to whether I wait it out for a few more months and hope that, a) a great job comes along I can last in and will keep me here and, b) if there will be the opportunities to get into music and do what I have always wanted to do: have my own radio show and get the chance to play my kind of music to the people. I am a music journalist but that has always been a sort of way of getting into radio and doing what I have always wanted. Ultimately, I want to work at BBC Radio 6 Music but that might be a few years off. Lesser-qualified – in terms of knowledge and passion – have worked at the station and are going to...I might need to work on my own show and use that as a sort of pilot before pitching myself to the big stations. In any case, I have a very specific desire and know where I want to be.

 IMAGE CREDIT: BBC

I think a lot of people in music do know what they want to achieve and have that sight. Whether it is to play Glastonbury or get their own album produced, we all sort of have a flavour of who we want to be and where we want to go. The issues of London and its challenges have already got into my bones. Whether it is the increased pollution or a general stress but, more and more, I am finding myself struggling to remain healthy. Not just in terms of mental-health but physically. I have been trying to shift a cold for a couple of weeks now and it seems, with all the encouragement and medicine in the world, it is not going anywhere. I have picked up a few bugs since being here and never had that issue where I was before – it was very rare of me to get ill and it has been a bit of a shock. Maybe it is the fact you are packed onto public transport with so many people and it is harder to stay healthy. In any case, this stress and lack of 100% health has been a detriment when it comes to work and looking on the bright side. Mental-health has been affected as well and, more and more, London seems like a very lonely place. I know people here but they are more acquaintances than anything else. All the people I am closer to live back home so most of the days are spent alone or not really talking with anyone – which doesn’t really help when it comes to keeping my voice strong and muscular!

 IN THIS PHOTO: Brighton/PHOTO CREDIT: @nabilaiman10/Unsplash

The depression side has got worse and there have been some truly bleak days – the past couple of weeks have been the worst I have ever experienced. Even if the money is getting low, I sort of have these sights still and know I need to go on. Brighton seems like the most attractive alternative because I love the place and the people; it is far less stressful and one can be a lot healthier and happier there. It would be cool to work at a record shop like Resident and live quite a calm life but I know, more and more, the fact London is not right at my feet would get to me. Brighton is my favourite place in the world but there are not really the same chances in the music world as there are in London. London is the place for people like me who want to get into music and radio and, although there are countless jobs, labels and stations around, the reality that you can a job just like that is not true. Many wonder why I am still seeking work but, after thousands of applications, a smattering of interviews and a lot of hard work, it has not yet happened. My qualifications are great (a degree at that) and I have plenty of experience; I am professional at interviews and there is nothing at all that would prohibit my from getting any good job, albeit a lack of specific experience for that role. I fared better where I was before and could get a job a lot easier.

PHOTO CREDIT: @antohakraev/Unsplash

London, despite all the good and the vastness of it is immensely brutal. Even when looking for a role that is non-musical – as I have been since I got up here – the competition is intense and very few people are willing to give you a chance or help at all. It would be ideal to a music-related role but, in most cases, there is the same level of competition and a lot of the jobs need specific qualifications that I do not have. In journalism terms, most roles are unpaid and, whilst it might lead to something permanent later, there is no guarantee and one cannot realistically live in London and work for free for any length of time. Unless you have a comfortable job locked-in and that security, the capital is a very tough and unforgiving place. Social media makes things worse to many people like me. Musicians and those in the industry are stubbornly ambitious and we want to get as far as we can in what we do – it is only natural we want the best and to succeed. There is this divide on social media between those who are sharing their success and happiness and the opposite: the affected and depressed who are struggling to cope. People tell you there are many in the same situation and you are not alone but, you know, the first statement is not helpful and the latter is not true: knowing others are struggling does not make me feel better and there is a genuine feeling of doing this solo and not having a lot of support in London.

 PHOTO CREDIT: @jakobowens1/Unsplash

I am pleased we get to see happy stories and successes shared online but it can have a damaging effect on those who are not doing as well. Every post – from musicians and those in the business – that talks of streaming success, great breakthroughs and accomplishments is wonderful for that person but it can be quite sobering for people such as myself who do not get to enjoy the same bounty and fulfilment. I know those who are doing well have their own struggles but the other side of the coin, those struggling, also has a negative effect on the emotions. A lot of music-related roles have come up – and I have applied – but one seldom gets to an interview. My experience is quite broad and I have been running my blog for over seven years. I have a lot of different skills that could be brought to a role but, in music, there are not a lot of ‘me roles’ that are paid and available right now. I have to, therefore, look at something more ordinary and regular. That is okay but, even in that situation, getting anything at all is incredibly difficult. Moving further away from music is frustrating but not being able to find a job at all adds to that strain. Maybe it is the realities of the city and how hard it is but, after so many months, the original desire seems so far away.

 PHOTO CREDIT: @ar_meftah/Unsplash

I will never give up on working at a great station like BBC Radio 6 Music and doing my own show because, really, that is the only thing I want to do. London provides me with regular illness and takes me money but music is the main thing (apart from family) that keeps me going and moving forward. It is tempting to move to Brighton and realise a more sedate and sunny life but I know, if it meant I was moving further away from my ultimate dream, then I would regret it and it would not be where I should be. Oddly, being less happy and struggling is what has to happen if you want to achieve your dreams. That might sound wrong but very few people who have got where they really want have done so easily and without setbacks. For me, I am the extreme and will need to abort London and living up here if the finances get too low. One of the main heartaches regarding money getting low was the fact I was given a substantial sum by my parents to realise my dreams and go for it. So far, that money has been spent on rent and surviving; none of it has gone into music and radio and, as time elapses, more and more of that money is merely being used to get by. This might sound like a general gripe but I wanted to ask whether, in such a busy and technology-driven time, achieving the dream is as easy as it should be.

 PHOTO CREDIT: @samuelclara/Unsplash

Anyone who has a dream to be a success should always go for it and not be deterred by anyone else but I am finding a lot of hurdles being thrown. Social media is great for connecting and networking but hearing updates and posts from others who are doing well and loving their dreams can be a little deflating for those of us who are in a different boat. The demands needed to keep going and looking up are exhausting and toll on our mental-health is clear. Now, more than ever, I am seeing posts about suicidality and deep depression; people wanting something so bad but not being able to get there because life and its realities are impossibly tough. I know we all need that reality check and have a bit of common sense regarding dreams but it can be really tough seeing people do well – who deserve it and have worked hard – and knowing that we have put the same amount of effort in and are not doing what we want to do. With a never-ending cold and headache; another week looking for work and the charms of London to navigate – the packed Tube and lack of good news – it may all sound defeated and lost. My point is that there is a safety net and there is that option to either go back home or, more likely, move to Brighton and exist there – keeping an eye on London but being more secure and in a better environment.

 PHOTO CREDIT: @dj_johns1/Unsplash

I know I have come a long way and invested a lot in getting to where I really want to end up. I am putting out a lot of posts and articles which, I hope, are of good quality and will continue to do that. The ‘real’ bits of life and London suck a lot and the shrinking funds are a daily woe. I know there are good sides and reasons why people like me come here. London is where the music industry in this country is based, really, and there are more big radio stations and labels than anywhere else. One can go to a lot of gigs and network with artists; there are communities and, although it is hard to settle in and succeed, perseverance is the key. I was unhappy doing a job I did not want to do and having money so is having the freedom to look for something better and being less-well-off any worse?! London, unfortunately, amplifies things like stress and depression but I am quite close to the BBC and there are loads of chances. Getting them is the main problem and it is really tough doing what you want to do. I think people can accomplish their dreams but you need to take a leap now and then and accept the fact you might have to struggle in terms of finance and health. I know my ambition regarding a BBC Radio 6 Music slot is a few years off but the only way to get there is keep doing what I am doing; keep close with musicians and do as much networking as possible.

 PHOTO CREDIT: @bensow/Unsplash

So long as I can keep my head above water – the money I wanted to save for doing my own podcast and travelling might have to go – and can keep focused then that is the main thing. I think, essentially, you just need to have a very clear idea of what you really want to do in life and map a path to get there. For me, I have moved to London and ticked that off. I need to get a role – one of these days, huh?! – that allows me the stability to live up here and, week by week, make steps towards radio and music. I am seeing many others achieve their dreams and that is quite encouraging. One is always going to be pushed and pulled by the harsh realities of life and many people will struggle a lot more than others. I am not making excuses but I have limitations and psychological issues that are a bit of a hold-back and it makes it harder to do as well as other people. The only reason I get up and keep pounding (apart from family, again) is music and doing what I have dreamed about doing for so many years. Anyone else in the same situation and finding it hard to see the light should take heart in the fact they know where they want to end up. Many people in general have no idea of what they want to do and how their life should pan out. If you have a clear goal and idea then you are a lot further along than most. It can suck having to struggle and seeing other succeed and many social media is a bit of an unhelpful curse when we see so many people succeeding and sharing that news. Social media is also a very useful tool and can help you get where you need to so keep that in mind. If you can, like me, make a plan and keep the desire close by then things will be a lot easier. It may take a long time and money to get there; it may be a path littered with setbacks but, if you remain focused you will be able to…

PHOTO CREDIT: @brucemars/Unsplash

GET where you need to go.

INTERVIEW: Izzy Thomas

INTERVIEW:

Izzy Thomas

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TO start this week...

Izzy Thomas has been discussing her new single, Trouble (Pull the Trigger), and what it is about; if we might get some more material soon and the albums that hold a special place in her heart; the artists she grew up listening to.

I wanted to know whether there will be tour dates and how Thomas’ songs come to mind; which artists she’d support if she had the opportunity; which rising artists are worth a look – she ends the interview by selecting a great new song.

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

Hectic as always but can't complain!

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

I am a half-British, half-Iranian recording artist that writes songs with a mixture of Alternative-Pop, along with the soul of Blues but the attitude of Rock.

Trouble (Pull That Trigger) is your new single. What is the tale behind it?

Trouble (Pull the Trigger) is an anthem for anybody who has felt belittled or like an outcast in their life. This song’s about standing up for yourself towards the B.S. that stands in your way! I feel like, especially for women right now, this is a big deal.

Is there going to be more material coming later this year?

Definitely. My next single is getting mastered today. I have visuals and a story for its music video in my head!

Which artists were important to you growing up? Who do you rank as idols?

Michael Jackson, I’d say, was the biggest influence; Queen, vocally and, for her message, Christina Aguilera. Her first Stripped album - where she wrote with the likes of Linda Perry and Alicia Keys - was absolutely amazing. It was so diverse but still represented her.

How do songs come to you? Will you set time aside to write or do you let inspiration hit? 

A bit of both really. I think all songwriters agree that you can put in the work and have a cool song but, when it comes from a particular happening or emotion, then often the song will kinda just fall on your lap.

Do you have a standout memory from your time in music so far?

Last week, I was premiered by Billboard! That was pretty cool. I don’t know...my career is surprising me all the time.

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

Michael Jackson – Bad

Dirty Diana is my favourite song!

Christina Aguilera – Stripped

Honest, real and raw.

Green Day - American Idiot

Very political but for all the right reasons. This sound smacked me in the face when I was a kid. I really got more in to Punk after this.

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

Bishop Briggs is really cool; Lenny Kravitz, someone like that! I'd request Jaffa Cakes on my rider - vegan Jaffa Cakes though!

You campaign for Autism Awareness. What was the reason for getting involved for that charity? 

My brother has Asperger’s syndrome. I think, if a young person like myself was visiting schools and educating young people on what it actually is, my brother would have had a much easier childhood. I would have too.

What advice would you give to new artists coming through?

A lot of voices will give you a lot of different pieces of advice: don’t forget to listen to your voice...and your gut!

Do you think there are going to any tour dates coming up?

Tour, maybe, in a few months. I plan to (definitely) do a few festivals this year. 

How important is performing? Do you prefer it to life in the studio?

I like the freedom of playing live: in the studio everything's a little too perfect and nothing’s spontaneous. Performing is when you get first-hand experience of how your song is going down with the listener. 

 IN THIS PHOTO: KilliT

Are there any new artists you recommend we check out?

KilliT are an awesome new Rock band who are also friends of mine. Donna Missal is cool; Gareth Esson and Finding Kate.

 IN THIS PHOTO: Donna Missal

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

I like to be around my friends and family. I’m easily pleased! It’s important because it keeps me grounded. I love going to this shooting ranch in Camden. We fire at targets and it’s the most fun thing!

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).

Finding Kate - Drowning 

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Follow Izzy Thomas

Official:

https://izzythomas.com/

Twitter:

https://twitter.com/IzzyThomasMusic

Facebook:

https://www.facebook.com/izzythomasofficial/

Instagram:

https://www.instagram.com/izzythomasofficial/

Spotify:

https://open.spotify.com/artist/6vd2Jk4x6BXUtJBybGzuTr?si=sPYtyFsSTx-GGEveN46gDQ

SoundCloud:

https://soundcloud.com/izzy-thomas

FEATURE: Respect: Black, Female and Powerful: A Playlist of Incredible Tracks Through the Decades

FEATURE:

 

 

Respect: Black, Female and Powerful

IN THIS PHOTO: Janet Jackson/PHOTO CREDIT: Warwick Saint for ESSENCE  

A Playlist of Incredible Tracks Through the Decades

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IN my final piece before next week...

