FEATURE: The March Playlist: Vol. 1: The Mighty Solange

FEATURE:

 

The March Playlist

IN THIS PHOTO: Solange/PHOTO CREDIT: Daria Kobayashi Ritch for Vogue

Vol. 1: The Mighty Solange

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THERE are not many weeks where we get…

IN THIS PHOTO: MARINA

so much heavyweight music! Not only is Solange back with new material but we have tracks from Little Simz, Self Esteem; Morrissey, Sigrid and Emma Bunton. Jorja Smith and Loyle Carner have teamed up and there are cuts from FOALS, Stealing Sheep and Cabbage out there in the world! It is a packed and exciting week that, to me, is the best of the year so far! I cannot wait to see if the next couple of weeks can match what is out there at the moment as it will take some beating. If you need that extra boost for the weekend, this playlist should be right up your streets! From mainstream titans to newer artists, there is something in here for everybody. Take a good listen to the songs throughout and I guarantee there is enough in there to keep you occupied. The weather might be getting a bit cooler but it is clear music is getting…

IN THIS PHOTO: Cabbage

PRETTY hot right now.  

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

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Solange – Stay Flo

Emma Bunton – Baby Please Don’t Stop

Self Esteem – Girl Crush

Carly Rae Jepsen – Now That I Found You

Little Simz - Therapy

MARINA – Superstar

Morrissey – It’s Over

FOALS – Sunday

PHOTO CREDIT: Tanya and Zhenya Posternak for Vogue

Sigrid – Sight of You

Jade Bird – I Get No Joy          

Loyle Carner (ft. Jorja Smith) – Loose Ends

Stealing Sheep – Show Love

Peter Doherty & the Puta Madres – Who’s Been Having You Over?

PHOTO CREDIT: Jo Bongard

White Denim – Reversed Mirror

Cabbage – Torture

Wyclef Jean - Baba

Freya Ridings – You Mean the World to Me

Emily Burns – Too Cool

Jordan Rakei – Mind’s Eye

Sasha Keable – Treat Me Like I’m Yours

She Drew the Gun – Paradise

Tierra Whack – CLONES

The Cranberries – The Pressure

Ellie Goulding – Flux

Hozier – No Plan

PHOTO CREDIT: Aysia Marotta for i-D

The Japanese House – Marika Is Sleeping

Weezer – Living in L.A.

Tiffany Young – Lips on Lips

Bea Miller, 6LACK – it’s not u it’s me

Alphabeat – Shadows

Doja Cat – Juicy

Gia Woods – New Girlfriend

PHOTO CREDIT: @vylit_

Lots Holloway – Be Naked

Thandi Phoenix, Sigma – Say It

PHOTO CREDIT: Julia Håkansson

Julie Bergan - STFU

Toya Delazy, Raf Riley – Gqoma

TRACK REVIEW: Little Simz - Venom

TRACK REVIEW:

 

Little Simz

 PHOTO CREDIT: Jack Bridgland for CRACK 

Venom

9.8/10

The track, Venom, is available via:

https://open.spotify.com/track/3A0ITFj6kbb9CggwtPe55f?si=luy8XkdgRaSQphC_lbaVeA

ORIGIN:

London, U.K.

GENRES:

Hip-Hop/Rap

The album, GREY Area, is available via: https://open.spotify.com/album/4Wwm4xg2748zhYuzDRFTgY?si=tdqkd2uYQKOh37rrx-l-Wg

RELEASE DATE:

1st March, 2019

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I like this part of the weekend because...

it gives me the chance to review a bigger artist who I know I will have a lot to talk about. With her album, GREY Area out, I am interested in Little Simz and what she is putting into the world right now. I am focusing on a single track from the album – to allow me to go into detail regarding the track; this review would not give fair attention to all the tracks – but I wanted to talk about Little Simz in the context of British Hip-Hop/Rap and how the scene has changed; wordplay and how a dexterous lyrical approach is very rare these days. I also wanted to look at artists who are direct and are unafraid to document something important, darker and less commercial; what type of sound/artist will define 2019 and albums that are busy with sound and innovation – I want to end the piece by looking at Little Simz and where she might head. I have been a bit wary of British Hip-Hop and Rap the last few years. I put these genres together because they often overlap and it is hard to distinguish between them a lot of the time. In the case of Britain, I feel we have always lagged behind the U.S. – this is true when you look back a few decades. Consider the golden age of Hip-Hop – around 1986-1991 – and the magic that was emerging there. Tomorrow is the thirtieth anniversary of De La Soul’s debut album, 3 Feet High and Rising, and that arrived in a year that also saw Beastie Boys’ Paul’s Boutique come into the world. Those albums were less political and charged than a couple released the previous year: N.W.A. and Public Enemy delivering sermons and songs that stuck in the brain and have inspired generations. Music coming from Hip-Hop around that time was keen to talk about harder subjects like political corruption and the plight of the black American and, since then, the U.S. have spawned some truly great artists.

In this country, we do not really have the same pedigree. Maybe it is because of the subject matter and how our Hip-Hop artists write. We do not have the same experience of U.S. artists and there hasn’t been the same legacy. We do Grime pretty well but I am seeing a breed of new Hip-Hop artists emerging that are defining modern Britain. Maybe it will not be as extraordinary as the best we saw in America decades ago but Little Simz is leading the charge here. She, in a way, seems to have an element of the U.S. masters from the 1980s and 1990s but is adding fresh flow and personality. I think the British Hip-Hop scene will grow and expand but it has not really had a leader that can compel a revolution. I think Little Simz is the best Hip-Hop voice we have and able to challenge the very best in the U.S. right now. Look at U.S. artists like Kendrick Lamar and Cardi B and it has been a long way since we have mounted a credible opposition. Little Simz’s career has been blossoming and she has been growing with each album. I can make bold declarations because her latest album, GREY Area, has scored big reviews and is full of wonderful songs. I love her confidence and how there is not a weak moment to be found. A lot of Hip-Hop artists can be a little lacklustre at times or place the vocal above lyrics. It is not often you get this complete and near-perfect artist who ticks all the boxes and strides into their own league. When it comes to Little Simz, she is honest and herself on the page but she has her eyes open and is talking about what is happening around her. There is this varied and extraordinary sound that you cannot resist and holds so much power. I shall move onto a new subject but I wanted to talk about Little Simz’s role in modern Hip-Hop and how she is changing the game.

 PHOTO CREDIT: Jack Bridgland

I have mentioned lyrics and how some Hip-Hop artists are a little inferior. Hip-Hop is a genre that has always been noted for its amazing sense of wordplay and flow and, in the U.S., they have always done it better than us. Again, this might go back to history and the fact they can do certain genres better than we can – the U.K. is stronger when it comes to Folk and other genres. I do think a lot of conviction can be sourced from having lived in a tough situation or being surrounded by bad legacy. A lot of modern U.S. Hip-Hop artists are reacting to their neighbourhoods and what is happening around them. There are racial and economic struggles here but the experience is different in America compared to here. In the U.K., we have plenty of problems that can be addressed but I think Grime and Drill music is talking about it more. Hip-Hop, here, is not quite as sharp and broad as in the U.S. but I think Little Simz will start this resurgence and growth. The reason I say this is because of her wordplay and how she attacks music. There are two modes when it comes to Little Simz. She switches between these firm and confident raps that are bristling and cutting and then she has a more tender and revealing side that allows the tone to change and a different side to emerge. Sometimes, that switch can be felt in a single song and there is no predictable and premeditated template when it comes to her music. She has this energy and sense of unpredictable lust that makes her music so exciting. I love how she can name-drop artists like Jay-Z and put him in the same verse as William Shakespeare (Offence). There is cheekiness and humour that can combine with this confidence and real sense of self. Whether you call her a Rap artist or Hip-Hop innovator, it all leads to the same conclusion: Little Simz is one of the finest artists we have in the country at the moment.

A lot of the more potent and ‘real’ songs coming out right now are being made by Post-Punk bands. We have Drill and Grime music but I do not feel they get as much attention as they deserve. A lot of times, the music is confined to certain radio stations and it means the messages do not spread as far as they could. Maybe there is an intensity and sense of anger in the delivery that means many are put off or they only give it a brief listen. The most powerful and resonating tracks are those that can give power and potency but they are accessible and there is a degree of calm. Little Simz creates music that has these wonderful phrases and ideas wrapped together; music that brings different genres together and a broad palette that allows listens to investigate, wonder and get involved. If she were to create a more straight-ahead and brutal sound then her words would not be heard as much and they would lose their gravity. Little Simz can be accusatory and call out those who deserve it but a lot of her quality and appeal comes from the way she looks at herself and how far she has come. She is confident and unapologetic but she looks at music icons who died young and understands mortality is never far away and there is always a sense of the unpredictable around. These two mindsets create sensational music that has depth and soul but there is that youthful confidence and ambition. Not only do the lyrics strike and resonate but there are great hooks and compositional elements that elevate the words and brew their own wonder. There are few Rap/Hip-Hop artists who put as much care into the compositions but Little Simz shows great musicianship. Because of that, her music can appeal to those who are not usually fans of Rap/Hip-Hop and want something more accessible. That word might seem quite damp but accessibility is important today. The reason Hip-Hop gold of the past survived and created such heat was because of that mixture of powerful and striking words and music that had a richness and depth. Back then, there was a lot of sampling but modern artists like Little Simz are using cross-pollination and genre-splicing more. Because of that, I feel GREY Area will be one of these Hip-Hop records that gets talked about in decades to come.