 IN THIS PHOTO: Diana Ross & the Supremes in 1965/PHOTO CREDIT: Art Shay Photography

I wanted to celebrate the iconic and new black female artists alike who often get overlooked. The media often puts female artists second and we know how hard it is for women to get their voices heard. There is a long way to go before we see equality in the industry and I do wonder whether enough progress is being made. Not only is there imbalance regarding gender but there is a big issue regarding race. Black artists have never truly gained the respect they warrant and, in 2019, we are still talking about black musicians and whether there will be any change. The Grammys, held recently, showed there is a race issue in music – Hip-Hop and Rap artists not treated as fairly as other genres/artists. I feel black women in music incur the biggest struggle of all. Even though icons like Nina Simone, Aretha Franklin and Beyoncé have inspired generations and provided some of the most powerful music around, their voices are often minor if you look at the way male icons are expressed.

IN THIS PHOTO: Grace Carter/PHOTO CREDIT: Getty Images

By that, I mean the biggest male artists tend to get the main focus and there are so many black female artists who, socially or politically, have helped create change and discussion. Today, there is a fantastic new wave of black female artists who are hungry, incredible passionate and command respect. Because of that, I have assembled a playlist dedicated to the finest black female artists through the ages. If I have missed any then I apologise – suggestions are always welcome… – but I think I have included most. Maybe there will be artists you have never heard from and songs that are fresh to you. At the very least, here is a fascinating and memorable playlist from some of the most powerful female artists…

IN THIS PHOTO: Solange/PHOTO CREDIT: Elisa Tahan

THE music world has seen.

FEATURE: The Vinyl Box: Imagining a New Type of Radio Show

FEATURE:

 

 

The Vinyl Box

PHOTO CREDIT: @clemono2/Unsplash 

Imagining a New Type of Radio Show

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I have been thinking about, for a while, a radio show that would be...

 PHOTO CREDIT: @lensinkmitchel/Unsplash

different to what is out there that allows a blend of music and conversation. There are broadcasts out there that combine interviews with great music but I feel there are few in the mainstream. I have always wanted my own show on BBC Radio 6 Music but, until that happens (optimistic, me!), I have been wondering whether there is a way of bringing music’s full spectrum to people. By that, I mean there is nothing out there right now that looks that broadly at music and unites documentary-type elements.  As it would be called The Vinyl Box, there is an opportunity to dig deep into the crates and play music that a lot of stations would not. By that, I am referring to conventional and mainstream sounds – not venturing into BBC Radio 1-territory but broad so that little is left out – and including everything from film soundtrack/scores to tracks you do not often hear on the radio – including big acts but songs from them that are not usually heard. It is that sense of autonomy that appeals to me; being able to play pretty much anything without being confined to playlists. I have pitched a few features that explore podcasts and radio shows but that desire keeps on burning. I guess BBC Radio 6 Music does have this wide spread but I often find there are times when they could be bolder and, when playing certain acts, the same song keeps coming up – when playing The Beatles, more often than not (for some reason) they play Hey Bulldog.

Putting together a podcast/radio show is expensive business and this would be a once-weekly/monthly thing. The reason for this is the time it will take to compile the music and, where necessary, getting permission from artists. It would be a breakdown between older songs (the majority) and new tracks that work on the cooler side of the dial. I would also want to play new songs that do not usually make their way onto the radio. I am in a position where I get sent lots of music and there are some great tracks that do not often get radio attention. The show would be a great mix of the older and brand-new and, whilst the majority of songs would be classics or better-known, there would be some rare cuts and some new songs that would create this blend. The music is at the heart and I would not want to alienate anyone with the selections. You would get the same sort of songs one might hear on BBC Radio 6 Music or BBC Radio 2 but there would be room for live performances, interview snippets and, as mentioned, songs you do not usually hear on the radio. It would create an experience of shopping at a record shop and picking up classic albums and some of the more left-field and unusual moments. I would want a show that lasts three hours so that it provides enough time to play music.

 PHOTO CREDIT: @arstyy/Unsplash

Two hours would be for the music alone and there would be that eclectic blend. The middle hour would alternate between interviews and documentaries. One edition might feature a well-known figure or artist talking about their favourite records. It would be similar to Desert Island Discs and there would be categories of songs – from the first record ever bought to your favourite Now That’s What I Call Music! The guests would also share their memories of music and upbringing and the music would be wrapped around that. It would be quite a loose discussion and there would be these categories that give the section a sense of structure. On other weeks there would be more of a documentary feel. Maybe we would talk about an album celebrating an anniversary. That would allow the chance for new contributions from fans, archive footage and songs from that record – talking about how it has changed music. Perhaps there would be a documentary about sampling in music or Hip-Hop’s golden age; maybe something about gender issues that would allow music and conversation to clash. In a sense, it is mixing BBC Radio 6 Music and BBC Radio 4; sprinkling in some independent radio and aspects of T.V. and film. There are a lot of podcasts and radio stations out there but very few that have the same identity and sound.

 PHOTO CREDIT: @freestocks/Unsplash

I would want The Vinyl Box to have live performances and that could be the last ten minutes of the show – a brief chat with a band/new artist and a live song to end the show with. As the weeks go by, particular features would come in that give the show its identity and structure. Whether there is a classic vinyl or a section of the show that takes two songs from a particular year and plays them back-to-back; there would be this selection of great songs, features and rare recordings. Most of the tracks, as I say, would be well-known and, in some cases, lesser-heard tracks from big acts. It is exciting to imagine what could come of it and I know many people have their own ideas for shows. I do feel mainstream radio is great but you are often tied to playlists and having a very structured and routine feel. Maybe it is my own tastes coming through but I feel there are artists that get overlooked and songs you rarely hear. It is also important to mix music with a more serious feel. I do feel there are great radio stations that have this balance but you often have to flick between stations to get a complete experience. Every music-lover wants their own show and being able to create their own playlists.

 PHOTO CREDIT: @rolinsndvl/Unsplash

There is a lot of competition out there and choices but there is room for new players. For me, there is this gap that needs to be filled and a genuine call for something that would look and sound like The Vinyl Box. I would hope it’d parlay into something permanent and a move towards my dreams. To me, radio is the most important format around and still holds incredible influence. There are endless options you can choose regarding podcasts and stations so it does make pitching a new idea quite tricky. For me, I would want a professional sound that feels like a big radio station but there is the room for a bit of flexible thinking. I do love stations like BBC Radio 6 Music but yearn for the odd surprise to be thrown in. There are so many great acts that do not get an airing and songs you wish you could hear but rarely do. You get documentaries and features on radio stations but they are often freestanding and not integrated into regular shows. Radio provides this platform to bring incredible new and classic music to people who can have their eyes and minds opened. A radio show/podcast does take money and a lot of effort and it is the financial side of things that is the biggest obstacle. I could raise funds through crowd-sourcing and, for a pilot, that might be the best option. I see The Vinyl Box building and collecting support and, as a demo tape, it is a nice way of transitioning from music journalism to the bigger leagues. It may be a dream right now but, with a bit of time, finance and luck I hope it is something I can get off the ground...

PHOTO CREDIT: @adigold1/Unsplash

VERY soon.

INTERVIEW: SVRCINA

INTERVIEW:

SVRCINA

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MY only interview of the weekend is with SVRCINA...

who has been telling me about her new single, Insecure, and filming its amazing video. I ask whether there might be more material coming along and what it was like finding Insecure on Spotify playlists; what Nashville is like as a base and which rising artists we need to watch out for.

SVRCINA discusses her musical process and upbringing; how she unwinds away from music and the albums that mean the most to her – she selects a pretty cool song to end the interview and provides some treasured memories from her career.

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

Oh my heavens, hello! Thank you so much for asking! I’m doing well and my week has been wonderful so far. The weather in Nashville has been a bit cold and rainy but I’ve been cosy working from my apartment, drinking endless amounts of coffee and tackling more administrative aspects. BUT, starting tomorrow, I’ll get to be creative and have writing sessions the rest of the week! I hope your week is off to a spectacular start also!

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

Yes! My name is SVRCINA and I’m an independent, Alternative-Pop artist based in Nashville, TN. Originally from Dearborn, MI, I moved to Nashville in 2010 with my parents at fourteen after signing my first publishing deal. Living and working in Nashville has been a slow and steady journey and the artist I am now is not the artist I thought I would be when I moved...but I’m so grateful for the refining process.

A study abroad trip to China in 2016 really sparked something in me and it led me to start expanding and exploring what collaboration looked/sounded like with creatives in other major music cities around the world, like London and Berlin. The process of traveling and meeting so many new people and experiencing different cultures has really inspired and shaped the music I’ve been creating. It’s been an adventure experimenting with blending Pop and light/ethereal elements with global flavors, merging Nashville with the international music community. 

Insecure is your new single. Is it based on personal experiences? 

So. I confess the song wasn’t initially inspired by a specific experience but, on many occasions, I have related to the overarching themes of being willing to recognize when you’re in an extremely unhealthy relationship and regaining a sense of freedom and independence by establishing personal boundaries. It’s an important song for me because, even as a little girl, I can remember so many instances of wrestling with severe insecurity; trying to please everyone around me to the point of simply not being truthful and feeling totally paralyzed in fear. I found that trying to play the field of ‘people pleasing’ accomplished quite the opposite every single time and, whatever situation I was facing, it always escalated in the wrong direction with all parties involved.  

The confidence expressed in the song isn’t embracing being arrogant but rather advocates being both loving and honest. I don’t think I really grasped that it was possible to be both at the same time but, as I’m learning that it is, I’m also learning that, when necessary, it’s really okay to draw healthy boundaries.

The video looks pretty cool. Was it cool working on that?

It was such an awesome experience! I am in total awe and admiration of Bree Marie Fish and her crew for her amazing creativity for this video. We had a brainstorming session with Bree and my manager and team at Resin8 Music, Wendy Duffy and Emma Smith. We really dove in and talked through the core message of the song and what would aesthetically feel authentic. Bree’s concept sparked from the themes of recognizing when a relationship is unhealthy and exercising the freedom to establish personal boundaries. We also talked through the project as a whole and certain goals we are trying to accomplish visually, combining ethereal and sophisticated elements with a global feel wherever possible.

Creating a music video is new territory for me, so it was majorly helpful to process everything together and really stretch myself to think outside the box in how a universal concept could be expressed in a different, artful way. After our round table discussion, Bree created the video concept and sent our team a treatment and there was no question in our minds that this direction was a super creative way to go. 

What was it like seeing the song promoted by Spotify and featuring on their playlists?

I just went in waves of crying! Haha. I’m definitely a sentimental person and was constantly overwhelmed - knowing how many people are involved - and worked so hard to bring the song to life. As an independent team, everyone was so generous with their creativity and have been relentless advocates. So, to catch a glimmer of Spotify’s support and see it start to immediately resonate felt like the biggest high-five and hug for our entire team. 

Might we see more material coming soon?

Yes! We’re releasing a project, single-by-single, and have some collaborations sprinkled in between! Our next release is a collaboration set for March 1st with Enhanced artist Man Cub. I wrote the topline with a dear friend and collaborator, Michael McEachern, and am super-excited about it. The next single from my project is set for March 29! 

Which artists were important to you growing up? Who do you rank as idols?

Growing up, Christian and Praise and Worship music were foundational for me and I gradually started expanding and fell in love with Country music and then Adult Contemporary and other genres (you could say that I’m an old soul). I would come home from school and practice different songs from artists like Natalie Grant, Brooke Fraser; Rascal Flatts, Faith Hill; Reba, Patsy Cline and Céline Dion. It’s a bit all over the map but, once I moved to Nashville and started working, that’s when my perspective started to shift and even more so in the Pop/Electronic space starting in 2014. I have always been drawn to singers that are super-emotional.

Nashville is where you are from. Is it a great city to get inspired by and find opportunities?

Although I wasn’t born in Nashville, it has truly become my home. The journey of living and working in Nashville has been completely transformative and I can’t overstate how much I’ve learned here and how grateful I am for the community. The city is growing and evolving just as much as the people and it’s been so exciting to have a front row seat to the changes, to watch up and coming artists/producers/writers of all genres succeed and play a role in being creative.

There are so many that I’m completely inspired by and, on the whole, I’ve found the community to be extremely supportive of one-another and openhearted to collaboration!

Do you have a standout memory from your time in music so far?

That’s so tough. I have so many.

But, if I can combine a set of memories, early last year I took a giant leap of faith and spent three months living and working in Berlin, Germany. In that season, my publisher was an arm of Kobalt Music and the Kobalt Berlin team was extremely gracious to pair me with many producers and writers in the local community. I fell so in love with the city, the people and the creative community there.

Everything about that season was so far outside my comfort but it was a pivotal and most refreshing time of creative and personal discovery. And, in that time, the lightbulb went on in so many ways for me and my team and helped us set the course for the artistic direction visually/sonically with all these new releases!

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

Definitely a pretty eclectic mix here but here we go:

Rascal Flatts - Feels Like Today

I confess the song God Bless the Broken Road was the original spark that inspired me to want to be a singer. At eight, I essentially heard the song and saw the music video and somehow determined that singing was something I wanted to do in some form or fashion for the rest of my life. I would come home from school and run down to the basement in our house, turn on the album and practice singing to all the songs for hours. I love the storytelling aspect of Country music and this was my first introduction to the genre. 

Brooke Fraser – Albertine

I don’t even remember who introduced me to this project but I remember buying it when I was twelve (probs my mom buying it; thanks mom!), and it was the first artist I was exposed to that wrote all her own songs. I would listen to the album from top to bottom, over and over again; reading every word in the C.D. lining and enthralled by how beautifully poetic the lyrics were. And, even in my limited understanding of the meaning to most of the songs, I was inspired by the idea of using music as a vehicle to say something meaningful.

Ellie Goulding - Halcyon Days

I have one older brother, Dallas, who’s four-and-a-half years older than me. After he left for college and started working, my mom would always encourage us to not lose touch with each other...but for us to do everything we can to build/strengthen our relationship no matter what direction our lives took. My brother is a true music lover and has such a great ear. He started sending me artists he was discovering and sharing new music became a way we started building a genuine friendship.

I remember this album was one of the first that he shared and I completely fell in love with every single song and even more with the idea that we’d found something to relate to each other. Right around that time, I was also just beginning to explore pop music artistically so this album became a significant reference point. 

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

Great question. There are so many artists I would honestly fall over to support. I feel like I’d probably say someone different in different seasons but a dream would definitely be to support an artist like Clean Bandit. I love their creative approach, infusing global elements and the way they collaborate with other artists. They’re super-inspiring to me and supporting them would be a total slice of heaven.

And, ideally, I’d keep the rider vibe super-low-key but I confess coffee would always be embraced with an open heart (and is very essential to my creative process and overall existence).

What advice would you give to new artists coming through?

I’m learning so much every day and I’ve barely scratched the surface but maybe the first thing that comes to mind is to embrace the slow and steady process of creative exploration, enduring rejection; doing a deeper search for the ‘why’ behind the ‘what’ and seeking true wisdom from those you trust. I learned there are no shortcuts around the process of refinement and, while it can feel excruciatingly slow and painful, growth upon a solid foundation is crucial for longevity. 

I also believe it’s super-important to not allow your heart to be hardened/jaded by disappointment and rejection. Both are part of the process and it will wonders for your level of joy, if you can allow them to build within you character and perseverance and embrace an element of flexibility for your journey to go in maybe a different direction than you thought.

Do you think there are going to any tour dates coming up?

I believe so, yes! We’re planning for an L.P. release show in Nashville sometime mid-May and looking at possibly some potential tour dates in the late May/June realm!

How important is performing? Do you prefer it to life in the studio?

In this season of being an artist, performing is a definitely a newer element to incorporate - but a hugely significant one for me. My manager, Wendy Duffy, and I and our growing team have been spending the last five years really digging into the artist development process and everyone has been so patient and gracious. But now that my project is coming together, I’m so ready to start sharing it in the live setting.

As for preference, I don’t think I have one. I love the creative process. Being able to dig for the best performance in the studio and creating melodies never gets old but then, once it all gets put together, being able to express a song live is totally fulfilling in a different way!

 IN THIS PHOTO: Daniella Mason

Are there any new artists you recommend we check out?

There are so many incredible artists in the Nashville area that are slaying and super-inspiring. To name just a few: Super Duper, Daniella Mason; Sam Tinnesz, Fleurie; SOLARSUNS, Sarah Reeves; Stela Cole, Brigetta and Jon Santana. 

IN THIS PHOTO: Sarah Reeves

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

I do love music so much, so working is definitely not something I dread. But it is important to step away and refresh! I'm a fervent advocate of a quality dinner party. Haha. Probably one of my favorite things in the whole world is wrapping up the day and just sitting at the kitchen table, or sharing a cup of coffee with my mom or family or friends and having quality/deep conversations about life.

Sometimes, I feel like a granny but I really do love sharing stories; hearing/learning about other people’s lives and just chatting - maybe playing a card game or some antique shopping or something delightful like that. And, if it’s super-low-key (as in, I’m by myself), deep cleaning/re-organizing is an extremely relaxing/satisfying option. 

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).

Human - Daniella Mason

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TRACK REVIEW: Leah Nobel - This Pain Will Be Useful

TRACK REVIEW:

 

Leah Nobel

This Pain Will Be Useful

9.4/10

The track, This Pain Will Be Useful, is available via:

https://www.youtube.com/watch?v=2KGZBUOtfM0

ORIGIN:

Nashville, U.S.A.

GENRE:

Folk

The album, Running in Borrowed Shoes, is available via: https://open.spotify.com/album/5Nc565BIGtWxkjs2nUCr3M?si=9NbfOXvmTSCFARe1RyAPZg

RELEASE DATE:

8th February, 2019

__________

MAYBE it is a bit mistimed on my part...

but I am heading to Nashville twice within the same weekend! Whilst I cannot cover the same ground I did with Country artist Maren Morris, I can provide a new spin regarding Leah Nobel. I wanted to talk about the city in general and its variation; bending styles and how her new music is among the most interesting about; concepts for albums and why hers is especially arresting; artists who progress and build from small foundations; diverse talent who can step into different realms and make it work – I will end by seeing where Nobel might head this year. It is rare I get to talk about Nashville so it is not too bad I am back there again. It is a part of the world that is producing some incredible music and we associate it heavily with Country. Whereas Detroit used to be the centre of American music once upon a time I think, more and more, Nashville is shaping up to take its crown. New York and Los Angeles are huge but I think there is something special happening in Nashville. There is a lot of great Country music there but, as with Leah Nobel, there are Folk blends to be found. I have never been to the city – as I explained yesterday – but I am attracted by the richness of the music there and the quality coming through. I always love discovering fresh sounds and Nashville is a lot broader than one would think. Many of its Country artists splice genres together – Nobel is someone who is keen to experiment and not stand still. What strikes me about Nashville is the sense of togetherness and community in Nashville. I associate bigger areas like New York with a certain facelessness and lack of spirit. There are small communities that work together but I see (New York) as daunting and a little disconnected. Is it easy for an artist there to find like-minded people and a group that will support them? Maybe so but it seems like Nashville is a lot more stocked with a warm bunch of people who will support musicians.

I think environment and background can really influence music and dictate what an artist sounds like. If you live in a very busy and packed place then you are going to feel that strain and stress. Maybe the music might have a bit of light but I tend to find there is a correlation between the nature of your backdrop and what you will produce. Nashville is a busy city but there is a lot of beauty and space to be discovered. I do think there is more attention given to New York and Los Angeles and we often overlook Nashville. It is a wonderful climate for music and, as we can hear with Leah Nobel, you cannot define Nashville by a single sound. I will move onto a new subject soon but I wanted to recommend people check out Nashville and the music coming from there at the moment. I do think there is a case to be made for Nashville becoming the centre of American music. I feel the Country music scene is growing and there is this raft of great artists who are mixing genres together and standing out from their peers. In years to come, I envisage the city will continue to recruit musicians and more people will move there. Nashville has some great venues already but more will come through and the most popular there already will survive and grow. I feel Country music needs to address its gender inequality but there are some powerful female artists striking hard. Leah Nobel is someone to keep an eye out for and follow. She has adopted a lot of the elements of Nashville but brings her own shades and personality to the music. I feel she can make a real impact on the city and inspire a new generation coming through. It is exciting discovering these keen artists that have a fresh and wonderful sound at their disposal. It is the way Nobel bends sounds together that thrills me the most.

I will talk about her album, Running in Borrowed Shoes, in a bit but, right now, I wanted to talk about her music and what it contains. There are Folk tinges and suggestions but it is hard to define her in terms of a single genre. Her distinct voice shines through and does not change that much but the music around her changes up and adapts. This is a great balance because we get a singularity but this altering climate. Nobel can put together Folk and Pop together with little bits of Country. It is a heady brew and blend that definitely stays with you. I love all the different elements of the music and how rich it is. This is, as I will explain, apt because Nobel is telling different stories and inhabiting different personas. What amazes me is how accomplished and natural everything sounds. There are too many artists who produce the same thing and they tend to repeat themselves all of the time. Those that offer us something more varied and interesting definitely stand out. Nobel has always worked this way but her latest album is her most expansive and interesting work yet. I love how the instrumentation is not second to the voice. There is a great balance between the voice and composition and one experiences something filmic and gripping in each song. I feel artists do tend to hone their sound too much and you listen to albums and often feel uninvolved. Maybe the songs are too similar and that creates a weariness and predictability. Going forward, I feel Nobel will keep on pressing and bringing new sounds into what she does. I am a fan of the way she works and, in a busy sea of female songwriters, her voice and talent is essential. Is it easy to blend sounds together and make things work? Can it be a risk if you are quite ambitious and varied?

There is something said to being safer and not throwing too much into the mix. I have seen artists who have taken things too far or lost focus. If you do that then it can be hard to come back. Similarly, there are dangers regarding having too narrow a sound and that can create its own problems. I think ambition is great in music but it needs to be teamed with focus and a sense of balance. Nobel manages to put her heart and soul into everything she does but the songs never seem too cluttered or random. Everything has that personality and Nobel sound but there are so many colours and contours that take you by surprise. I mentioned how Nashville is known for its Country music but there is a mentality in the city that wants artists to push things forward and be who they are. Maybe Berlin is the only other city that comes to mind when it comes to that approach. Maybe the German country is bolder regarding sound but both Berlin and Nashville cater to the open-minded and provide music of all different tastes and angles. I do think artists such as Leah Nobel will help bring more people to Nashville and urge new artists to be ambitious with their music. Running in Borrowed Shoes has to be eclectic but it would have been easy for Nobel to lose herself or fail. It is a big and impressive album but she holds everything together wonderfully. Many might be new to genres like Folk and be unsure whether to investigate Leah Nobel. I would say she is one of the more accessible artists and provides these songs that take in so much and appeal to everyone. It is her warm voice and distinct lyrical style that elevates the tones and compositions to dizzying heights. There are not that many artists who have the same skillset as her so, for that reason, I urge people to have a listen and explore her new record fully.

There is something wonderful about Running in Borrowed Shoes. One looks at the title and assumes it relates to a sense of empathy and having to identify with someone else. Rather than walking a mile in someone’s shoes, Nobel has conducted over one-hundred interviews and brought them to her music. I think this is a really great idea. The idea of a ‘concept’ album can make people shudder and recoil but, in many cases, the concept is quite loose or very interesting. I agree concept albums can be a nightmare but Nobel’s endeavour relates to real human beings and their stories. Nobody can object to that and we get these wonderful songs that are more real than anything out there. I do feel a lot of songwriters write about themselves a lot and that can actually drive people away. You tend to find the material is rather focused on love and heartbreak. Not only is this quite depressive but you never get a true sense of who an artist is. A life is about more than relationships and getting your heart broken. We get a fraction of a life represented in music; a side that is very deep and quite revealing. Maybe many feel talking about their upbringing or a specific event is quite limiting and tough but there is not enough variety and challenge in music. I want to listen to a young Pop artist who is tackling something unique or talking about a specific time in their life. Right now, we have this scene that is saturated with the same sort of sounds and themes. I am getting tired hearing the same songs that discuss love or cheating. It is meant to relate to a young demographic but, again, teens are not all about love and relations. They have rich lives and their stories are not being told right now. Leah Nobel’s album subjects might be a bit older, in general, than teenagers but she has drawn tales from all walks of life.

What Running in Borrowed Shoes does is act like this empathetic and open interview series that is translated into music. The singing is from Nobel but she manages to transform these tales into something that is her own. It is hard to turn personal stories into something that resonates musically but she has managed to do it. I do love the range of people she talked to and what come through. It is for that reason you cannot only listen to the one song and leave it at that. I wanted to look at This Pain Will Be Useful as there is a video out and it seems quite fresh. There are ten interesting stories on the album and every one of them has its own gravity and appeal. You might think an album that deals with human experiences and different people might seem to be a bit depressive or lack any sense of connection. Maybe it is hard to empathise with people you do not know and it might be challenging to understand their plight. It is strange to hear an album that is not about the songwriter’s own life but I think this approach will lead others to do something new. I will move on in a bit but I think Leah Nobel has created something that is inspiring and fascinating. These people we do not know get their tales heard and, given the fact she conducted so many interviews, one wonders whether another edition will come out. How often do real and normal people get their voices heard in modern music? There is so much attention around what music should be and how songwriters should compose. The mainstream might still be geared towards the commercial side of things – the same songs that address love and heartache – but there is room for manoeuvre on the outskirts. Leah Nobel is on an upward arc right now but, looking back, she started on modest foundations.