 PHOTO CREDIT: @tamcader

I am always fascinated by the classic age of Hip-Hop in the U.S. and whether things have evolved from there. It is harder to sample music and create big albums like It Takes a Nation of Millions to Hold Us Back (Public Enemy) which is a shame. There is enough inspiration from political avenues so modern artists have a lot to work from. I feel Little Simz is a natural lead and voice because she has a confidence of who she is and how good she is. There is never any arrogance; more a sense she has come a long way and is not going to be cowed. Having felt a bit of isolation and strain living in London, she has taken some time to breathe and I think her current album is her most natural, ambitious and nuanced. The twenty-five-year-old Simbi Ajikawo amazed with her 2017 concept album, Stillness in Wonderland, and many asked how long it would be until she got the same mainstream credibility as many of her male peers. There is still this issue with gender-equality in music and how there are small and gradual changes – not as fast as one would like. Being a black woman in music is not an easy thing to handle and I feel we all need to do more. Little Simz is letting her music do the talking and she knows where she wants to head. The fact she is so confident and proud of what she is doing means people cannot ignore the music and there must be more opportunities at her feet. It cannot be long until she headlines festivals and, at the very least, she has to be seen as one of the best artists we have right now. Little Simz is someone who can talk about herself and her struggles but, like so many Rap/Hip-Hop artists, straying away from commercial avenues is important. I hear too many Pop records that take few risks and are following a formula. Listen to Little Simz and, on GREY Area, she talks about fallen idols and she sends out these barbs; she has a quick wit and has a hugely impressive flow. The combination is exceptional and the music busy and mind-blowing.      

I feel 2019 is already shaping up to a more interesting and diverse year than 2018. We had some great albums last year but I feel, more and more, modern music needs to change its tone and stray away from the commercial mainstream. New albums from Little Simz, Julia Jacklin and Solange have impressed because they are a lot more striking and mature than so much of the mainstream best. Each artist is open and revealing but they do not merely focus on themselves and their own problems. Artists that look at the outside world and tackle issues head-on are to be commended. In Little Simz, we have a young woman who knows she has a role in music and will do what it takes to get there. She understands her brilliance but there is always this sense that obstacles are around and the path is not always clear. That sense of understanding, intelligence and maturity is another reason why Little Simz can lead a Hip-Hop revolution and define 2019. This year is very young still but female artists are making more of a stand. Perhaps it is a reaction to the comparative lack of attention they get and how hard they have to struggle. I like to think the reason why female-made artists are stronger is because of greater emotional depth and a finer sense of innovation. The men are ambitious when it comes to music but there is something about female artists that makes them more daring and exciting; a mentality that pushes music beyond the ordinary and a lyrical style that is both personal yet universal. Maybe that is my personal opinion but there is something in it. I do think there need to be big changes made and the industry cannot deny great female artists much longer. Small steps are being made but there is a long way to go before we see any real improvement and parity.

Before I come to review Venom – from GREY Area – it is worth looking at the albums that have received huge reviews this year and, for the most part, they have been made by women. There are many reason why female-made music is stronger this year and I feel the industry needs to react. Festivals are still imbalanced and I get the feeling artists like Little Simz have always been confined to genre-specific festivals. Her music appeals to those who love Rap and Hip-Hop but it is broad and eclectic. She could make a great headliner at any festival and I hope she achieved that next year. If we want music to progress and inspire generations then we need to give spotlight to artists like Little Simz. She has released so much incredible music and I feel a lot of her inferior male peers are given chances ahead of her. I am genuinely excited about the new wave of British Hip-Hop/Rap artists and what they are saying right now. I still think the U.S. has a stronger scene right now but we are spawning so many hungry and exciting young voices. This will continue and I think, at the forefront, are women. Perhaps I have said enough but it is important to put these thoughts out there and not let them stand. The industry needs to do more and it needs to recognise how good artists like Little Simz are. She has created an album that could well walk away with album of the year prizes – it is hard to see too many records beating GREY Area this year! The reviews are celebratory and ecstatic and it is wonderful to see a British artist getting so much respect in a genre that, in my mind, has always been dominated by U.S. artists. Her new album boasts so many wonderful songs but, rather than give each a small review, I wanted to focus on one that I feel stands out and deserves greater affection: Venom is a natural standout and sensational moment from Little Simz.

It was hard selecting one song to highlight from GREY Area but I wanted to look at Venom because it lasted longest in my mind. It is the shortest track on the album but that does not mean it is the least significant. In fact, its opening is the most stirring and unusual. We have these haunting and Hitchcock-like strings that sting and spook with their creep. It is a strong and unexpected opening that definitely opens up your eyes and makes you wonder where the song is heading. Maybe it is appropriate that a song called Venom would start with such a stir. I feel a lot of Grime and Rap music can be a bit boring and samey because the musical dexterity is not there. It is all the same beats and electronics and it seems like the music is there merely to act as a guide for the vocal. When it comes to Little Simz, she understands the important role the composition plays and how much power can be exerted from an original and exciting sound. She manages to conquer when it comes to lyrics, music and delivery. There are not many artists who achieve that and, before a word has been delivered on Venom, you know you are listening to someone who is leagues ahead of the competition. After the uneasy and tense strings, Little Simz comes in with a fast and unexpected delivery. She is not standing still and the heavy sound that introduced the song makes way for this very focus and top-of-the-mix vocal. She looks at mental-health and suicidality – “Minds fucked even more than I realised” – and there is this black and tense situation. A lot of artists are tackling mental-health right now and Little Simz does so in a very direct and urgent way. She can see the turmoil around her and, soon, she turns to misogyny and the fact she is not given her dues. Using words like ‘ovaries’ and ‘pussy’ to describe the discrimination is fresh and will turn heads.

Little Simz is direct and wants people to listen. At a certain point, the vocal quickens and it is almost impossible to keep up with Little Simz. It is amazing how she manages to keep her breath and deliver the words without breaking concentration. The words tumble to give the song more tension and urgency. Little Simz is falling and going down and she is asking someone – maybe those who attack her – to follow her. She does not want to hear apologise and she is looking for answers. She is not sure whether she is going insane and what is happening right now. At every stage, there are these scenes of violence and threats. A lot of times, one wonders whether the fear is psychological or physical. Little Simz talks about having a gun pointed at her and this danger lurking around every corner. Having talked about mental-health, I wonder whether a lot of these images are part of her imagination or the realities of the streets are being laid out. The heroine sees struggle behind doors and people losing their minds; she is finding men willing to attack her and take advantage and, in life and music, misogyny raising its head. It is a song that will get everyone thinking and you need to listen to it several times just to get on top of everything said. Venom is the most exhilarating song on GREY Area and delivers so much in a short period of time. Those new to Little Simz might favour songs such as Selfish to get their feet wet but I think Venom is a stunning offering that everyone needs to hear right away! She has created this masterclass in delivery, lyrical power and musical dexterity. There is nobody out there like her right now and festival organisers everywhere should realise what a talent we have in our midst!

  PHOTO CREDIT: Jack Bridgland for CRACK 

She knows she is overlooked because she is a woman and she also understands how good she is. Little Simz spits and raps with such speed and directness. The words tumble out and, apart from the strings trying to keep pace in the background, it is Little Simz’s exceptional flow that captivates. She discusses bleak mental states and how she has never got that low – not one who will take herself out or let the world bury her. The venom coming from men and their oppression seems to weight the heaviest on her mind. After delivering this frantic and stunning passage, her voice cuts out and the song enters a new phase. Having heard lighter songs on GREY Area – such as Selfish (ft. Cleo Sol) – having this edgier and grittier sound is, in my mind, where she shines. The strings are replaced by a more booming drum (?) sound and the mood shifts once more. Whereas lesser artists might keep the same sound and show a lack of sophistication, Little Simz keeps the song snaking and, with each verse, brings in a new sound. She talks about things she has seen in the night: the dark crawl and the danger around; how it has affected her mind and why it would alarm other people. One of the biggest weapons in Little Simz’s arsenal is the fact she can be quite direct and bold with her language. There are expletives to be heard but they are never thrown in to cause shock at all. She is reflecting a true voice and is proving she is someone not be messed with. She talks about guys wanting blood and she is looking for the same. Whether she is being sexually harassed or there is violence on the street, the heroine is facing it down and warning she is not to be messed with. She chants the word ‘venom’ as a deeper voice also does the same – whether it is her voice processed or a man, I am not sure. The strings come back in and are less tense than in the introduction. I love how the violins add this sense of terror and gothic horror. It allows Venom to be a much more variegated and cinematic song than it would have been if it were just beats and electronics.

The juggernaut has been rolling and GREY Area has rolled out to the masses. The reviews have been four/five-star and I have not heard anything negative said about the album. It is rare when you hear an artist talked about in such fond terms with nobody offering even the slightest bit of constructive criticism. That is a sign you are doing something right and at the top of your game. Little Simz is far stronger than her male peers but she has also, on GREY Area, reconciled with a difficult past and you feel like she has addressed some issues that were troubling her. I get the sense of this young woman finding her feet and maybe feeling buried by the city and the people around her. She has not long entered the twenty-sixth year of her life and many could forgive her for having worries and fears. If the young artist feels strange at times, you would not really sense too much of that from her latest record. The sheer confidence and boldness throughout means you are always hooked and standing to attention. Her sound is not simply attack and pummel without range and emotional variation. She is someone who can switch between a more openhearted sound and rising and striking without too much notice. It is a heady brew and great mix that will appeal to the Hip-Hop/Rap elite and those who are new to the genres. It is hard to ignore Little Simz and I urge people to catch her perform. She is still giving interviews and busy spreading the word when it comes to her album. I know it is hectic but she seems to love every moment. It is wonderful hearing her talk about her music and how it came together. When she has chance to hit the road then I would recommend you watch the songs come to life on the stage. She is a fantastic live act and someone who can win every heart. I am not sure what her touring plans are like but look at her social media channels and she will keep you updated. There are few artists who are as sharp, lyrically, and have such a confident voice. It is exciting to think where Little Simz could head and what comes next for her. She is still so young and being this developed and assured this early, to some, could be a danger. In Little Simz’s case, I feel she can grow even stronger and her music can get even better – which is a scary thought when you think about it! We have one of the world’s best young artists performing in the U.K. right now and GREY Area is the album to beat this year. I do not think there will be anyone who can topple Little Simz’s masterpiece this year but, as others try, play the music and realise why many people are calling her...

A genius and innovator to watch.