She is signed to Big Yellow Dog Music now but, looking back, she was raised in Arizona. Growing up in Phoenix, she would play open mic nights and acoustic shows in colleges. It seems extraordinary she has grown from this ambitious and keen songwriter to someone who is turning heads in Nashville. Every artist has to start with a slightly less-exciting life and career but Nobel has taken some big steps in a few years. I guess all of those open mic nights and smaller gigs helped when it came to songwriting and her career. You can hear the confidence in her material and, as a live performer, she has grown a lot. She is one of the most striking performers around and her written material and live sets blend. You can tell she picks up a lot from the road and sprinkles it into her songs. Since 2016, Nobel has come a long way. She had a diverse year in 2016. She created an Alt-Pop alter ego, HAEL, as a way to experiment with a beat-centric sound. That persona was featured in adverts and she had numerous T.V. placements – including Grey’s Anatomy. It was around the same time she began working on Running in Borrowed Shoes. I do like the fact Nobel was balancing this more Pop-themed act that was being heard in adverts and T.V. shows and working on an album that was very different. She has always been very busy but I do prefer the sound and flavour we get with the album. I do like Pop music but I think Running in Borrowed Shoes is a more interesting and promising project and one that will captivate so many people. Maybe she will be the first to admit she has achieved an awful lot since the earliest days. Not many artists take such a leap and create so much success for themselves. That is because Leah Nobel is one of those people that takes music by the horns and does not rest.

She is always looking to be different and create something that is unlike anything around. Maybe this is Nashville and the way it urges its artists to be more interesting but it is a blend of her upbringing, her morals and the sounds of Nashville. There are a lot of great female artists around that are not getting the credit they deserve. I am not sure whether Nobel has faced the same issue as Country singers on the radio there: being overlooked in favour of men and seen as a less appealing option. There are issues that need to be corrected but, in general, Nashville has this spirit and flair that inspires musicians to be better and reach further. From the bright-eyed singer from Arizona to the on-the-cusp-of-the-mainstream star right now, it has been a productive and fascinating last few years. I do wonder where she will head from here and what will come next – I shall cover that in the conclusion. I wanted to review Leah Nobel because it affords me the chance to step away from London but also look at an album that takes the listener somewhere special. I like this approach where a songwriter can talk to others and interview them; bring these stories into the music and create something available to all. You do wonder what happened to the people we hear about and what the actual interviews were like. I would be interested to know whether Nobel kept the recordings and they are available to hear. It is fascinating wondering how these conversations went down and why they inspired music. I have not had the time to review the entire album – as I do not review albums – but I have selected one of the ten tracks; the one I liked the most and is a great starting point. Make sure you investigate all the tracks and take the time to digest everything being delivered. Running in Borrowed Shoes is a rich and rewarding album that is very different to anything around. You will be hooked after one listen and it makes me wonder whether there are more stories as-yet-untold from Leah Nobel.

The opening notes of This Pain Will Be Useful are stern acoustic guitar strums that seem to represent a sense of hurt and urgency. Certainly, one feels this tangible force and drive that might be a lost memory or a current pain. I saw the song title and was instantly drawn to ideas around illness and a definite ache. Nobel has said how this pain can be useful; how a seed can grow from a dying tree and blossom into something. We do not hear who the character is – in terms of the inspiration – but it seems like there is tis rather inspiring message. The pain might be emotional or physical but there is never this sense that things are lost and it is useless. Instead, Nobel sings about pain being something constructive that can lead to be better things. We hear of the subject/Nobel liking a song in their lungs and you start to picture this distinct scene. I feel like we are hearing about a woman and someone who might be slightly older. Maybe I am off the mark but that is the sense I got listening to the lyrics. This Pain Will Be Useful keeps a steady pace in terms of the composition and vocal but that means it is easier to capture everything and understand what is being said. That striking guitar sound keeps a certain physicality and heart alive whilst Nobel sings in a very passionate yet soft way. I do wonder who inspired the song and whether their pain was a serious one or something they could recover from. In any case, the message is one of hope and not being defeated by something dark. It seems, whoever we are hearing about, they have been written off and not given a fair chance. They are defiant and determined to make something of themselves. They will rise and take something from that doubt and cynicism. The way Nobel sings it gives the story this very stirring yet compelling tone. She sounds completely committed to the song and like she is singing about herself.

Maybe things have been bad in the past but there is this renewed spirit and direction. Nobel lets her voice swoon and fly and you get a lovely sense of classic singers and a past era. The fact there is little compositional intrusion allows the vocal to shine and tell the story. I do like the pace of the song and the sense of swoon and sway. It gets into the blood and mind and relaxes you. It makes me wonder which person compelled thing song and where they are now. It is clear they have had to tackle a lack of respect and faith and have been maligned. Now, for some reason, there is a sense of inspiration and this new lease of life. This Pain Will Be Useful is a song that will resonate with many people and seem familiar. Many people will have gone through the same experiences and been written off. Instead of letting that pressure get to them, they would have taken a stride and proved people wrong. I get the impression of this older person who has struggled a lot but, at this later stage, managed to make something of themselves. The idea of pain being edifying and useful is one that is not offered explored through song. In terms of tone, there is a little bit of First Aid Kit and Lana Del Rey fused together: a dreaminess and softer voice that has so much grace and allure. We hear about bird singing and brighter skies coming through. I am not sure what has compelled this transformation and betterment but Nobel delivers her words with such conviction, it is almost like she is talking about herself. Nobel sings of songs being sung in cars and parking lots; men making house and all sorts of things. You project these images and scenes and, as I said, there is this cinematic aspect. By the end of the song, you do wonder who this is about and what became of them. I know Leah Nobel has explained some of the songs on Running in Borrowed Shoes and it would be good to know who the subject of This Pain Will Be Useful is. I had to listen back and get another perspective. On the second listen, I was focusing on certain words and trying to piece things together. It is hard to get a clear view of who the person in the song is but Leah Nobel inhabits it herself and makes us curious. Songs that make you dig deeper and wonder about their origins should be celebrated as it is very rare in the modern time. The album is full of these wonderful and interesting songs that all come from interviews and personal tales. I think a lot of modern artists should take this approach to creativity and actually go out and chat with different people. Leah Nobel has shown how deep and intriguing the finished results can be.

Knowing that she conducted so many interviews and met myriad people suggests there might be more to come from her in regards personal stories. Running in Borrowed Shoes is terrific and the fact there is just ten tracks means it is quite tight and focused. You get different blends and angles from each song and a chance to connect with real people – even if we do not know them personally. There has been a lot of love for the album and so many people have related to it. I feel you can only get so much from a record that talks of love and the perspective of a songwriter. It all starts to blend together and is not that different to anything else. Modern music is in danger of becoming this mass of similar-sounding songs that offer nothing new. I love the fact Leah Nobel has done something new and spent time collating interviews with people. It was a time-consuming project and one that would have involved a lot of passion and commitment. I think that is what puts off a lot of artists: the fact they might have to spend time working on something and it would not be instant. I like musicians who can take a different approach and know there is more to music than relationships and personal woes. By turning the lens outwards and bringing other people to the music, Nobel has crafted something that has this unique D.N.A. In years to come, when the subjects are not around, their stories will be preserved for generations to come. That must be rewarding and should inspire other songwriters to do something similar. I wonder whether Leah Nobel is touring soon and will bring these songs to the U.K. It might be expensive to come over here but I am sure there are loads of people who want to hear the songs live and find out more about her. She is a popular artist in the U.S. and I know there is huge demand there. This is good to know and I like the fact that this very special artist has produced something wonderfully original and interesting. Let’s hope this rubs off on other artists and they take guidance from Leah Nobel and...

TAKE the breath away.

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Follow Leah Nobel

Official:

https://www.leahnobel.com/

Twitter:

https://twitter.com/LeahNobel

Facebook:

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Spotify:

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https://www.youtube.com/user/leahNator21

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PHOTOS:

Kelsey Cherry Photography

FEATURE: De La Soul’s 3 Feet High and Rising at Thirty: Why Its Anniversary on 3rd March Will Be a Bittersweet Thing

FEATURE:

 

 

De La Soul’s 3 Feet High and Rising at Thirty

IMAGE CREDIT: Getty Images 

Why Its Anniversary on 3rd March Will Be a Bittersweet Thing

__________

MAYBE I am getting a bit ahead of myself...

 IN THIS PHOTO: De La Soul/PHOTO CREDIT: Getty Images

but there is only eight days until we get to mark De La Soul’s 3 Feet High and Rising’s thirtieth anniversary. I think this year is a big one because we get to celebrate albums like 3 Feet High and Rising: those that came along and made such an impact upon release. I wanted to focus on the album because I remember it when I was a child. I was only five at the time of its introduction but I was amazed by the sheer energy and inventiveness through the album. It is played like a concept album built around a fictional game-show that rolls through the album. There are skits and interjections that take you by surprise; shorter numbers and slightly longer ones. The standout song, The Magic Number, is an instant classic and has a chorus that lodges in the head right away. There are twenty-four songs on the album and it does act like this sort of narrative. There is the general theme of a game-show and this great blend of humour and great rhymes. The album was the introduction from De La Soul and stunned critics. In 1989, Hip-Hop was still defined by a sense of anger and protest. Black Americans were being overlooked and pushed aside and Hip-Hop groups were keen to address this through music. Albums like It Takes a Nation of Millions to Hold Us Back (Public Enemy, 1988) and N.W.A.’s Straight Outta Compton (1988) were fuelled by anger and the need for change.

1988’s Hip-Hop best was defined by artists addressing subjects such as police corruption and social injustice but, rather than being heavy-handed, the music was sophisticated and detailed. There was this central heat and passion but the compositions themselves were being elevated by an array of samples. It is hard to think of any other genre aside from Hip-Hop (Rap) that uses samples in such a way. A few Pop albums have and Electronic acts like DJ Shadow have done it but, when it comes to sampling and opening the vinyl crate, Hip-Hop has always led the charge. We get to mark Beastie Boys’ Paul’s Boutique later in the year – another album overloaded with samples and incredible sounds. De La Soul were not to be outdone when it came to sonic ambition and, when 3 Feet High and Rising came out, people were picking out the samples – there were around two-hundred on the record. The reason (or one of them) why De La Soul’s debut resonated was because of the tones and attitude. Against the grain of a more aggressive and charged style of Hip-Hop, De La Soul arrived with this ‘Daisy Age’ sound that looked for peace, humour and a sense of mischief. Many Hip-Hop faithful attacked De La Soul and felt they betrayed the core.

 IMAGE CREDIT: Getty Images

One of the reasons why the thirtieth anniversary of 3 Feet High and Rising should be marked is because of its style and approach. De La Soul could have followed their peers and produced a work that sounded like Straight Outta Compton or Eric B. & Rakim’s Paid in Full (1987). How many Hip-Hop records today have the same wonder and energy as De La Soul’s debut?! It is a masterpiece of texture, quality and ambition. Skits talked about funny smells (A Little Bit of Soap), sex (De La Orgee) and Potholes in My Lawn. Even if the band did face attacks and protest when they embarked on a national tour, the critical reception was warmer and less judgmental. Contemporaries were kind but retrospective acclaim has been just as warm. AllMusic assessed the album in these terms:

“...Thinly disguised under a layer of humor, their lyrical themes ranged from true love ("Eye Know") to the destructive power of drugs ("Say No Go") to Daisy Age philosophy ("Tread Water") to sex ("Buddy"). Prince Paul (from Stetsasonic) and DJ Pasemaster Mase led the way on the production end, with dozens of samples from all sorts of left-field artists -- including Johnny Cash, the Mad Lads, Steely Dan, Public Enemy, Hall & Oates, and the Turtles. The pair didn't just use those samples as hooks or drumbreaks -- like most hip-hop producers had in the past -- but as split-second fills and in-jokes that made some tracks sound more like DJ records. Even "Potholes on My Lawn," which samples a mouth harp and yodeling (for the chorus, no less), became a big R&B hit. If it was easy to believe the revolution was here from listening to the rapping and production on Public Enemy's It Takes a Nation of Millions to Hold Us Back, with De La Soul the Daisy Age seemed to promise a new era of positivity in hip-hop”.

 IN THIS PHOTO: De La Soul circa 1990/PHOTO CREDIT: Michael Ochs Archives/Getty Images

The sheer genius and originality of De La Soul’s 1989 breakthrough should be given a lot of love as it turns thirty. It should act as a guidance to new artists who want to break away from familiar and tired sounds and embrace a much more experimental and colourful palette. One of the reasons why I think there is a slightly sad reason we mark thirty years of 3 Feet High and Rising is the samples used throughout. A great Pitchfork piece examined the album last year and spoke about De La Soul’s minds being opened to samples:

“What they all heard in it was an unprecedented assemblage of sound. Four years before, Marley Marl had accidentally unlocked the power of the sampler—a technology that allowed time to be captured and manipulated. The sampler vaulted hip-hop out of its inferiority complex. Now it too could meet the sonic ambitions of rock, funk, jazz, and soul. Like their peers, Prince Paul and De La Soul set about using it to build a world.

Along with their Native Tongues peers, they were as generative as sunshine, spawning fertile new scenes around the world, including LA’s True School, the Bay Area’s indie underground, Atlanta’s Dungeon Family, Detroit’s network of Dilla and his acolytes, and subsequent generations of self-identified indie rappers, including Mos Def, Talib Kweli, and Common. More broadly, 3 Feet High and Rising helped secure a new alignment of hardcore street heads with an emerging global audience of fans, the foundation of the soon-to-be-named “hip-hop nation.” Thirty years later, it remains one most influential records of the storied class of 1988-89”.

There are videos and articles dedicated to the samples used on the album’s tracks. It is mind-blowing seeing all these wonderful and disparate sounds being mixed together to create something genuinely fresh and unique. I feel Hip-Hop records of the mid/late-1980s were so revered and acclaimed is because of the way they mixed samples in. I am not saying the albums would lack popularity were it not for the samples but it was a big consideration. Although there are multiple reasons why 3 Feet High and Rising is such a treasure and wonderful work but it also sounds like a relic of the past. De La Soul found themselves in legal trouble as they had not cleared all the samples used on the album – a reason why one cannot find 3 Feet High and Rising on Spotify is because of contract stipulations and a fear of legal reprisals. I have written about sampling in music a few times but I feel we can never return to that golden age of Hip-Hop (1986-1991-ish) where artists could create these musical conversations. Look at all the greatest Hip-Hop albums and you can detect these great snatches and samples adding to the songs. If De La Soul struggled to get clearance back in 1989 and were in trouble for not checking everything off, today there would be this impossible mountain to climb! I love 3 Feet High and Rising because it is stuffed with so many unconnected sounds that, when in the same song, sound right and wonderful.

 IN THIS PHOTO: De La Soul on Long Island in 1989/PHOTO CREDIT: Janette Beckman

I do feel we could make an album like this today but the rules regarding copyright and samples is so tough and uncompromising. If you use samples in music then you are able to have artists conversing and mixing together. New listeners will be intrigued and seek out the original records. At a time when playlists on Spotify dominate and the market is primed at the new and cool, how easy is it for young listeners to discover older sound and riffle through vinyl boxes?! Records like 3 Feet High and Rising introduced me to songs/artists I had never heard before and I was blown away by the notion a single song could be so packed and layered. The Pitchfork article talks about today’s sampling morals:

“Today’s debate over sampling is mostly mind-numbingly narrow, shaped largely by big-money concerns that are ahistorical, anti-cultural, and anti-creative. The current regime rewards the least creative class—lawyers and capitalists—while destroying cultural practices of passing on. Post-hip-hop intellectual property law rests on racialized ideas of originality, and preserves the vampire profits of publishing outfits like Bridgeport Music, that sue sampling producers while preventing artists like George Clinton from sharing their music with next-generation musicians, and large corporations like Warner Brothers that continue to disenfranchise Black genius.

By contrast, the processes of sampling and layering on 3 Feet High and Rising and other hip-hop classics of that era demonstrate the opposite: expansively, giddily democratic—Delacratic, even—values”.

It is clear politicians steal speeches from others and there is a lot of recycling. Why does music have to be so strict and relentless strict when celebrities and politicians can get away with a lack of originality?! There has always been a culture in music of passing down sounds through the ages. A lot of Rock artists of the 1970s – such as Led Zeppelin – took from the Blues and brought them to new generations. Today, we have Pop artists revisiting the 1980s and 1990s and, throughout time, you can hear this family tree being unfurled and blossoming. Musicians can mimic older sounds and genres but things are much trickier when it comes to using original music – getting permission to use another artist’s work. Maybe it was the fact The Turtles sued De La Soul after 3 Feet High and Rising was released – they used four bars of their song, You Showed Me – that led to tougher restrictions and accessibility. I feel it would be near-impossible for a Hip-Hop group or artist to make their own version of 3 Feet High and Rising. De La Soul wanted to challenge people and open their minds; they wanted to create something astonishing and take Hip-Hop in a new direction. Today, one would struggle to get a vinyl copy of the album – it is available expensively but not common your high-street record shops – and you will not get it on Spotify. It is a shame we have this dazzling record that changed Hip-Hop and, if you want to emulate it, it wouldn’t be possible.

Music should be aware of people using samples without permission but we have got to a stage when it is so expensive and hard to use a sample many people are not bothering to even try. Against all the sadness and regret of the past thirty years, we must take away the positives from De La Soul’s debut album. It was a change of direction for Hip-Hop and De La Soul would face violence and offence when they took their music on the road. Critics knew something special had been created and, thirty years later, no other act has produced a debut as staggering and accomplished as 3 Feet High and Rising. I think we should all mark its anniversary and radio stations should play these incredible songs. The fact we cannot get it on streaming sites and it is hard to buy the vinyl should not deter investigation and curiosity. De La Soul changed the Hip-Hop world and brought a rare vein of positivity through. A madcap-yet-hugely-controlled album created comedy and skits; it brought so many different samples together and blew away listeners in 1989. I do hope that, before too long, the music industry looks at the way samples are protected and makes it easier for artists to get permission. If we can see another album like 3 Feet High and Rising arrive then who knows where...

IMAGE CREDIT: Getty Images

MUSIC can head.

FEATURE: A Lone Voice? Why Are Men in Music Not Following The 1975’s Matty Healy in Speaking Out Against Gender Inequality and Misogyny?

FEATURE:

 

 

A Lone Voice?

IN THIS PHOTO: The 1975’s Matty Healy photographed by Louise Haywood-Schiefer  in 2016 for The Big Issue 

Why Are Men in Music Not Following The 1975’s Matty Healy in Speaking Out Against Gender Inequality and Misogyny?

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IT is hard to believe that we are in 2019...

and the conversation regarding women in music has not shifted much. This year’s BRIT Awards was not really as controversial as past events. Where were all the drunken antics and cool speeches? Instead, probably artists fearing their popularity and status, they are a lot safer and more mannered when it comes to their acceptance speeches. I was hoping for something a bit intense and memorable but, alas, that was not to be! There were some good live performances and unexpected winners – who the hell is Tom Walker?! – but the speeches were pretty boring. That all changed when The 1975’s Matty Healy took to the stage. The band won awards on the night but you feel it was more important for Healy to have his say and deliver something important. Rolling Stone reported what occurred:

“The 1975 scored two 2019 Brit Awards, British Group and the highest honor of Album of the Year for A Brief Inquiry Into Online Relationships, on Wednesday. Singer Matty Healy said they were “humbled” when winning the latter, but it was during their acceptance speech for British Group where he addressed a current music hot topic in the wake of the Ryan Adams sexual misconduct allegations.

After giving thanks for the award, he quoted The Guardian‘s Laura Snapes, who wrote a riveting essay that addressed pervasive misogyny in the music industry. “I just want you to listen to me for one sec. Just a couple of sentences that a friend of ours, Laura Snapes said this, and I thought that we should all really, really think about it,” Healy said before quoting Snapes as she described her written response after a misogynistic remark was made about her by Mark Kozelek. “She said that in music, male misogynists acts are examined for nuance and defended as traits of difficult artists. Whilst women and those that call them out are treated as hysterics who don’t understand art”.

 IN THIS PHOTO: Matty Healy captured by GQ in 2015/PHOTO CREDIT: Matt Martin

On Friday, Laura Snapes of The Guardian published an article that was a transcript of her, Matt Healy; D.J. Matt Wilkinson and Christine and the Queens talking about misogyny and sexism in the industry. It is well worth reading the whole article but, in the discussion, Healy was asked about the speech and why he took to the BRITs stage to say what he said:

“Matty Healy: [Wednesday] morning I’d read it. It was such an amazing piece. So then, I suppose I was like, what do I say? I’m not doing anything like that to be a woke king, or to earn brownie points, it’s just that it was the best thing that I’d read. It didn’t read to me as an opinion, it read to me as a truth. It was all I was thinking about that day, so I just thought that everybody else should think about it. Laura had said it better than I think I ever could, and I think it’s important that we hear a woman’s voice over a man’s voice. It felt like the right thing to do. So thank you so much for the words”.

It is clear Snapes’ original essay/article made an impression on Matty Healy and one hopes the conversation continues. It is interesting the discussion happened and allowed Laura Snapes and Matty Healy to be in the same room since the BRIT Awards. There was a lot of interesting points raised and Christine and the Queens’ Héloïse Letissier discussed her experiences and how there needs to be changes.

 IN THIS PHOTO: Journalist Laura Snapes has shared her experiences of misogyny and wrote an article about it in 2015 that inspired Matty Healy to speak out at this year’s BRIT Awards/PHOTO CREDIT: Eye Magazine

Look at what has happened over the past few weeks and we can see there is a problem. In regards how women are treated by big stars, we have seen R. Kelly charged with various sexual assaults; Michael Jackson has been tarred in a new documentary, Leaving Neverland, and Ryan Adams has been accused of inappropriate behaviour and sexual misconduct by several women. The music industry has always had a problem with men and how they see themselves. It is a decades-old issue that has not really improved a great deal. Gone are the days of big Rock artists having groupies and showing incredible disrespect to women. Maybe the culture has shifted since the 1960s and 1970s but there is still something rotten in the marrow of music. The recent allegations and high-profile incidences of male artists being accused and seen in a different light should give everyone pause for thought. Laura Snapes has said that, whilst there are small improvements coming through – festivals pledging a gender-balance by 2022 – there is still a hell of a long way to go. There is no guarantee festivals will book more women to headline and one need only look in studios and boardrooms and the gender balance has not really changed. Most of the big bosses in music are men and this means decisions regarding gender equality are not really being made. I do wonder, in terms of inequality, there has been a shift. Maybe certain corners have become more equal but, in the larger sense, I think there is a huge gap.

 PHOTO CREDIT: @melanie_sophie/Unsplash

Not only is there huge gender inequality still but one needs to look at how female artists are viewed and why male artists are allowed to slide. I think one of Laura Snapes’ points was that men in power can go off the rails and act however they want and women are seen as divas. It seems there is this acceptance of men being crudely and arrogantly and being seen as gods and icons. Women who have worked tirelessly and created countless brilliant moments are not being given the same respect and seen as special. Think about all the fantastic female artists through time and how they are paired against the male icons. Do we hear anyone talk as passionately about Joni Mitchell as we do, say, someone like Liam Gallagher?! That was a random comparison but the former is one of the greatest songwriters ever and does not get the same sort of praise as Gallagher – someone who has caused controversy and been excused a lot during his career. There are endless examples of great female artists seen as minor and meagre and the men boosted, idolised and seen as legends. It takes me back to the root of the Matty Healy speech and this piece: the 2015 article from Laura Snapes where she shared a shocking experience:

“You think you’re the only person who wants to get a face-to-face interview with me? Get in line. I’m the best person you never met and one day, if you ever meet me, you’ll probably want to have my baby.”

IN THIS PHOTO: Mark Kozelek/PHOTO CREDIT: Getty Images 

That’s Mark Kozelek, via email, which is the way he chooses to conduct his interviews (“So I don’t get quoted with words like ‘dunno’,” he told Uncut last year, explaining his refusal to meet interviewers in person). He was – via his PR – replying to my questions about Universal Themes, his new album under the name Sun Kil Moon. Three weeks ago, I had tried to arrange a face-to-face meeting for this piece. As expected, the answer was a polite no: “He’s too scattered and distracted on tour to conduct an in-person interview and he will have to pass, but he said to tell you thank you for asking.”

Last Monday (1 June), Sun Kil Moon played at the Barbican in London. During the encore, Kozelek introduced a snippet of a new song he had apparently been writing. I wasn’t there, but a friend/colleague was, and phoned me after the gig. I’ve since heard the audio and it made me feel sick. “There’s this girl named Laura Snapes, she’s a journalist. She’s out to do a story on me, has been contacting a lot of people that know me,” he told the sold-out, 1,900-capacity room. Then he started repeating the line: “Laura Snapes totally wants to fuck me / get in line, bitch … Laura Snapes totally wants to have my babies.” The audience clapped and cheered. He played another song, then said he’d only been kidding around before: I was “cute”, “sweet”, “a good kid”. “She’s written some nice things about me.” Then he sang it a few more times before chiding himself. “Better stop before I make Pitchfork headlines for myself again”.

 

You can do your own research around misogyny in the music industry and there will be a lot of case studies, interviews and examples of women being abused, discriminated against or treated the same way as Laura Snapes was. It is hard to say just how deep the problem goes and how many women have not yet shared their experiences. The reason Matty Healy was commended was the fact very few men in the music industry are speaking out and raising awareness. Men should not be patted on the backs and congratulated for highlighting what is happening: their motives should be pure and honest: to ensure there is a conversation and a change occurs. Some might say it has taken a long time for anyone to come to the stage and make a big step but the fact that it has happened makes me wonder whether this will be the end. The more cases of misogyny and discrimination we see in the industry, the more it makes me wonder whether women are fighting on their own. Maybe male artists and figures feel they need to have experienced misogyny to understand what is happening and make a genuine case. One does not need to have gone through anything awful to know how bad things are in music and we do need to take some action. Snapes penned her story but she knows there is something rotten happening in music.