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Follow Little Simz

  PHOTO CREDIT: Jack Bridgland for CRACK 

Official:

https://www.littlesimz.co/

Twitter:

https://twitter.com/LittleSimz

Facebook:

https://www.facebook.com/LittleSimz/

Spotify:

https://open.spotify.com/artist/6eXZu6O7nAUA5z6vLV8NKI?si=biE6zdthTWC07cNdcDCvwg

YouTube:

https://www.youtube.com/channel/UC89IYKXyf15qNezA7IuFG1A

Instagram:

https://www.instagram.com/littlesimz/

SoundCloud:

https://soundcloud.com/littlesimz

ALL OTHER PHOTOS:

Getty Images/Press

INTERVIEW: Birthday Card

INTERVIEW:

Birthday Card

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MY final piece of the week is an interview with...

the Brighton-based band, Birthday Card. I ask the guys what they can reveal about their new track, Shy Away, and whether there might be more material coming down the tracks; albums that they hold dear and how they have progressed as a band – they select some approaching musicians worth a shout.

The band talk about their musical upbringing and reveal which artist they’d support if they could; whether there are any tour dates coming up and tell me how they chill away from writing/recording – the guys each select a great track to end things on.

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

Josh: Hey. Our week’s been good, thanks. We’ve been super-busy writing new material, rehearsing for upcoming shows and sorting out the last few bits ready for the release of Shy Away.

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

Josh: I’m Josh - I sing and play guitar.

Leslie: Hey. I’m Leslie, drummer of the band.

George: I’m George – I play synths.

Conor: I’m Conor – I play lead guitar.

Tom: Hi. I’m Tom – bass guitar.

How did Birthday Card find one another? Have you known each other long?

Leslie: We’ve all actually been connected in some way or another over the years - a few of us went to school together and also played together in an old band. The town we’re from is pretty small so even before we started playing we all knew each other in one way or another. 

Shy Away is your new track. What is the story behind it?

Josh: The song itself is about overcoming self-doubt and anxieties. This is told through the story of a slightly awkward introduction between two people which eventually blossoms.

I’d had the lyrics for some time and was waiting for the right piece of music to lay them over. When the other guys started playing their parts, it all seemed to gel perfectly.

Might there be an E.P. coming later in the year? 

Conor: That’s right. We’ll be releasing our debut E.P. in the first half of 2019. We’ve just been in the studio with Marcus Yates, who recorded and produced Shy Away - which is also the E.P.’s opening track. That’s all we can say for now…

Looking back at last year, how far do you think you progressed as a band? 

Conor: The thing I love about playing in this band is there’s always a sense of forward momentum, of taking the next step up. We had a great 2018: releasing two singles and supporting Sleeper on their sold out tour, which was a complete privilege. A year on, we’re now putting out Shy Away, which feels to us like a big step in the evolution of our sound and, likewise, gearing up towards our first E.P. It feels like we’re really building up our following at the moment too which is amazing, because we really believe in what we do. To have that appreciated by others is a great feeling.

What sort of music did you all grow up on?

Josh: My mum and dad used to play all sorts around the house when I was really young. One minute we’d have Nat King Cole on, then the next minute we’re dancing round the living room to Hanson. I also remember listening to a lot of The Neptunes and early N.E.R.D growing up.

Tom: Whatever was on my dad’s car stereo really: Punk, Reggae...you name it!

Leslie: Lots of Motown and R&B.

Conor: My dad has a pretty eclectic music taste so I listened to all sorts growing up - anything from The Clash and Bowie, through to New Order and Otis Redding. I’d say we all have a pretty rich musical background - in terms of listening - which all very subtly contributes to building our sound.

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

Josh: That’s a difficult question as there’s been many. My favourite memory would have to be the countless hours we all spent together waiting in Leslie’s shed before even knew the band was a band. So many of those ideas and parts that were written in there have been reused in songs that are in our current set.

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

Tom: Pool by Porches. I think all of us in the band have probably listened to it about a million times each!

Conor: Hard to pick any single album, but one favourite is Steve McQueen by Prefab Sprout. Paddy McAloon’s songwriting is timeless.

Leslie: It would probably be The 1975’s debut for me. It’s just so good!

Josh: In Search of… - N.E.R.D. My dad used to play it all the time. It brings back memories of good times.

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

Josh: I’d love to say Nick Cave but I don’t think that line-up would make much sense musically. So probably The Neighbourhood or The 1975.

As for the rider, I’d want Gucci sliders and some of that rum DJ Khalid’s always going on about on Instagram. I think it’s called Bumbu?

What advice would you give to new artists coming through?

Leslie: Don’t take our advice...

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

Conor: We’ve got lots of dates in the pipeline which will be announced very soon, so keep an eye out for those. Our next shows are in London on Saturday, 2nd March, playing at Thousand Island with Only Sun and next Tuesday (5th March) at Komedia in Brighton, supporting the lovely Only the Poets.

If we came to one of your live shows, what might we expect? 

Tom: Faithful recreations of our recorded material, but in a world of their own. There’s also a lot of unreleased material in there too so, if you want to hear some new songs, come and see us!

 IN THIS PHOTO: SPINN/PHOTO CREDIT: Sam Crowston

Are there any new artists you recommend we check out?

Josh: SPINN, for sure.

Conor: Not necessarily new but certainly on the up - I’ve been listening a lot to a House D.J. called Laurence Guy. Super-melodic and really relaxing.

Tom: I don’t think he’s particularly new but this producer called Lusine is definitely worth a listen.

 IN THIS PHOTO: Laurence Guy/PHOTO CREDIT: Esther Riess

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

George: We’ve all worked quite hard at setting up our lives in a way where we get to spend as much time as we can writing and playing new music with each other. I honestly don’t think any of us are particularly interested in spending much time away from music: we have so much fun and get so much fulfilment out of doing it. It’s more like this is what we get to do to unwind from the stress of day-to-do day life.

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

Josh: Air Stryp by Big Red Machine

Conor: Please play Lovin’ You by Minnie Riperton

George: Freelance by Toro y Moi

Tom: I’d like to hear I Need Your Lovin’ by Teena Marie

Leslie: You Don’t Know – 702

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Follow Birthday Card

Twitter:

https://twitter.com/birthdaycardx

Facebook:

https://www.facebook.com/birthdaycardband/

Instagram:

https://www.instagram.com/birthdaycardx/

Spotify:

https://open.spotify.com/artist/3zfSPTuC3nPGVQEnvzdTX7?si=MtA7zIa9TGCz5oprf7C-cw

SoundCloud:

https://soundcloud.com/birthdaycardband

PHOTOS:

Josh Fletcher

FEATURE: The Changing Mainstream: The New Wave: Does Traditional Pop Have Power and Promise in 2019?

FEATURE:

 

 

The Changing Mainstream

IN THIS PHOTO: Julia Jacklin/PHOTO CREDIT: Jasper Soloff for Office

The New Wave: Does Traditional Pop Have Power and Promise in 2019?

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THIS week is especially strong...

 IN THIS PHOTO: Solange/PHOTO CREDIT: Getty Images

in terms of album releases. There have been a lot of great albums released by men this year but, right now, it is female artists leading the charge. I will come to look at the mainstream and how the shape is altering but, today, we have treats from Solange, Self Esteem and Little Simz. There has been some cryptic talk and tease regarding Solange and whether she would be releasing an album soon. She is one of these artists who can put out little snippets and posts and get people whipped into a flurry. Now, with barely much time to take it in, she has put When I Get Home into the world. The fact that most American reviewers are still asleep and unable to give their thoughts provides a rare edge for the British press. There has not been a huge amount of feedback so far but, like 2016’s A Seat at the Table, it is another exceptional and personal album. Maybe it is a coincidence but the strongest albums of the year have arrived from female artists. With sexism in the industry still raging, the narrative is changing and reshaping what modern music is about. We still have a Pop core and sound but, more and more, artists like Solange are defining what constitutes real and important music.

She has provided energy in her latest album but, like the artists I will mention, the focus is more on personal revelation and deeper issues. I have noted this when it comes to modern music: how the traditional structures (looking at love in a very easy and accessible way) has been replaced by a broader and more challenging tone. Solange always provides spark and joy but her albums are more noted for other factors. The sophistication and depth one hears is astonishing; the songs tackle everything from race to gender identity and her latest is very much an album for the times. She does wear her heart on her sleeve but, rather than succumb to the ordinary and commercial, she has penned a record that has incredible weight and intelligence. With contributions from the likes of Tyler, the Creator and Sampha, When I Get Home is a rich and rewarding album but the central force is Solange. It is a bit early to get a feel from the critics but the fans love the album. Many have taken to Twitter to declare their affection. Maybe When I Get Home will surpass A Seat at the Table regarding reviews and fondness. There is strength and passion coming from the men but, in 2019, I am finding (already) the sharpest and most essential works are coming from women. Solange talks about a lot of challenging subjects but never in an angry or overly-complex way. One might expect a hugely rising star like her to produce something commercial and traditional but, like her strongest peers, the focus is very much on raising awareness and challenging perceptions – whilst sprinkling in a bit of heartache and personal confession.

A few more albums/artists I want to mention are doing a very similar thing regarding their sound and direction. Julia Jacklin’s new album, Crushing, is her second (the same as Solange) and is a step forward for her. Now, she has changed her lyrical perspective and looks more to herself. One can see Crushing as a very personal work that details relationship breakdown and her state of mind. Perhaps less jaunty and catchy as her debut, Don’t Let the Kids Win (2016), here is another case of a great artist taking a few years to take their music in a new direction. Solange and Julia Jacklin have different lives and experiences but both have produced potential album-of-the-year contenders! In an interview with The Guardian, Jacklin talked about the changes between albums:

“Lyrically, it’s quite a bit more basic than I used to write,” she says of her excellent new album, Crushing. “I always thought my second record would be really produced, like, ‘Watch out world, here I am!’ That’s how it always feels: that you’ve got to be a bigger, better version of yourself. But I was too tired to try to be anything more than I was.”