 PHOTO CREDIT: @ricardomancia_/Unsplash

It would be disingenuous if artists spoke out because they had seen the lead of The 1975 call out men and ask for change. It would be good to hear more voices emerging but it needs to happen for the right reasons. It is all well and good wanting to support Healy and the women who have had to face such horror from men in music but there needs to be a very real and substantial improvement. I wonder why other men at the BRIT Awards did not make reference to what has been happening lately regarding artists such as R. Kelly and Ryan Adams; the general sense of unease and the fact women are not as respect and regarded as men. The fact was that this year’s BRITs was a case of minor evolution with no real improvement. There were women nominated (and winning) but the majority share still went to the men. If I were an artist on the night, I would have been on the stage and would have called for togetherness and a dialogue to open up. The fact is men are not coming together and speaking about misogyny and sexism in music. Those guilty of overlooking women and, in a sense, asking them to calm down and stay quiet are not talking and being addressed. The lack of male artists speaking about misogyny in music makes me worried a bit. There is not no opportunities arrive and it is very hard to say anything.

 PHOTO CREDIT: @bobby_hendry/Unsplash

There are award ceremonies and interviews; there are songs and multiple avenues where men in music can have their voice heard. I understand there is a slight fear of a record label or fans not getting behind them but that would be ridiculous. If a male artist was to attack a female artist and slag them off in the press then that would be a different matter. It is commendable to spotlight what is going on and how we keep seeing examples of women in music having to suffer. Women who call out misogynists are seen as hysterical and over-reacting but men, when accused, defend themselves as difficult and troubled artists. There is no excuse to ignore women and write them off; there is no reason to defend men and give them an excuse. I think there is this fear (from men) that they do not need to speak out because they are not being attacked and subjected to misogyny. It might be the same as addressing and tackling sexism: men are not subjected to it so why bother speaking out?! There is a lot of apathy and ignorance and Healy’s BRITs speech has, I hope, opened a door and inspired other artists to do something. I am not holding my breath but I would like to see a lot more men taking responsibility and challenging their peers who make the news for the wrong reason.

 PHOTO CREDIT: @jorgeflores/Unsplash

 I am glad Matty Healy took a rare opportunity to broadcast words of inspiration to a big audience – inspired and motivated by the article from Laura Snapes. The longer things go on, the more we are seeing male musicians accused of sexual assault and inappropriateness. They are often defended and their behaviour seen as part of being a complex artist. A lot of the women who accuse them are either not believed or discredited. Women in music are helping to change things but there needs to be a lot more involvement from men. The misogyny I am talking about is confined to a small number of musicians and people in the industry but that does not mean only women should do something about it. There is a long way to go before misogyny is eliminated and there is gender equality. If articles from Laura Snapes, speeches from Matty Healy and cases of popular male artists being shames are not enough for people to be worried and want to do something about things then I am not sure what will! Even is a male musician is not guilty of being a misogynist then that does not mean they should remain silent and passive. This problem is a burden we all have and, the more voices that come together and the louder we shout, the quicker we will see genuine change. At the end of the day, my biggest hope is that, when male artists have a chance to make a speech or are given time to say something, they use the opportunity to say...

IMAGE CREDIT: Independent Women's Forum

SOMETHING important.

FEATURE: The March Prelude: Terrific Albums You Need to Own Next Month

FEATURE:

 

The March Prelude

IN THIS PHOTO: Lucy Rose/PHOTO CREDIT: Harry Wade/Press   

Terrific Albums You Need to Own Next Month

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THIS year has already produced…

IN THIS PHOTO: Dido/PHOTO CREDIT: Getty Images

some sensational albums and, right now, I do not see this rate of excellence slowing down. I am keen to explore what is coming up next month and what is worth owning. Everyone has their own tastes and opinions but I think this assorted list represents the very best from March. Make sure you give them an investigation and, if you have a bit of money aside, shell out on these terrific albums. From some exciting Pop records to something more contemplative and different, there is plenty to choose from! As the weather hots up and the days improve, more and more people will be looking for music to soundtrack their days. I am seeking some pearl albums for March and feel that this rundown should give you…

 IN THIS PHOTO: Gang of Four/PHOTO CREDIT: Getty Images

PLENTY of motivation.  

ALL ALBUM COVERS: Getty Images/Spotify/PHOTOS: Getty Images/Artists

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Little Simz – Grey Area

Release Date: 1st March, 2019

Label: AGE 101

Buy: https://www.normanrecords.com/records/174530-little-simz-grey-area

Follow: https://twitter.com/LittleSimz

Choice Tracks: Offence/Selfish/Offence

Standout Cut: Boss

Self Esteem – Compliments Please

Release Date: 1st March, 2019

Label: Fiction

Buy: https://www.roughtrade.com/gb/music/self-esteem-compliments-please

Follow: https://twitter.com/SELFESTEEM___

Review:

“Brewing a concoction of high octane, R&B infused pop, tracks such as "Monster" and "Actors" bring an essence of unrestrained glee in both their compositions and Taylor’s soaring and emotive vocal. That aforementioned love of hip hop - most specifically Kanyé West’s My Beautiful Dark Twisted Fantasy and inflections of autotune - is entirely palpable on "In Time", pounding beats reinforcing a chanted mantra of assurance amidst gospel euphoria.

In her first outing as a solo artist, Taylor surmises an important lesson for us all: that of prioritising your own path and growth in spite of others trying to pull you astray. “Only now am I feeling like it's alright to be ambitious or have ideas. It's blowing my mind,” she stated recently. “I was so girly, so submissive. And it's time to just be true. No one's gonna fuck with me now” - The Line of Best Fit

Choice Tracks: The Best/Girl Crush/Wrestling

Standout Cut: Rollout

The Japanese House – Good at Falling

Release Date: 1st March, 2019

Label: Dirty Hit

Buy: https://driftrecords.com/products/the-japanese-house-good-at-falling

Follow: https://twitter.com/Japanesehouse

Review:

““Good At Falling” is an excellent debut – Bain has an ability to create labyrinth melodies with lush dream pop and brooding electronica. She may have gone through a tumultuous journey with the making of this album but the process has strengthened her songwriting talent and the result is an album that draws from Bain’s life more than ever before – its honest, personal, vulnerable and absolutely gorgeous. As Bain stated in a recent interview with DIY magazine: “I guess I hope they feel how I felt when I was writing those songs in some way. I hope that people feel connected, that’s what I hope most. I think that’s as much as I can hope for” – XS Noise

Choice Tracks: Maybe You’re the Reason/Follow My Girl/Worms

Standout Cut: Lilo

Sigrid – Sucker Punch

Release Date: 8th March, 2019

Label: Universal Island Records

Buy: https://store.thisissigrid.com/*/Music/Sucker-Punch-Album-Signed-CD-Cassette-Bundle/60L50LEQ000

Follow: https://twitter.com/thisissigrid

Review:

“When the forecasted demise eventually occurs, you won’t find her bleary-eyed and gorging on pizza. Instead, there’s an optimistic spin on heartache – “Wallowing in it would be such a waste,” she declares through a wry smile on the marvellously upbeat break-up anthem, Don’t Feel Like Crying.

Aside from matters of the heart, Sigrid’s infectious positive attitude is front and centre. Lead single Don’t Kill My Vibe is a biting address that will have you rooting for her from the offset. “You speak to me like a child,” she sings over staggered piano chords before vehemently asserting; “I wanted you to know that you don’t belong here”.

Sucker Punch solidifies Sigrid’s status as today’s most exciting and relatable artist. Her ascent to superstardom seems guaranteed” – The Irish Times

Choice Tracks: Basic/Strangers/Sight of You

Standout Cut: Sucker Punch

Amanda Palmer – There Will Be No Intermission

Release Date: 8th March, 2019

Label: Cooking Vinyl Limited

Buy: https://nointermission.amandapalmer.net/

Follow: https://twitter.com/amandapalmer

Choice Tracks: The Ride/There Will Be No Intermission/Voicemail for Jill

Standout Cut: Drowning in the Sound

Dido – Still on My Mind

Release Date: 8th March, 2019

Label: BMG Rights Management (UK) Ltd

Buy: https://www.amazon.co.uk/Still-My-Mind-Dido/dp/B07K2PC7HG

Follow: https://twitter.com/didoofficial

Choice Tracks: Give You Up/Some Kind of Love/Friends

Standout Cut: Hurricanes

Benjamin Francis Leftwich – Gratitude

Release Date: 15th March, 2019

Label: Dirty Hit

Buy: http://www.benjaminfrancisleftwich.com/

Follow: https://twitter.com/BenLeftwich

Choice Tracks: Sometimes/Miracle Sister/The Mess We Make

Standout Cut: Gratitude

Jenny Lewis – On the Line

Release Date: 22nd March, 2019

Label: Warner Bros. Records

Buy: https://shop.jennylewis.com/

Follow: https://twitter.com/jennylewis

Choice Tracks: Heads Gonna Roll/Hollywood Lawn/On the Lawn

Standout Cut: Red Bull & Hennessy

Lucy Rose – No Words Left

Release Date: 22nd March, 2019

Label: Arts & Crafts

Buy: https://www.lucyrosemusic.com/products/no-words-left-cd-signed-2

Follow: https://twitter.com/lucyrosemusic

Choice Tracks: Treat Me Like a Woman/Just a Moment/Save Me From Your Kindness

Standout Cut: Conversation

Billie Eilish – when we fall asleep, where do we go?

Release Date: 29th March, 2019

Labels: Darkroom/Interscope

Buy: https://itunes.apple.com/us/album/when-we-all-fall-asleep-where-do-we-go/1450695723

Follow: https://twitter.com/billieeilish

Choice Tracks: bad guy/when the party’s over/bury a friend

Standout Cut: you should see me in a crown

Gang of Four – Happy Now

Release Date: 29th March, 2019

Label: PLEDGEMUSIC

Buy: https://www.pledgemusic.com/projects/gang-of-four-happy-now

Follow: https://twitter.com/gangof4official

Choice Tracks: Alpha/Ivanka – My Name’s on It/White Lies

Standout Cut: Paper Thin

White Denim – Side Effects

Release Date: 29th March, 2019

Label: City Slang

Buy: https://cityslang.com/releases/white-denim-side-effects

Follow: https://twitter.com/whitedenimmusic

Choice Tracks: NY Money/Out of Doors/So Emotional

Standout Cut: Shanalala

FEATURE: The February Playlist: Vol. 4: Diviner and the Rocket Man

FEATURE:

 

The February Playlist

IN THIS PHOTO: Hayden Thorpe/PHOTO CREDIT: Phil Sharp 

Vol. 4: Diviner and the Rocket Man

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IT is not often…

IN THIS PHOTO: Kate Bush/PHOTO CREDIT: Trevor Leighton

I get to assemble a playlist that has new stuff from Hayden Thorpe AND Kate Bush. To be fair, the Kate Bush track is a cover of Elton John’s Rocket Man – its video has been sort of hidden until now. Dido, Dave and Vampire Weekend are in the collection that, as you can see, promises to be pretty eclectic. I am excited to see what sort of sounds are coming through but, until then, you have to admit that this week has been a bit busy! Cat Burns, Robyn and Mike & the Mechanics are also included and there is guaranteed to be something in the playlist to get you moving and involved! Take a good look at the assembled songs and I hope you will find enough to…

IN THIS PHOTO: Cat Burns

PUT a smile on your face.  

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

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 PHOTO CREDIT: Oliver Chanarin

Hayden Thorpe – Diviner

PHOTO CREDIT: Trinity Mirror/Mirrorpix/Alamy

Kate Bush – Rocket Man

Dido – Give You Up

Dave – Black

Chromatics – Time Rider

Benjamin Francis Leftwich – The Mess We Make

Cat Burns – Cheater

Robyn – Send to Robyn Immediately

Ellie Goulding – Do You Remember

Weezer – High as a Kite

Stephen Malkmus - Rushing the Acid Frat

P!nk – Walk Me Home

Wallows – Scrawny

Vampire Weekend – Harmony Hall 

IN THIS PHOTO: Perrie of Little Mix

Little Mix (ft. Ty Dolla $ign) - Think About Us 

Maren Morris – The Bones

PHOTO CREDIT: Shayan Asgharnia

Adam Lambert – Feel Something

Circa Waves – Time Won’t Change Me

PHOTO CREDIT: Alex Reside

John Mayer – I Guess I Just Feel Like

IN THIS PHOTO: Cadet

Rapman - Letter to Cadet (Cadet Tribute)

Lady Shaynah – Confusion

Marla Saint – Bad Habits

Mike & the Mechanics – Out of the Blue

Tom Walker – Not Giving In

Rob Thomas – One Less Day (Dying Young)

Anna Clendening – Bend & Break

Rhys Lewis – Hold on to Happiness

Blithe – Don’t Blink

Kehlani – Feels

TRACK REVIEW: Maren Morris - The Bones

TRACK REVIEW:

 

Maren Morris

PHOTO CREDIT: Jamie Nelson/Courtesy of Sony Music Nashville

The Bones

9.5/10

The track, The Bones, is available via:

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

ORIGIN:

Nashville, U.S.A.