Who she was changed suddenly and without warning. As an intense touring cycle wrapped up, her long-term relationship ended and she returned home to Sydney to find a city that “didn’t really look the same”. Her gut reaction was to retreat into her new normal: more touring, a transient life she’d come to rely on and resent in equal measure. “With touring, I felt like I was just this thing that was getting from A to B,” Jacklin says, the powerlessness of that reality manifesting in a resigned shrug. “I felt totally disconnected from my own thoughts and my own wants and needs.”

PHOTO CREDIT: Nick Mckk for The Guardian 

Jacklin has spoken before of the early self-doubt that threatened to derail her potential, and how the process of performing her work on tour, to increasing crowds, reinforced the facts that she was deserving and legitimate. During the two years she spent on the road – “a really wonderful, turbo time of growth” – she also discovered that success in the music world was reliant on accepting its hazy parameters. “The social and business lines are just so murky,” she says. “Which I don’t love”.

One can hear a masterclass of narrative songwriting throughout Jacklin’s latest album and I think that is what defines the best records of this year. Whereas, in previous years, there has been a reliance on mainstream Pop and the disposable, common themes and sounds; this rich new seam of music is emerging that is much smarter, emotionally-complex and satisfying. The Independent gave their thoughts regarding Crushing:

“For my money, “Body” is the best thing on Crushing, a terrifically complicated breakup record that’s still got a hangar full of delights readied for takeoff. Those who fell for Jacklin’s 2016 excellent debut, Don’t Let the Kids Win, will find a continuity of alternative attitude and vintage influences. The video for new song “Pressure To Party” – Jacklin’s sneeringly ecstatic “three-minute scream” about what people expected of her after her relationship ended – is even shot in the same retro-fitted house as her first video, for “Pool Party”...

 

But there’s a deeper sense of personal connection to anchor Jacklin’s lyrical and melodic smarts. That snare drum keeps a relentless, nerve-snapping pulse throughout, with Jacklin sounding more confident in her contradictions: at once yearning to comfort a lover she’s dumped and then, on “Head Alone”, declaring: “I don’t wanna be touched all the time/ I raised my body up to be mine.” The rather glorious video for this one finds Jacklin running through the desolate streets of suburbia in a dress that looks like it’s been made out of 1980s curtain material for a sixth-form production of Shakespeare’s Romeo & Juliet”.

The other two female artists who are changing the discussion and providing much deeper and interesting work in 2019 are Little Simz and Self Esteem. Let’s start with the latter. Before I go on, I am not suggesting previous years have lacked great songwriters and records but 2019 has begun with a real urgency and scent of change. Self Esteem is the moniker of Rebecca Taylor (Slow Club) and her debut solo album, Compliments Please, has received great reviews. Perhaps closer to Solange in terms of that mix of personal insight and addressing big themes in society, the album has that nice balance – this extends to the emotional palette. Complements Please can switch from funny and cutting to elegant and emotional. The compositions are stunning and Taylor, as a singer, has strengthened and brought more to her repertoire.

 IMAGE CREDIT: Getty Images

Taylor is, as she explained to DIY in this interview, more ambitious and free compared to her Slow Club days:

“Fuelled by a myriad of factors all contributing towards the strong, confident voice that defines her work now – from the relief of finally “being as myself as I possibly can be” to the broader impact of the #metoo movement and “realising my rights as a woman for the first time, because I grew up with this idea that you’ve got to be ladylike and I was always too loud” - hers is a slightly more experienced pop outlook that feels genuinely refreshing.

“I have massive ambitions – too big – and I know I’ll die unhappy, but I now at least know that I’ve given it a go in a way that ticks all [my] boxes and I couldn’t honestly have said that before, so it’s great,” she says. “And now, it’s so brilliant and so much fun to do and I’ve made a job that I like loads and that feels like success”.

I think, aside from the great female artists striking right now, the main flavour of 2019 music is a greater depth and sense of sophistication. Artists are still talking about their lives and woes but the ambition is increased and the sound is much bigger and rich. Taylor is able to combine seriousness and style with a genuine sense of the upbeat and hopeful. You get this accessible album that is able to cheer you but there is a lot to unpack and discover.

The Line of the Best Fit provided their review of Compliments Please:

“Her love of hip hop is imbued in the very core of Compliments Please, shirking much of the folkish arrangements of Slow Club for a sound far bolder, and at 16 tracks strong it is clear that Taylor is not short of ideas. 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”.

James Blake can sit alongside artists like Self Esteem and Julia Jacklin. His new album, Assume Form, is, perhaps, his most emotional and revealing album yet and one that has plenty of colour. The common link between all these artists/albums is a sense of openness but that desire to move forward and learn something – as though the recording process has been like shedding skin and a cathartic experience.

 IN THIS PHOTO: James Blake/PHOTO CREDIT: Getty Images

Blake is part of this band of young songwriters who marries intelligent songwriting and production and is providing something more rewarding than the majority of the Pop mainstream. Little Simz is slightly different in terms of genres. Whereas you can sort of see a Pop common thread in Julia Jacklin (alongside Folk), Self Esteem and Solange (with R&B), Little Simz is in the Hip-Hop/Rap mould. Since 2017 – when Stillness in Wonderland (2016) bedded-in and resonated – Little Simz has grown and this has fed into her new album, GREY Area. In this article, it is revealing how the years have changed her perspective and outlook:                                                                                 

“Understandably, Simbi sees herself in a completely different space musically—which she partly attributes to having improved her own emotional well-being. “I don’t feel as down about things that happen in my life. I go through my emotions when I’m feeling them and I have my days, but maybe that’s because I’ve pulled it out.” It’s something that comes with experience, maturity and three albums under your belt. “Every time I do a project,” she adds, “it’s like I’ve collected a bunch of events that have happened to me, sat with it, and released all of it.” And you can see how she’s arrived at this point since the last album. In an interview with Noisey in 2017, Simz spoke of her desire to explore the world beyond London due to the lack of love she was receiving, telling the music writer Aniefiok Ekpoudom: “I need to be around people or in a place where I’m constantly getting better at my craft and becoming a better person, where I’m making progress. Being here can feel a little stationary, sometimes”.

If there is a common thread tying all these exceptional albums together it is a sense of growth and improvement. Maybe this is the new normal: musicians who are facing their pasts and channelling that need for hope into the music. There is a linked sense of hope and things improving combined with a very real and frank look at society at large. Already, many are talking about GREY Area in terms of being a benchmark this year; artists needing to follow it and this being a blueprint for the best of modern music. NME, in their review of GREY Area, made some interesting observations:

“On ‘Flowers’, the final track, Simz asks: “The ambition I have for myself – wanting to be legendary and iconic – does that come with darkness?”. Here, she reflects on her idols, like Amy Winehouse and Jimi Hendrix, and ruminates on their dizzying highs, but tragic endings. It’s a indication of the mindset she was in while writing ‘Grey Area’; the north London powerhouse was going through a dark time, which became pivotal in her creative process. You can hear this free-flowing energy – up and down– that runs through the album.

Across these 10 tracks, Simz utilises her most valuable commodity: honesty. Having stripped away the narrative cloak that shrouded the highlights of ‘Stillness In Wonderland’, she’s crafted a knockout record – and finally come true on her early promise. This is the best rap record of the year so far”.

 IN THIS PHOTO: Sharon Van Etten/PHOTO CREDIT: Getty Images

It is not completely female-dominated at the moment but I am seeing this wave come through that is very different to music made by the guys. I have not even mentioned Sharon Van Etten and her excellent album, Remind Me Tomorrow. It has also scored wonderful reviews and I think it is because of the sense of personal and inventive. The best songwriters of the moment are breaking from Pop tropes and bringing more personality, story and intelligence to the party. I think Van Etten has always been this way as a writer but she has experienced a lot of change over the past few years. Motherhood, a sense of fear and dislocation have affected her work and her spectrum is much broader and interesting then most of the mainstream. I have mentioned some great albums but there is a definite feeling that, along with a narrative change, there is a sonic shift. I feel the mainstream and bigger Pop artists hold less sway because their songs, largely, are not as original and deep as those I have mentioned. Ariana Grande’s thank u, next impressed critics and it is one of the strongest Pop albums that has been released recently. She is someone who avoids a lot of the worst traits of modern Pop and creates something with incredible eclecticism and flair. Her lyrics are stronger and less formulaic than a lot of her peers and she is setting an example. As much as I love the best albums of the year, I think there is a sense of lacking fun and catchiness.

It is hard to explain but I think, if you have catchy and fun Pop, it tends to lack new perspective and can seem quite shallow. A lot of the songs are over-produced and there is a real absence of soul. On the other hand, the more arresting artists around are producing great albums but they tend to be less explosive, joy-bringing and hooky than many Pop records. Perhaps it all comes down to that argument regarding popular music and whether it has become less fun and slower. I think there has been this shift from slightly bland and peppy Pop to music that holds great weight and emotion but is less youthful and fun. Is it possible, at a time when great music has personal insight and big themes nestling alongside one another, to make things fun and frivolous?! All of the records I have mentioned have their bigger and brighter moments but the focus is very much on the lyrics and a sense of serious. Are there any exceptions to this ‘rule’? Can we still find something interesting in mainstream Pop that is not BRIT Awards-lite, commercial and overly-proceeded? Years ago, the mainstream was full with fun, fantastic and broad Pop but things have become more homogenous and bland. Maybe Sigrid is the one exception to the rule, I think. Her album, Sucker Punch, is receiving a lot of love and she is one of the few artists who can produce proper bangers but make sure they are intelligent and not just thruway – like so many of her contemporaries’ records.  

 IN THIS PHOTO: Sigrid/PHOTO CREDIT: Francesca Allen for Billboard

A problem with Pop artists like Taylor Swift, Rita Ora and Shawn Mendes is a feeling that they are being manufactured and guided according to a flow chart and Spotify demands. They have their own style and some good songs but Pop struggles to break away from this rather plastic feel and sense that things are less about expression and innovation as they are music-by-numbers and commercialism. NME, when reviewing Sucker Punch, have stated how Sigrid is a bit different:

“While she’s technically playing by the rules, though, there’s a streak of defiance in Sigrid. The Norweigan’s major-label debut single, ‘Don’t Kill My Vibe’ was a gigantic FU to sexist gatekeepers, while ‘Savage In Our Blood’ – a live favourite, sadly not on this album – is a political anthem for a new generation of decision makers. Debut album ‘Sucker Punch’ shows the best of both of these sides of Sigrid, though thankfully it’s the edgier one that wins out.

Most of all, though, it’s reassuring that ‘Sucker Punch’ doesn’t feel like a meticulously choreographed and cunning plot to make Sigrid a International Pop Superstar. These songs may well do that all on its own, and its certainly a marvellous cap on a two-year campaign that did just about everything right – but it’s also more than that. ‘Sucker Punch’ is the story of a young adult whose tales of friendship, love and more aren’t just relatable because they’re supposed to be – they simply are”.

 

I do worry the best of modern music is less about fun and getting inside that warm place in your heart but, instead, we have a more stimulating and challenging group of artists who are taking music in new directions. We have the Pop mainstream and some fun artists but their music, in my view, is less memorable than the promising names that are defining this year so far. I think Pop has lost a lot of its promise and power through the years. There are endless reports regarding the changes and how the mainstream has become far more formulaic and repetitive. I have been listening to a lot of older Pop from the 1980s and 1990s and noticing how things have changed since. Maybe it is the production sound or the way artists wrote but the Pop was fresh and captivated the masses. There is more choice than there was now and I think Pop has not evolved enough to truly grab the imagination. There are too many artists sounding overly-processed and bland; big artists who sound the same as their genre peers and a chart that is full of same-sounding nonsense. Maybe newcomers like Dua Lipa are adding their own spice and promise; Lady Gaga and her more established peers are more interesting but fewer people are looking at traditional Pop for inspiration. Maybe some big Pop records this year will get great reviews – including Sigrid and the upcoming album from The 1975 – but the more commercial and chart-friendly artist is far less appealing at a time when many people are favouring music with more emotion and substance.

I am not sure whether the change is a bad thing but I do miss those fun and epic Pop records. Instead, we have artists like Sharon Van Etten, James Blake and Little Simz who are providing this alternative reality. I have only mentioned a few artists to illustrate my point but there is a definite gulf in terms of musicianship, maturity and nuance when you compare an album by, say, Sharon Van Etten and someone like Little Mix or Anne-Marie. Pop and the mainstream will never be overthrown and ignored – there are a lot of teens and pre-teens who love it – but the best of the Pop mainstream will struggle to match the best albums we have seen this year so far – maybe Ariana Grande and Sigrid are exceptions. I have been blown away by the new releases from Solange, Little Simz; Julia Jacklin and Self Esteem and, whilst there have been great male-led albums, it is the strong and sophisticated female voice that has more power, individuality and promise than the more staid, soulless and routine workouts from the Pop ‘elite’. Songs I remember from my childhood are in my brain because they were catchy and there was this easy charm. I feel music is changing now so that the music we will remember years from now (from this time) will be defined by different considerations.

 IN THIS PHOTO: Little Simz/PHOTO CREDIT: Jack Bridgland for CRACK

Sure, there may be a few big choruses there but many of us will recall bold lyrics, eye-opening lines and fantastic albums. I think, whereas a lot of modern music is defined by singles and occasional moments, the best of the new releases are going to get people interested in albums as a whole. Because songwriters like Julia Jacklin are telling stories and portraying this expansive narrative, we need to listen to all the songs; albums of 2019 are very rich and every moments stands out. Less concerned with singles and creating an album with filler, I am discovering complete albums that keep me invested and keep my love of a full-length alive and burning. Maybe one must sacrifice a certain giddiness, chantable chorus and fun but, instead, we are getting something different that is not necessarily bad. This brings me back to the question as to whether traditional, mainstream Pop is as strong as it was and whether its popularity is based on considerations other than quality. I can see a change happening and there are far fewer standout mainstream Pop artists than there were a couple of decades or so ago. There is a distinct change and revolution happening; some titanic albums that have common links and will inspire generations to come. 2019 has started wonderfully and so many world-class albums have arrived over the past few weeks. Maybe it will take a while before everyone is converted away from the mainstream Pop artists and their sound to this alternative way but it will happen soon enough. Get behind this charge and these wonderful songwriters because this leap is...

PHOTO CREDIT: @wiesehofer/Unsplash

EXCITING to see.

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Potty Mouth/PHOTO CREDIT: Nazrin Massaro  

An All-Female, Spring-Ready Playlist (Vol. I)

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MAYBE I could have done one more winter edition but...

IN THIS PHOTO: Adia Victoria/PHOTO CREDIT: Joshua Asante

it seems we are in spring. The weather has been really warm this week and it seems like spring is here to stay. There is still a bit of rain and cold around so we can never write off winter and say it is fully gone just yet. In any case, I have collated together some songs that will get the spirits lifted and get into the blood. These are from some of the best females/female-led acts around and showcase what a range of talent and choice there is. I have been listening to some of the best new releases and some from a few weeks back and amazed by the brilliance. That sounds insulting but I feel the female-led/made music around from the underground is at its strongest right now. I am sure you will agree when you hear this playlist and let the music...

 IN THIS PHOTO: Weyes Blood

DO its thing.

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

____________

PHOTO CREDIT: @spoookylilly

Potty Mouth – 22

Brika – Distracted

Kathy Zimmer – Time

Jess and the Bandits – Already Written

PHOTO CREDIT: Juan José Ortiz Arenas

Pip Millett – Try a Little Tenderness

PHOTO CREDIT: Steve Gullick

Pixx – Disgrace

PHOTO CREDIT: Kathryn Vetter Miller for MOJO

Weyes Blood – Everyday

Tenille Townes – Somebody’s Daughter

Hollie Carmen – Plan B

PHOTO CREDIT: @synjstagram

Monica Martin – Patient

Bairbre Anne – 27

PHOTO CREDIT: Lucie Zorzpian

Du Blonde - Angel

Freya Ridings – You Mean the World to Me

Glossii – Jank (This Dirty Broken Town)

PHOTO CREDIT: Sophie Hur

Hatchie – Without a Blush

Christinna O – Lay It Down

Mint Field – Mer Mas Alla

Light Emitting Dinosaurs – Ambition

Jasmine Thompson – take care

Mollie Ralph – Nightwalker

PHOTO CREDIT: Penny In The Arrow

Rebekah Fitch – Poison

PHOTO CREDIT: Lauren Desberg

Rén with the Mane – Burnin

Adia Victoria – The City

Ayelle – NBDY

Coco Bans – Miracle

Destiny Rogers – Tomboy

Amy Shark – Mess Her Up

INTERVIEW: FiFi Rong

INTERVIEW:

FiFi Rong

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IT is good to catch up with FiFi Rong as the video...

for her single, Sin City, is out and she tells me about it. I wanted to know which musicians/sounds were important to her growing up and if there is more music coming along soon – she reveals a rising artist that we need to investigate.

I ask how she feels she has progressed as an artist and whether she has any standout music memories; if there are any tour dates in the diary and whether she gets much time to unwind away from things – Rong selects a great track to end the interview with.

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

I’m very good, thanks. It’s been very, very busy as always. Non-stop challenges.

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

I’m a vocalist-songwriter and I produce all my solo work and mix them sometimes too. My music is a fluid blend of many genres and elements. The main vibes consist of U.K. Bass and Underground and my Chinese flair in vocal delivery.

 

The video for Sin City is out. What inspired you to write the song and what was it like putting the video together?

It was a real story from my past in Hong Kong and I merged a lot fictional stuff such as murder in the story and song as I was watching serial killer documentaries while I was writing the song. It was not smooth-sailing making this video but I knew exactly what I wanted so I wasn’t discouraged at any point. Delay was not denial. It was just a matter of time. I knew I had the creativity and resources to finish it and put it out into the world.

I needed to make it just right, so it took a while. 

Might we see more material coming soon? What are you working on right now?

Next up will be a collaboration song called Nahi with a Berlin label, Save the Black Beauty, on their L.P. Also, I’m working on several projects, including a solo full length and more (smiles). 

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

There are whole bunch of Chinese Rock artists that truly integrated authentic Chinese music into Western Rock. I think that influenced me a lot in regards what I’m doing now. It was once possible but a bit of a lost art as those artists were really going through a lot of poverty and pain. It wasn’t a chosen thing: it was the society.

Musicians who insisted on doing Rock had no money, unlike today’s Indie artists. Good art can come from any place but great art sometimes come from deep suffering. Idols: true legends like Michael Jackson, Eminem and some more...but not a lot.

How do you think you have progressed as a musician since you started out?

I have more patience and tolerance of the down-cycle when creativity doesn’t flow. I’m more productive on average and I like me more in general.

Your music has a very visual edge to it. Do you think in a visual sense when you are writing songs?

Not really. My music comes from words; words come from feelings and I make music for my words/feelings and I create visual to suit the music. It’s all in one package. But, if I was a filmmaker first and foremost, I would actually write music just for visuals, yes.

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

Hmm. There are lots of memories but what is burnt deep in my psyche has to be the U.K. tour with Tricky. It was my first time on a proper stage in O2 Academy Bristol. I almost died from fear on stage; didn’t know where to put my hands and I cried the whole night till second day as it was too scary and I was too disappointed in myself. And, on the second day, I was totally in the zone at O2. I had the time of my life. I was flying high! Then, Manchester Academy was even more amazing. I felt so connected and ‘one’ with everyone. Still, to this date, I can’t figure out how I got from day-one as a complete mess to day-two as a complete natural!?

My little mind went for the biggest rollercoaster ride of my life. I had many amazing writing experiences and good stage experiences but nothing was as thrilling as those three days. It’s like any drug: the first time gets you the highest as it’s unexpected.