GENRE:

Country

RELEASE DATE:

22nd February, 2019

The album, Girl, is released on 8th March, 2019. Pre-order here

__________

THE advantage of doing a review of someone...

 PHOTO CREDIT: @papermagazine

who is pretty well-known is that you have a lot of information to go off of! I will speak about Maren Morris and her music in a bit but, before then, I wanted to address Country music and why we do not hear it so much here; why there is a gender imbalance in the U.S. and how radio is to blame; why Morris is someone who is capable of bringing Country to the masses; how we are all a bit reserved about music and not as adventurous as we should be; bringing a bit more kick and excitement into music – I will end by looking at Maren Morris and how she will develop this year. Many of us tend to avoid Country music because we feel it is quite cheesy and does not hold a lot of weight. Maybe we have the impression of artists like Billy Ray Cyrus and those sorts of acts. Even if you do not like performers such as Dolly Parton, you have to admit that she – and peers like Tammy Wynette – transformed the scene and have made a huge mark. Modern artists are not quite as limited as Country stars of the past. I do not overly-love what came before and feel there was a tendency towards the bleeding heart and twanging guitars. I like Country music that is more energised and optimistic and, as such, you have to tread carefully through the archives. There are, I admit, a lot of cheesy older artists who one might be wise to avoid but today there is a new breed adding something new to Country. I have a lot of respect for the Country legends but I think the genre is more accessible today. Artists such as Maren Morris are splicing together Pop and Country and creating these polished and memorable songs. Look at success stories like Kacey Musgraves – who recently scored big at the Grammys – and we cannot deny Country music today is a different affair. Despite the fact it is popular in the U.S., we do not have the same scene here.

There are Country acts in the U.K. but nothing like you get in America. Whereas U.S. Country fuses genres and is quite ambitious, I tend to find we are more limited here and our brand is not as potent. We think of Country and Nashville, Tennessee comes to mind. It is the Mecca of Country and provides so much history and inspiration. The city is teeming with great venues, players and beautiful visions and, as such, artists feel completely relaxed and influenced there. This supportive network of Country artists means the genre is growing and attracting new musicians by the day. The fact Country is more varied and accessible now is enticing some from Pop and, if anything, showing how much stronger Country is. I feel artists such as Kacey Musgraves and Maren Morris are able to create sharper, more nuanced songs that do not rely on processed vocals, the same beats and tired lyrical suggestions. In this country, we are inspired by Country for sure but I could not really name many successful Country artists. We do not have anywhere like Nashville here and it seems rather tragic in comparison. I could not even think what our equivalent would be and we do not have the same venues and labels that can support artists. Our Country scene is more underground and, whilst it has some interesting acts, is nothing like the U.S. I do wonder why and I think we still have this misconception about the genre. Many have impressions of cowboys and line dancing; something really awful and a type of music that is reserved to true fans. Maybe we need to embrace U.S. sounds and encourage more of our new musicians to embrace Country. We do Pop music very well but Country is still pushed to the outskirts. Many claim we have a great Country culture here but I would disagree. I do think we have a long way and need to change opinions regarding the genre. Maren Morris and her peers are showing what can come from Country and how good it can really be.

Although there is some great Country music in the U.S., there is a big problem regarding radio and playing female artists. The problem is that many Country stations do not play female artists back to back as they feel listeners would rebel and complain. The explanation is that male artists are more appealing and popular with the listenership. There have been calls to change this policy and play more female artists on Country stations. Last year, Rolling Stone provided some alarming stats:

“In radio’s top 50 for the week of Oct. 1, as compiled by industry newsletter Country Aircheck, only six songs are from women. Were it not for Maren Morris’ slow-rising “Rich” finally edging up to No. 9, the top 10 would be devoid of female artists entirely. Elsewhere Carly Pearce comes in at No. 13, followed by Sugarland (17), Kelsea Ballerini (28), Danielle Bradbery (a duet with Thomas Rhett at No. 46) and a just-released Carrie Underwood single (47)”.

Morris is one of the artists making up for a shortfall - but consider how musicians such as Kacey Musgraves and Carrie Underwood are succeeding and their tales are not being told. It is alarming seeing how ignorant Country stations are in the U.S. and why they constantly ignore female artists. There is no shortage of talent out there so one wonders why women are being overlooked. In the Rolling Stone article, more information came to light:

“RJ Curtis, longtime board member of Nashville’s Country Radio Broadcasters, counters, “It’s an easy thing to say, that women only want to hear hot-looking guys and not other women, but research people I’ve talked to say there’s no data that supports that.” He agrees that most stations won’t play two female artists in a row, but in his view, the reason is that they’re so scarce, programmers are forced to spread them around. “I know women would hate being referred to as inventory, but we don’t have enough female artist inventory coming down the pipeline, and I don’t think country radio is responsible for that,” Curtis says, defending radio against its bad rap in the ongoing controversy. He estimates that 20% to 25% of the adds at radio in a given week are women performers, “and if you go look at the artist rosters at country labels, it’s very proportionate.”

 PHOTO CREDIT: @papermagazine 

There is this vicious cycle where many labels are not signing women because they feel they will not get played. I feel like radio is the most influential source and is creating this issue. Many listeners prefer male artists and feel like females do not have much to say. Maybe this is born from an age-old sense of discrimination and narrowness. There have been some iconic Country female artists but the story is different today. There is talent to be found, for sure, but they are not being given a platform and a voice. The chart positions, as the article continues, is quite worrying:

But the percentage of women achieving half-decent chart positions is well below 20% — and Curtis faults some programmers for allowing records by female stars to stall out, like Ballerini’s underperforming “I Hate Love Songs,” which he was sure would be a smash. He thinks Morris also merits more play. “Maren had one of the biggest records of the year. Unfortunately, it was on Top 40 [‘The Middle,’ with Zedd and Grey]. Maren has had to struggle getting traction, and other formats are taking our artists. Now you have Kelsea making a [pop] record with the Chainsmokers, and I feel like country radio should take a look at that and go, wait a minute”.

We do need to change things because, as it stands, radio bosses and labels are stubborn and refusing to budge. There is an outcry and call for change but these calls are not being heeded at the moment. I wonder whether it is even possible to break the cycle and appeal to the bosses and D.J.s who continue to play men above women. Even the major success of artists like Maren Morris has not turned the tide. She, along with her great peers, is helping strike a conversation and raise more awareness. It seems the only way we will get change is if artists like Morris continue to grow and, before long, there will be no choice but to feature them more.

The article above mentioned Morris and how she is one of the most successful artists in Country. Her chart success and great music is striking a chord and bringing Country music to more people. In this interview Morris claimed she is not really a Pop star and is more Country. The fact is that Morris is fusing Pop with Country and maybe that is a reason why she is able to resonate and succeed. I am not suggesting the Country scene, at its purest, is for the die-hards and true fans but a lot of the more successful artists of the moment are uniting genres together. I do feel like Maren Morris has this determination and knowledge of the scene. She is savvy and smart; she has duetted with Alicia Keys and knows the business inside out. In fact, when Morris moved to Nashville and started writing songs for others, she got a note sent back – from a label or promoter – saying that the song was uniquely her. It was hard, maybe, for Morris to write for someone else because she had this singular talent and sense of who she was. Morris was listening to the radio and hearing male-focused songs talking about love in a very staid and cliché way. She was going to address love in its reality: concentrating on the ugly moments and the heartaches. Artists such as Taylor Swift moved from Country to mainstream Pop – one feels that might be a reaction to the radio stations not playing many Country women. Morris is comfortable playing Country and, whilst she does inject Pop into the brew, she looks up to her female peers and the icons of the past. She wants to change attitudes and the culture and I feel she can create a genuine revolution.

Think about the scene right now and there are so many interesting Country songs/albums around. I feel the women are producing more interesting and realistic music. Morris is one who likes to talk about love and relationships in a very personal and real way: many of her male peers are not being as honest or seem to following some rather dull rulebook. Not only is Morris’ determination and talent going to help make a difference but she knows the realities of the current scene. When speaking with Laura Snapes of The Guardian in 2017, Morris discussed the male-heavy ratio and how there is this bias:

“Country remains fairly dude-centric. In 2015, “bro country” reached its peak in a critical mass of male artists for whom a hot date entailed fishing and drinking “Bud” with a girl in tiny denim shorts, romancing her in the aisle of a convenience store, then adjourning to the back of his sweet truck. That summer, prominent radio consultant Keith Hill used a bizarre analogy when he advised stations to avoid playing female artists if they wanted to get ratings. Female artists were “just not the lettuce in our salad”, he said. “The lettuce is Luke Bryan and Blake Shelton, Keith Urban… The tomatoes of our salad are the females.” Inevitably labelled saladgate, “it threw a brighter spotlight on the fact that there are far more limited spots for women than men on country radio playlists,” says leading country critic Jewly Hight. “There’s only room for one woman artist of each ‘type’.”

It’s a dispiriting revelation, but Morris sees a silver lining. “As a woman in country, you’re sort of this rare diamond,” she mocks. Her boyfriend is also a writer-artist. “He’s starting out, and I think it might be harder for guys now because there’s so many of them. You listen to the radio and there’s 10 dudes and they all sound the same, but when the girl comes on, you probably know who it is because it’s so distinct. There are guy artists that instantly get No 1s because someone heard it on the radio and thought it was a bigger artist because they sound so alike”.

Morris is definitely someone who is bringing excitement and personality into music. I feel Nashville and Country music allows more freedom and sense of expression. So much mainstream Pop is guided by labels and market demand. I do wonder how much flexibility artists have and what they can write about. Listen to the way Maren Morris writes and you know she is doing it for herself. She is a success already so can command a sense of independence and trust. I am excited because, unlike so many modern artists, there is a real pop and memorability to be found in her music. One can listen to a track like The Bones and remember it instantly. Every track has a different skin but they are sound distinctly like Maren Morris. I think Pop has a real problem right now regarding its appeal and longevity. How many mainstream Pop songs stand in the mind and sound as good as they did in years past? I do not think there is the sense of ambition and originality there once was and many people are embracing other genres. One of the big problems is a rather processed and downbeat feel to Pop. Morris does write about love in a very earnest way and takes her voice down low but there is this sense of naturalness. She never sound overly-processed and can always bring something positive and exciting to the fold! I do hope Country stations understand that artists like Maren Morris are not going anywhere and they represent the future. Maybe Morris will move more into Pop territory in years to come but I think, right now, she is providing a huge voice to female artists here. Nashville is in her soul and a tattoo she is unwilling to move. She embraces her surroundings and has a definite goal for the future. If you have not heard Morris – and are a bit wary about Country music – then I would encourage you to seek her out and chart her rise.

 PHOTO CREDIT: Alec Kugler

Whether you spell the album Girl in upper-case or not (some do, some do not), there is no debating the sense of boldness and exclamation you can hear throughout. Morris has said how this album is lighter and less angry than her debut. Maybe she was working through transition and relationship pains then but, now, she is embracing something more hopeful. Despite there being a lot of excitement on her album, I wanted to focus on a song that starts off a bit calmer and more emotional. The heroine talks about being in the “home stretch” of a bad run and she can see the end. The song starts with a delicate fleck of electric guitar; a riparian trickle that beckons images of home, the calm scenery and something quite tender. Morris delivers her words with syncopation and takes breaths between each line. She portrays a sense of passion and emotion that makes the song sound instantly real and pure. The chorus is undeniably the work of a modern Country artist like Morris. Maybe not as electric as something from Kacey Musgraves’ Golden Hour; The Bones’ chorus has that hook, kick and instantly sense of memorability. If the bones are good then nothing else matters. Things can go wrong – including, as she sings, “the glass could shatter” – but it does not matter. There is this motif as the heart being a home. Morris sings about the paint peeling and glass breaking. So long as the ‘bones’ – maybe the structure or foundations – are strong then she can withstand anything. One gets the impression these images reflect hard times and outside forces – the paint peeling maybe acting as a metaphor for there being arguments and harder nights. Morris sings with such passion and skill that every word and line stands out and settles in the mind. Morris is an artist with her own spirit but she makes sure her lyrics are accessible and can be translated easily. The idea of using weather as a metaphor is nothing that new.