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

There are too many in Chinese! But, on top of my mind, here are the English ones: 

Pink Floyd - The Dark Side of the Moon and Tricky – Maxinquaye. 

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

I’m not picky. I just need good monitor system, good lighting and a room that’s not cold so I can relax before I go on (smiles).

What advice would you give to new artists coming through?

I’m still new in many ways and I haven’t come through - so I can’t tell them anything I haven’t nailed. Everyone has their own path and strengths and they are the best judges for themselves.

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

I’m independent, which mean I do absolutely everything and I have the freedom to take as long as need. I’m in the middle of my album creation so, until that is in shape, I wouldn’t want to distract myself. 

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

Different challenges. Both are important because they make me grow. And growth is fundamental as, if I don’t grow, life loses its purpose. 

Are there any new artists you recommend we check out?

I just found out a musician called Zoolon I’m digging. 

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

I love learning in many fields. For me, it’s relaxing and fun in order to absorb new knowledge. 

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).

Lower Dens - Truss Me

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Follow FiFi Rong

Official:

http://fifirong.com/

Twitter:

https://twitter.com/fifirong

Facebook:

https://www.facebook.com/fifirongmusic/

Instagram:

https://www.instagram.com/fifirong/

YouTube:

https://www.youtube.com/channel/UCpo_OJBAnhF9kksoobjWocQ

Spotify:

https://open.spotify.com/artist/64yPy2kBAhOJSRxOEtL3Qk?si=GD_tVPgPSMuTBMsm3tbHlA

SoundCloud:

https://soundcloud.com/fifirong

PHOTOS:

Stefan Oboski

FEATURE: LGBTQ% Pulling Down Barriers and Coming Together to Celebrate Diversity

FEATURE:

 

 

LGBTQ%

IN THIS PHOTO: Ariana Grande (she has received criticism due to the fact, as a straight artist, she will appear at this year’s Manchester Pride as a headliner)/PHOTO CREDIT: Jason Nocito for FADER

Pulling Down Barriers and Coming Together to Celebrate Diversity

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ALTHOUGH I have covered some pretty meaty topics...

 IN THIS PHOTO: Manchester Pride 2018/PHOTO CREDIT: Getty Images/Press

over the past couple of days, I think it is important to tackle them and not let them sit at the side. I have talked about sexism in Metal; why we need to look at black Britishness and get rid of discrimination – another story has just broken. Ariana Grande is coming to Manchester Pride and will play the celebration. We all remember her concert in Manchester that was marred by a terrorist attack that claimed the lives of many of her young fans. Since then, there has been this bond between Grande and Manchester and, whilst the relationship started in tragedy, she has supported the city and played there since. There was a little consternation raised around the fact that, at an LGBTQ+ festival, Ariana Grande (a straight artist) is at the centre of the stage. The ‘backlash’ began with a rather anonymous commentator taking to Twitter and complaining but many of her fans discussed the issue and whether she was the right choice. There is an LGBTQ Chart that you can investigate and some great videos made by those in the LGBTQ+ community. I will end by putting together an LGBTQ+ playlist – from LGBTQ+ artists – and there is this bubbling and colourful community producing sensational music. Not all of the songs produced are about respect and being proud in their skin but there are powerful mantras and moments that are deserve mainstream acclaim.

 IN THIS PHOTO: LGBTQ+ artist Halsey/PHOTO CREDIT: Getty Images

There are a lot of LGBTQ+ artists working in the mainstream right now but, as I have asked before, is a non-heterosexual viewpoint truly accepted and able to integrate? There are some artists who feel confident expressing their sexual preference and desire but the mainstream is, as has always been, white and heterosexual. That may seem rash but it the truth. I feel like there is so much brilliant LGBTQ+ music around that many only discover through festivals like Manchester and London Pride; some playlists on Spotify or the odd discussion here and there. As much as black and female-made music deserves great attention and respect, so too does the work of LGBTQ+ artists. Manchester Pride, like it southern counterpart, is a great event that helps raise awareness and, at its heart, a moment for LGBTQ+ artists to shine.

i saw many people discussing this so i wanted to chime in.... hope that’s okay 🖤🌫 pic.twitter.com/7joiZwI1QS

— Ariana Grande (@ArianaGrande) February 27, 2019

There is a debate, regarding Ariana Grande, that an LGBTQ artist should be at the centre but are we needlessly focusing on the wrong thing? She might not be, as she has claimed, to be the essential and true face of the LGBTQ+ movement but she wants to play for her fans and play her part. There are straight artists like Kylie Minogue and Cher who have a big following in the LGBTQ+ community but are heterosexual. It is about the music and how it connects with people rather than the specific messages and the origin of the artists. There will be LGBTQ+ artists playing at the Pride festivals and Ariana Grande’s inclusion will bring fans together and help play a big role.

Whilst I agree it is important, at Pride, to shine a light on LGBTQ+ artists, I do not feel booking a big name like Grande is betraying its roots and missing the point. Grande’s music has a big following and crosses boundaries; she has a large demographic of fans and her brand of Pop will surely go down a storm. Others have complained about the increased ticket prices for Manchester Pride - £71 for a weekend pass is a huge increase from last year – but that is nothing to do with the calibre of Grande and more to do with other considerations (things she is not involved with and cannot change). Another complaint that has been raised by some (regarding Ariana Grande playing) is the fact people who do not support LGBTQ+ music will attend.

I think people need to choose their words carefully. There is a marked and clear difference between those who actively oppose LGBTQ+ music and those who do not usually listen to it. Grande’s fans are not, as far as I know, discriminatory with regards LGBTQ+ music and are not only there to see her and ignore everything else. It is true many of her young fans will not be aware of LGBTQ+ music and its role but, if anything, their eyes will be opened and the festival will bring in fans who will discover all this great music. I think raising the profile of Pride, whether it is through booking a huge artist or taking it to more cities, is a good thing and people should not questions artists who attend.

A lot of young fans, as I say, do not usually attend Pride festivals so it will be a new experience. If a Pop artists like Ariana Grande was performing at a festival for immigrants, let’s say, then would she be judged because she is not an immigrant herself? I do not think an artist needs to be LGBTQ+ to play at Pride and we need to get people together. Were the festival to only book non-LGBTQ+ artists then that would be different – that is absolutely not what is happening. Artists like Sam Smith, Sia; Perfume Genius and Angel Haze are raising awareness and the profile of LGBTQ+ people and music and shattering barriers. Years & Years lead Olly Alexander is part of a mainstream act and, as someone who identifies as an LGBTQ+ artist. Musicians like Alexander have experience bullying, attacks and suffered from psychological disorders because of their sexuality. There is still so much misunderstanding, venom and bigotry that holds back a lot of progress in music. Just because one does not understand someone’s sexual orientation and skin colour, should that be a reason to attack them or turn a blind eye?! I think artists have a hard enough time succeeding in a tough industry without having to face hatred and alienation. As the mental-health crisis increases to a point of insanity, LGBTQ+ artists are being affected and many are hiding who they are or struggling to find an artist.

 IN THIS PHOTO: LGBTQ+/queer artist Bronze Avery/PHOTO CREDIT: Getty Images

The music coming from LGBTQ+ artists is as varied, deep and eye-opening as any you will hear and I think it should be much more involved in the mainstream. It almost seems tokenistic to have LGBTQ+ playlists and celebrate the artists. In the same way female-led music is not a genre, neither too is LGBTQ+ music: it is part of our fabric and, whether we know it or not, we all listen to music by artists who are part of that community. I recall reading about the late George Michael hiding his sexuality when he was part of Wham! because he felt that would damage his career. So many non-heterosexual artists either have to pretend they are straight or secretive regarding their sexuality because there are radio stations and labels that feel uncomfortable marketing that. I do feel that there are steps being made regarding LGBTQ+ music and making it a more common part of the music fabric. The fact so many artists struggle and suffer feels me with unease but Pride festivals are designed to showcase the best of LGBTQ+ whilst making a very loving, safe and celebratory space. I can see why some might be concerned a non-LGBTQ+ artists is booked for Manchester Pride but, rather than see this as a betrayal and bad move, it should be seen as a positive move that is designed to bring new fans and support in; an artist who backs LGBTQ+ music and is not trying to take the spotlight.

Of course, everything is not about Ariana Grande but the sort of reaction she has received from some regarding LGBTQ+ music and straight artist being involved raises some interesting debates. I feel like any support, whether from straight or LGBTQ+ artists, is a good thing and we should not question that. Going forward, I think we need to get out of this mentality that attacks artists and questions things rather than looking at the big picture. The reality we have right now is that LGBTQ+ music is a vital fuel but one not as dominant and visible as it should be. Artists are not the problem, because, as we can see, they are letting their voices be heard. Whether it is an artist talking about LGBTQ+ matters or one who identifies themselves as being in that spectrum, their role and place is vital and important. The songs and videos I have included in this piece are only the tip of the iceberg. Do some research and have a look at all the great music being made by LGBTQ+ artists. From Halsey and Sam Smith through to Hayley Kiyoko (artists either LGBTQ+ themselves or addressing the community through their music); these artists have an important role and are helping to change perceptions.

 PHOTO CREDIT: @belchev/Unsplash

I think music is very bland at the moment and LGBTQ+-led music is adding much-needed vitality, originality and boldness into the scene. We should be focusing on all the positives and possibilities ahead but, like people often do, the negatives are coming through and we are mired in the doldrums of criticism, doubt and negativity. Check out articles like this and this and acquaint yourself with the incredible LGBTQ+ artists around right now. I know I have protested and rambled for a bit but I think there was a lot to unpack regarding Ariana Grande/Manchester Pride and some of the reaction that has been generated. Music is at its strongest and most wonderful when artists of all races, colours and sexualities are together and given the same rights. Whilst this may seem like a far-off utopia, I am seeing changes and at least conversations are happening. Big mainstream artists like Ariana Grande might not be the best embodiment of the LGBTQ+ experience but they are helping to champion artists in the community and, through their profile and fan numbers, making more people aware of the great music available – and allowing them to help raise awareness and support a community that, whilst proud and vocal, still are not as accepted as they should be. Debate is good and anything that progressed and elevates LGBTQ+ music is a good thing. When Manchester (London and Brighton + Hove for that matter) rolls around, rather than asking why Ariana Grande has been booked, we need to see her inclusion as a good thing. More importantly than that, we need to stop the arguments and negativity and, instead, throw our weight behind a...