Look back through music’s past and we hear of storms acting like break-ups; the rain being tears and the winds blowing like changing fate and circumstance. Morris, here, knows she and her man can tackle any storm and the house will not topple over against the wind and the storm – so long as the bones are good. Morris is backed by simple beats and the main focus is her voice. Many artists crowd music with electronics and too much production. Here, we get something that is fairly polished but has a sense of space and flexibility. Morris is free to interpret and stretch her emotional range; take her voice where the song goes and change her dynamic when the mood calls for it. There is a sense of structure and stability about the song that makes it such an instant and familiar thing. The Bones is one of the tracks on Girl that might not get the attention it warrants but I felt it needed some focus. What I love about it is the sense of calm and control in Morris’ tones matched against lyrics that promulgate strong weather and a couple who have messed things up. This relationship has swayed and been threatened but they are still standing. Written with Jimmy Robbins and Laura Veltz, Morris packs a lot of big imagery into the song. After the storms threatening their house, wolves have been at the door baying for blood. Whether a threat from other lovers or outside climates challenging this love, there has been this strength that has vanquished the mightiest of foes. There are moments of sensuality and we get some multi-tracked vocals; the chorus strikes and keeps coming back up – this indelible pleasure that is the mainstay and mandate of the song. Morris and her companion are tackling every negative and obstacle and are keen to survive. It is rare to see a love song that has that positive stride and happier façade. Not as bright as some other songs that will appear on Girl, The Bones is a more rich and mature track that does not wag its figure or call another girl out: instead, the anonymous pains and problems are tossed away and there is this steely focus from Morris. I am not sure who her sweetheart is – and whether she is talking about a sexual situation or a friendship – but you get the sense these two have seen a lot and faced some bad times. Whatever happens, so long as their heart and determination (the bones) are strong then nothing else can defeat them. This is a theme that runs through her album: determination and strength against challenging waters. Whether that is sexism or personal pressures, Morris is always open, honest and brave with her music. In a very mixed and divided time, this is just what we need to embrace!

Her album, Girl, is out on 8th March and it is the second album from the Texas-born star. She has progressed since her 2016 debut, Hero, and added new elements to her music. The title of her album, in a way, comes from the observation that a lot of Country songs have the word ‘girl’ in them. In many cases, it is a man talking about a woman and doing so in a very ordinary way. Morris noticed this and wanted to buck the trend. She is a girl – or woman – and wanted to write about girls. There is so much of this spirit and sense of progression in the album. She is currently touring right now and it is a busy time for Morris. When journalists were reviewing her debut, Hero, they noticed how canny and strong the songs were. Regardless of genre, there was fun and hooks to spare; a sense of boldness and an artist who had already found her feet. I have no doubt Girl will get the same sort of love and, judging songs like The Bones, it is going to be a spectacular thing. The record has fourteen tracks and there are some interesting titles in the fold – Gold Love and To Hell & Back stand out! The success of Morris and award s nods to artists like Kacey Musgraves should tell people Country music is really strong right now and women have a crucial role. Listen to the fusions and incredible songs from Maren Morris and Kacey Musgraves and these are two women taking music by the scruff of the neck. There are many more women in Country right now – such as Miranda Lambert and Carrie Underwood – who are, in my opinion, stronger than their male peers. I feel the tide can turn but those who are responsible for making changes are holding back.

Radio stations in the U.S. are still favouring men and we do not really have a solid enough Country scene here to offer some support and needed backup. Maybe it will take longer for equality to occur and it is artists such as Maren Morris who will make this a reality. Ensure you get a copy of Girl when it is released soon as it is not what you’d expect from a typical Country album. Many of us still have cliché impressions and think Country is a rather corny genre. There is so much variation and brilliance to be found and, if you are not a big fan of mainstream Pop but like Pop in general, then new Country music is for you! In a recent interview with Billboard, she was asked about the new album and writing with Greg Kurstin (who has worked for the likes of Beck):

“This album is really about self-acceptance and partner acceptance. The first half of the album is very self-reflective, and it's more about me. Then the second half of the record transitions into me being the counterpart to somebody else. I didn’t have any love songs on Hero, so there are a lot more on this one, and I think that’s been a really beautiful side to being a touring musician: You never see the person, you miss them all the time, and he’s a musician as well, so we’re constantly writing with each other or about each other. A lot of these songs reflect that. He actually wrote a couple of songs on this album with me. I feel like I’ve grown up more in the years since I released that album. And this is the timestamp of that”.

As timestamps go, Girl is a pretty impressive one and I would not be surprised if the album was placed quite high in the albums of the year lists come December. We need to be more aware of Country music and the great female artists who are doing something genuinely exciting and different. Maren Morris is leading her peers and sending out a message to Country music stations: there is nowhere to hide; recognise us now! I hope these calls are heeded and, rather late, women in Country get the respect and attention...

 PHOTO CREDIT: Austin Hargrave

THAT should have come years ago!

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Follow Maren Morris

 PHOTO CREDIT: @papermagazine

Official:

https://www.marenmorris.com/

Twitter:

https://twitter.com/marenmorris

Facebook:

https://www.facebook.com/marenmorris/

Spotify:

https://open.spotify.com/artist/6WY7D3jk8zTrHtmkqqo5GI?si=AjB0-qyfTwSCU-tj4yBqog

YouTube:

https://www.youtube.com/channel/UCDw6bxq6sJOBxcexivmmObA

Instagram:

https://www.instagram.com/marenmorris/

INTERVIEW: Bellah

INTERVIEW:

Bellah

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THIS is definitely the final interview of the week...

and I have been speaking with Bellah about her music and the new track, Never Loved. She reveals its story and discusses the upcoming E.P., Last Train Home. I was curious to know which albums have made the biggest impact on her and whether she prefers the stage or the studio.

Bellah talks about future plans and highlights some rising artists to watch; whether there will be any tour dates and what advice she would provide musicians emerging – she selects a cool song to end the interview with.

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

Hey! I’m great, thank you. My week’s been good too.

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

My name is Bellah. I’m twenty-two, London-born Nigerian; originally from North London but now I reside in Essex. I grew up doing musical theatre and so I developed a love for music and the arts from there. I started writing and creating my own music when I was seventeen and I’ve been working on me and my music since then.

Never Loved is your new single. Is there a story behind it?

I had a weird and frustrating end to a previous relationship and I was looking to him for closure but he wasn’t willing to give me that. So, I had a bunch of unanswered questions and it was infuriating. They say you should write down your feelings apparently and so I started writing diary entries and that did not help one bit. Haha!

So, I guess the song was the closure I needed.

It is from the upcoming E.P. Last Train Home. What sort of themes and experiences do you bring to the tracks?

Last Train Home is literally my thoughts recorded. Every song is different but fits perfectly on the E.P. (It’s actually quite weird). They’re not all love songs - which I thought was needed because I wanted it to be as me as possible - and I don’t think I’m at a stage in life where I can write those and actually mean it.

Which artists were important to you growing up? Who do you rank as idols?

Michael Jackson, Lauryn Hill; Destiny’s Child, Luther Vandross; Usher, Justin Timberlake; Ne-Yo…the list goes on really.

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

The Miseducation of Lauryn Hill – Lauryn Hill; So Far Gone (mixtape) – Drake (I know it’s not an album but O.M.G.) and Off the Wall - Michael Jackson

The Miseducation of Lauryn Hill is self-explanatory: I mean, to me, they all are but that album really showed me what it was to be an open book. That album was incredible.

The So Far Gone mixtape is actually a masterpiece. I was thirteen, singing about things I had no business singing about and I loved every minute of it. Lust for Life, Sooner than Later; Houstatlantavegas - absolutely amazing.

Off the Wall has my favourite song of all time on it - Rock with You. Michael is a genius and this whole album just makes me feel warm.

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

I would love to support H.E.R., Kehlani or Ariana Grande.

And my rider would just be excessive amounts of Chinese/Japanese food, Fiji Water; strawberries, raspberries; grapefruits, mangos; strawberry lemonade and a humidifier.

What advice would you give to new artists coming through?

Study and work on your craft until you become undeniable; never stop learning and listen to the people around you that you consider more advanced or more credible to you.

Do you think there are going to any tour dates coming up?

I couldn’t tell you if I wanted to (haha), but hopefully.

How important is performing? Do you prefer it to life in the studio?

If you asked this question a year ago I would have told you I preferred performing but spending time creating and writing holds a special place in my heart now so I love performing and life in the studio equally.

What is your favourite career memory so far?

A stand out moment for me in music was when I performed at a local festival in 2014. It was held outside in a tent and for the whole day before I performed it was clear skies and then, ten minutes before I performed, it started pouring down with rain. This forced everyone - whether they where attending the show or not - to huddle into the tent. So, I got a much bigger crowd than I expected and fate just so had it that my now managers were in the audience. I had dancers and backing vocalists; it really felt like my concert!

 IN THIS PHOTO: Summer Walker

Are there any new artists you recommend we check out?

I’ve been obsessed with Summer Walker. She’s really cool.

What do you think of the modern scene and the sounds coming out?

I think music is evolving as it does and as it should. I’m happy that music has more influences from around the world now as well. I’m here for the fusion of genres and creating new sounds. I also love that R&B is making a comeback!

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

I don’t really but, when I do have time to myself, I love travelling and eating. Food is amazing. Haha!

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).

needy - Ariana Grande

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Follow Bellah

Twitter:

https://twitter.com/IbeBellah

Facebook:

https://www.facebook.com/ibebellah/

Instagram:

https://www.instagram.com/ibebellah/

Spotify:

https://open.spotify.com/artist/6UZk0TOb0uZ1JWa3BW81FQ?si=2RZA9m5KRk6s-zTlk7Lahg

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: IAMDDB 

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

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I am not content to produce only one edition of...

IN THIS PHOTO: Ingrid Andress

my playlist that features some of the finest new female artists around. I felt a second instalment was needed and, on this occasion, there are even more genres and sounds thrown into the mix. I am excited by the immense promise and talent coming from music but, in particular, it is the women of music who are making the biggest strides and moves. The music industry is always changing and altering but I think one thing that needs to change quickly is how many people view female artists. Many are still seen as inferior and not given the same platform as men! Maybe this will change soon but, as you can see by my playlists, there is so much eclectic spirit and quality that deserves fonder focus. Take a listen to the latest rundown and make sure your weekend energy levels are...

 IN THIS PHOTO: Lil Halima/PHOTO CREDIT: Sara Saeidi

KEPT high.

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

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LUCIA – Blueheart

IN THIS PHOTO: Sarah de Warren

Z&Z, Sarah de Warren – Do It to U

PHOTO CREDIT: Andreea Otilia Şuiu

MONELISE – Wild Roses

Glowie – Body (Redlight Remix)

FLETCHER – Undrunk

Tierra Whack – Only Child

Y La Bamba – Perder

Anna Clendening - Drowning

Ingrid Andress – Lady Like

Grace VanderWaal - Stray

RaeLynn – Rowdy

PHOTO CREDIT: Samantha Vessios

Cassie Dasilva – Still in Love

Jess Cornelius – No Difference

PHOTO CREDIT: Jonathan Vivaas Kise

Lil Halima – Fire Doves

Rose Dive – U&i

Mollie Collins, Leah Guest – Lost & Found 

Ora the Molecule – Samurai

Uffie – Sharpie

Honeyblood – The Third Degree

CHARLOTTE – I Tell Lies

IAMDDB – Sweg

Suzi Wu – Error 404

Priests – The Seduction of Kansas 

Ok Sweetheart – Simple

Sit Down – Teeth

The Elephant Trees – 4100

Kat Deal – Three

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Rico Nasty

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

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THIS feature allows me to uncover the best new female artists...

PHOTO CREDIT: Yola

around and shine a light. In this playlist is a mixture of new tracks and those that have been out for a little bit. I wanted to bring together an eclectic selection of musicians who have this spectrum of sound at their hands. Included are Pop bangers and some slightly moodier pieces. These contrasts are about winter and the different weather we are experiencing at the moment. I hope you find something in the pack that tickles your fancy and gets into the head. It looks like we are moving into spring and it will not be long until we have warm days and it gets light really early. Until then, I have been thinking about some winter-ready, female-led sounds that are perfect to get you into the right mood. Have a check of these songs and I am sure there will be some sounds in here that...

 IN THIS PHOTO: Kinck

MAKE you feel better.

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

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PHOTO CREDIT: @avine_

Scarlet Sails – My Love

Kinck – Hunger Pains

PHOTO CREDIT: Declan Creffield

Becky Bowe – You and Your World

Adryelle - Weird

Sharkmuffin – Serpentina

Alex Hepburn – Take Home to Mama

PHOTO CREDIT: Diego Indraccolo

HEZEN – Bring Your Alibi

Paige Bea – Feel Me

PHOTO CREDIT: @william_ruben_helms

Yola – It Ain’t Easier

Beth McCarthy – Wildfire

PHOTO CREDIT: @jeffandersenjnr

Olympia – Shoot to Forget

Callaghan Belle – Paranoia

PHOTO CREDIT: @stefanoboski

Fifi Rong – Sin City

Lights (ft. Felix Cartal) – Love Me

TIAAN – Ruin It

PHOTO CREDIT: Sarah Cresswell

Mesadorm – The Joy It Joins Us Up

PHOTO CREDIT: Scott Chalmers Photography

Hana Piranha – Naked Flame

Jetty Bones – Bringing It Up

PHOTO CREDIT: Helen Moga

Tacocat – Grains of Salt

PHOTO CREDIT: Tonje Thileson

Sir Babygirl – Cheerleader

Kara Connolly – Other People

Mathilda Homer – Probably Sorry

Saachi – I Need Real Love

Amanda Palmer – Voicemail for Jill

Rico Nasty – Roof

Madonnatron – Sucker Punch

Friedberg – BOOM