BRILLIANT and important community.

FEATURE: Alternative Classics: Radiohead – Hail to the Thief

FEATURE:

 

 

Alternative Classics

IMAGE CREDIT: Spotify 

Radiohead – Hail to the Thief

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I was going to include Radiohead’s album...

 IN THIS PHOTO: Radiohead’s Thom Yokre in Dublin in 2003/PHOTO CREDIT: John Spinks

Amnesiac into this piece but, looking at their back catalogue closely, I feel Hail to the Thief not only brims with quality and great moments but it was overlooked by many critics. There are, debatably, a few albums in the Radiohead cannon that can be considered classic and timeless – including Kid A (2000), OK Computer (1997) and The Bends (1995). By the time Hail to the Thief arrived in 2003, the band were immersed in a more Electronic sound. Maybe Kid A was more overtly Electronic than Hail to the Thief but Radiohead, on Hail to the Thief, mixed their traditional Rock backbone with their new phase. Hail to the Thief moves on from the styles of Kid A and Amnesiac (2001) and has an angry, more direct sound. That said...there is experimentation and shifts in mood right through the record. The band recorded most of the album in a couple of weeks with producer Nigel Godrich in Los Angeles. Hail to the Thief has a live sound and that is something Radiohead and Godrich wanted to achieve – rather than the overdubs and more rehearsed sound of earlier records. Thom Yokre was inspired by the War on Terror when writing the lyrics and right-wing politics in the West. A lot of political records fail because they are unfocused and lack genuine bite but, rather than this being a protest album, Hail to the Thief is not overtly-political and manages to mix tenderness and oblique subjects with deftness.

 IMAGE CREDIT: Spotify

Coming from Kid A and Amnesiac, the band wanted to head in a new direction. Then, the band spent so much time in the studio manufacturing the music and editing. It was what was necessary to get the sound they wanted but there was a yearning towards the more immediate and urgent sound they had cemented prior to Kid A. Having spent so much effort and time on computers and being very precise, it was necessary for the band to work quickly on their next album. The sense of urgency and immediacy is obvious on Hail to the Thief. Yorke did not have time to rewrite lyrics and, whilst he did use methods employed for the previous two records (cutting up words and randomly mixing them), this process was a lot faster and more exciting. One can imagine the band being quite strained and tense with one another having recorded Kid A and Amnesiac – the amount of time and focus needed would have tested their friendships. In fact, this must have been the case with OK Computer in 1997. Hail to the Thief, happily, is an album where you can hear a more relieved and natural Radiohead; not slavishly processing, editing and tweaking – Hail to the Thief sounds like a very free and fresh revelation. Some songs (such as 2 + 2 = 5) were recorded very quickly whereas others (like There There) took more time to cement.

The band used sub-titles for the tracks so opener 2 + 2 = 5 had (The Lukewarm) beside it; Sit down. Stand up. had (Snakes & Ladders) alongside it. I cannot think of a Radiohead album with a more potent and memorable one-two – a perfect way to kick things open and get under the skin! One reason why I think Hail to the Thief should be regarded as a classic is the way it fuses lyrics and music. I think a lot of the themes the band were writing about back then – panic following the 2000 U.S. election where George W. Bush triumphed; the War on Terror – are relevant today and one cannot say the fear and paranoia has subsided. Even though there is a different (even more stupid) President ruling, we can take so much from Hail to the Thief and apply it to 2019. Yorke was not intending to write anything political but, surrounded by such mess and chaos, it was inevitable the album would be seen as such and it would be dubbed political. Yorke was a father of an infant sum so you get the nice balance of tense and loving. Songs such as Sail to the Moon have a real sense of emotion, protection and charm that juxtaposes Hail to the Thief’s more electric and nervy moments. A Wolf at the Door’s sinister verses and the anger on I Will show you Radiohead (Yorke especially) were in a state where they were fusing all the energy around them into the music. 2003 was a tense time for the world and many were uncertain how things would pan out.

 IN THIS PHOTO: Long-term Radiohead producer Nigel Godrich helmed Hail to the Thief/PHOTO CREDIT: Kristy Sparow/WireImage

Radiohead would take their Alternative/Art-Rock sound in another direct by the time they released In Rainbows in 2008 but this was a record that featured less digital manipulation and sort of returned to the conventions of their earlier works. There are dark themes on Hail to the Thief but the band felt the acoustic sounds and Pop elements outweighed any gloom. Clearly, there are many shades and sounds that makes Hail to the Thief so rich and rewarding. Even if songs like We Suck Young Blood were dismissed by some critics – Yorke felt the song was a bit of a laugh and was more a slave ship tune – it showed Radiohead were taking risks and could not be predicted. I love nearly everything on the album and think only The Gloaming is dispensable. Unlike a lot of earlier Radiohead albums where one felt the promotion was part of the process the band did not enjoy, Hail to the Thief was a different matter! By April 2003, posters spoofing talent recruitment posters appeared in Los Angeles and London. Slogans taken from the album appeared and there was this distinct look and feel to the campaign. Radiohead would experiment with promotional angles for In Rainbow but this was the first time where they were getting really involved and doing something different. In many ways, Hail to the Thief sounds like an alternative, sane political party against the terror and fear promoted by the U.S. President (and other leaders) around the time.

Nearly every Radiohead album is a belter and most of them are pretty instant. Hail to the Thief is a more complex album and one that reveals its true beauty through time. Maybe critics were rash when reviewing and those who gave it mediocre acclaim needed more time with it. Despite some mixed reviews, the album was greeted with acclaim and most critics got on board. Pitchfork, writing in 2003, has this to say:

“For its moments of gravity and excellence, Hail to the Thief is an arrow, pointing toward the clearly darker, more frenetic territory the band have up to now only poked at curiously. Experimentation fueled the creativity that gave us Kid A and Amnesiac, but that's old hat to Radiohead, who are trying-- and largely succeeding-- in their efforts to shape pop music into as boundless and possible a medium as it should be. Without succumbing to dilettantism, they continue to absorb and refract simpler posits from the underground, ideas that are usually satisfied to wallow in their mere novelty. The syncretic mania of Radiohead continues unabated, and though Hail to the Thief will likely fade into their catalog as a slight placeholder once their promissory transformation is complete, most of us will long cherish the view from this bridge”.

IN THIS PHOTO: Radiohead at Oxford’s Canned Appluase in 2006/PHOTO CREDIT: John Spinks

AllMusic, writing in 2012, provided their thoughts:

“The spook-filled "Sail to the Moon," one of several songs featuring prominent piano, rivals "Street Spirit" and hovers compellingly without much sense of force carrying it along. Somewhat ironically, minus a handful of the more conventionally structured songs, the album would be almost as fractured, remote, and challenging as Amnesiac. "Backdrifts" and "The Gloaming" feature nervous electronic backdrops, while the emaciated "We Suck Young Blood" is a laggard processional that, save for one outburst, shuffles along uneasily. At nearly an hour in length, this album doesn't unleash the terse blow delivered by its two predecessors. However, despite the fact that it seems more like a bunch of songs on a disc rather than a singular body, its impact is substantial. Regardless of all the debates surrounding the group, Radioheadhave entered a second decade of record-making with a surplus of momentum”.

If some felt Hail to the Thief lacked substance in 2003, I wonder whether the sixteen years since will change minds. I think some of the compositions were quite bold and different to what people expected from Radiohead. Future albums have changed things and I feel perceptions will be different if critics approached Hail to the Thief today. There is so much to love on the record. From the jittery opening two tracks to the sublime and transcendent beauty of There There – where Thom Yorke, after hearing it back, burst into tears -; it is a record that rewards patience and an open mind.

The fact Radiohead escaped the more monotonous process of Kid A and Amnesiac and returned to a happier state is evident when you listen to Hail to the Thief. They would carry that energy into future albums and I think Hail to the Thief was an important turning point. Down the line, Yorke said he would have changed the track listing and switched a few around; Nigel Godrich felt there were a few too many songs and it could have been edited closer. If Godrich feels it is his least favourite of the Radiohead albums, one cannot deny the weight and importance of Hail to the Thief. I feel the track order is fine and the opening two tracks are perfect. Maybe tracks six-through-eight (where there is a bit more gloom and a certain darkness) could have been broken up but I contest the assertion there are too many tracks. Everything has its place and I love the complete feel and texture of Hail to the Thief. I feel, as time elapses, the words and messages through the album become more relevant and, sadly, that might always be the case. The world is more divided and scared than it was in 2003 and I am listening to Hail to the Thief for inspiration and guidance. Whether it is the anger and tension on some songs or the serenity and grace on others, I feel fresh ears and eyes need to head the way of Hail to the Thief. It may not warrant the same genius-like tags of Kid A and OK Computer but, to me, Hail to the Thief is the perfect opener to this...

ALTERNATIVE Classics segment.

INTERVIEW: Kudu Blue

INTERVIEW:

PHOTO CREDIT: Kay Ibrahim

Kudu Blue

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I have been finding out about the Brighton group Kudu Blue...

and what the story is behind their new single, Mountain Song. I was keen to know what they have planned going forward and how the band formed; what the scene is like in Brighton and whether there are approaching artists worth watching out for.

The band share their favourite albums and memories; they provide advice to musicians coming through and tell me what tour dates are in the diary – they select some cool songs to end the interview with.

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

Hey! We're great been working on some music and rehearsing so it's been fun! We also had a show in Bristol at the Louisiana with Cub Sport and a show in London supporting another Brighton band, Loyal, at the Moth Club.

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

Sure. We're Kudu Blue (Tom, Owen; Clem and Creeda). We all live in Brighton and have been making music Electronic tunes together for four years now.

Mountain Song is new. How did it start life and what is it about?

We actually wrote this well over two years ago now. It came together when we were rehearsing. Since then, it's gone through a few different forms to arrive at where it is now. The track is about knowing what's good for you but finding it hard to do it and having to deal with your own reluctance.

I love the harmonies in your music. Did you always experiment with harmonies or is it something quite new?

Thank you! I’ve always enjoyed recording harmonies but it's something that I’ve got much more into with the new E.P. and the tracks that we're recording at the moment. I also find it the most enjoyable part of recording vocals now. You can get really creative with them which I love.

Might we see more material coming down the line?

100%. It might seem like we've been off the scene for a little bit but we've been writing loads so have got bags of new material on the way.

How did Kudu Blue find one another?

Tom and Owen were childhood friends; they met Creeda in Brighton as well. I moved down from Birmingham and we all just met through our love of music. We were playing together in various different bands and projects in Brighton before we got together as a four-piece.

In terms of music, do you share tastes? Would one find similar albums in your collections?

Yeah. There are definitely artists that we all have a shared love for but we also have another side of our tastes where they are quite different. I think what's great about us working together as a group is all of our different influences come together to make something a bit different.

What is Brighton like as a base? How inspiring is the place?

It's beautiful. Coming from Birmingham, I really appreciate being by the sea and getting that fresh air every day. It is a really creative city and there's a close-knit music community here which is great. Everyone knows each other and supports each other’s music.

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

Hmmm. Probably playing KOKO in Camden. It was the biggest show we've done to date and the energy there was amazing. Hopefully we'll get to experience some more shows like that. 

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

Clem: D'Angelo – Voodoo

I love every track on that album. D'Angelo is a big inspiration for me. His music is unmistakably his and you can hear so many influences in it.

Tom: Ram Narayan – North India: The Art of the Sarangi

While this album hasn't had any discernible influence on Kudu's music, it made me fall in love with music all over again; it showed me that music was capable of a lot more than I'd previously thought possible.

Creeda: In Rainbows – Radiohead

For me, it's just the most beautifully crafted album from start to finish. The soundscape is so ethereal and it’s probably the only album I've listened to over one-hundred times and still not got bored of.

Owen: Portishead – Dummy

I grew up in Bristol and this album is steeped in ’90s Bristol Nostalgia. Such beautiful, crisp production; so ahead of its time. And Beth Gibbons’ voice still haunts me to this day. 

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

Probably Cher or Shania Twain. On the rider would be a bath tub full of Nik Naks. We’re all addicted at the moment. And some vegan toasties for Tom.

What advice would you give to new artists coming through?

Keep plugging away. There are hard times but it’s worth it if you’re able to express yourself creatively. But also to look after yourselves and your mental-health. There are so many ups and downs that it can be tricky to remain stable in the music industry. It’s ok to take a break every now and then.

PHOTO CREDIT: Marieke Macklon Photography

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

14th March – Lille Vega, Copenhagen (Tennyson support)

15th March – Berghain/Kantine, Berlin (Tennyson support)

17th March – Hydrozagadka, Warsaw (Tennyson support)

21st March – Le Pop-Up du Label, Paris (Tennyson support)

23rd March – Hoxton Bar & Kitchen, London (Tennyson support)

24th March – The Sound House, Dublin (Tennyson support)

6th April - The Old Market, Brighton (MOVES Festival)

PHOTO CREDIT: Bobbie Johnson/PHOTO CREDIT: Aaron Wood

Are there any new artists you recommend we check out?

Bobbie Johnson. She's a rapper, singer and producer from Brighton. She's amazing. Cousin Kula are one of the most exciting U.K. live acts at the moment mixing Prog psychedelics with Synthpop. I saw Moses Sumney at Royal Festival Hall in 2018 - and it was one of the best gigs I’ve been to.

 IN THIS PHOTO: Cousin Kula

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

Yeah. We find time; we all like food A LOT. We like cooking and going out for food. Going to watch live bands and the occasional mad night out. Mmmmm, food.

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

Girls of the Internet - When U Go

Cousin Kula - Jelly Love

Kelis (ft. André 3000) - Millionaire

Childish Gambino – Redbone

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Follow Kudu Blue

Twitter:

https://twitter.com/kudublue

Facebook:

https://www.facebook.com/kudublue/

YouTube:

https://www.youtube.com/channel/UCWU4e9J_hcPnACiTwSXV5Rw

Spotify:

https://open.spotify.com/artist/2kYJ8VmL78aetgtGxQV0Z4?si=Bt13RFnfSMm6Xhb3Jcfsjg

INTERVIEW: Threatmantics

INTERVIEW:

Threatmantics

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THE guys of Threatmantics...

have been speaking with me about the Welsh music scene and how they came to be; what inspired their new album, Shadow on Your Heart, and whether they have any gigs coming along – they reveal some rising acts to watch.

I ask about the boys’ record collections and tastes; which albums they count as favourites and the artists they’d support on the road given the chance – they each select an excellent track to round the interview off with.

____________

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

Andrew: Very good, thanks. The last week has been hectic: new album being released and all. Truthfully, it’s mostly been nice to hear how people have been enjoying it. I was told that one absolutely jam-packed bar in Cardiff put our album on in full as soon as the Six Nations game between Wales and England ended. I found the idea of that quite odd. I imagine it’s a bit of a departure from the typical Welsh bar’s post-game mix of Tom Jones and Stereophonics.

Heddwyn: We did stack all the Pop hits at the top of the album, so I guess that could work. This week has been totally full-on. Shadow on Your Heart is the first album we’ve put out ourselves, so all the stuff like mailing pre-orders; getting records in shops, coordinating the online stuff - it’s been an almost overwhelming shock to the system at times. Plus, my arm still hurts a bit from printing all those album sleeves. We had an artist, John Abell, design the cover art as a woodcut and we hand printed each one. When I say ‘we’, John did most of it: I helped. It’s a really physical process that’s kind of hard on the knees as well. Worth it though. Those covers are beautiful, individual works of art!

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

Heddwyn: We are a maverick Art-Rock four-piece from Cardiff. Myself on vocals and viola; Andrew on guitar; Graf on bass and Huw on drums.

How did Threatmantics start life? When did you all get together?

Heddwyn: We formed in Cardiff Art School way back in 2005. Back then we had a different guitarist and Huw would play the basslines on a keyboard while drumming. Andrew became our guitarist just before our second album and Graf invented the role of Threatmantics bass player soon after.

Tell me about your new album, Shadow on Your Heart. Was it quite a quick album to put together or was it quite a gradual process?

Heddwyn: The songwriting and recording of it was actually pretty fluid. The sound of it was well-formed and translated really well in the studio. It’s everything that followed that took time. We had a couple of hard maybes from some labels, but it became apparent we were going to have to put it out ourselves; navigating the music industry in its unfiltered state. At times it’s been like staring into the Ark of the Covenant: faces turning to melty plasticine as you try and navigate the PRS website. On top of all that, we decided to hand-print three-hunred record sleeves! The end, however, has more than justified the means.

What sort of themes and inspirations go into the songs on the record?

Heddwyn: Musically, this is our first record with a full-time bass guitar player. As a result, so many of the songs started with bass and drums. We’d never really written that way before. It’s definitely given the record a different sound. As for themes, there are a few. The use of respectable veneers to hide lies and malicious intent is a recurring one. I used quite a few films as jumping-off-points for some of the songs on there - Heaven’s Gate, Funny Games; Office Space, The Third Man plus a few more. To set the mood, or as a spark for other ideas.

In terms of music, do you share tastes? Would one find similar albums in your collections?

Graf: Not really. I think this is reflected in the difficulty to pin down what it is that we do. We all bring differing tastes and influences to the table, chuck it all in a pot and then poke it with breadsticks until you’ve got a meal/band (I might try and get the Fondue-Rock scene off the ground. Probably not though.) Obviously, we all cross over at various points but there’s very little we *all* totally agree on except maybe Mclusky/FOTL and Gorky’s/Euros Childs.

Heddwyn: You’d find completely different tastes between my C.D. collection, my vinyl collection and what’s on my phone. It’s a complete mess before we even think about comparing it to the rest the band.

Andrew: My taste is broad - which means I do touch on a lot of different aspects of the other guy’s tastes. If I had to say a point where our tastes coalesce, it’s Super Furry Animals and Gorky’s Zygotic Mynci with a hint of AC/DC (one member might disagree with that last one).

You are a Welsh band. Do you find there is still an underappreciation of Welsh music and the quality there?

Andrew: There seems to have been a slight shift regarding attitudes towards Welsh music, in particular music sung through the Welsh language. The Internet has given an outlet for Welsh language bands to reach out further than ever and people are listening. That’s pretty heartening for me.

Graf: We are a European band. Now is not the time for pigeonholes and borders.

Heddwyn: We did record half the album in Paris after all. When we first started out, we’d get people come up to us really annoyed that we sang some songs in Welsh. Like we’d offended them somehow. That doesn’t seem to happen anymore, which is progress of sorts I guess. Though you still get people who are bitterly, stridently nationalistic about being Welsh but who really hate the language and anyone who speaks it. It’s really weird.

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

Andrew: Playing before The Zombies, ten minutes up the road from where I was born, was a big deal for me.

Heddwyn: That Rheola Fest was a lot of fun! There are so many moments from playing gigs or being on tour…or even just practice session. But maybe the thing that pokes through past all that was when we got the first box of our first album through from Domino. The feeling of pride in that plastic-wrapped bundle of legitimacy was pretty singular. It’s like when we finally finished hand-printing and then assembling our new record; seeing them all stacked up and ready to go. It’s a different kind of emotional reward to playing live. Not better, just different.

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

Graf: Super Furry Animals – Radiator

Consistently my number-one album for the last twenty years. Had it on both sides of a C90 tape and listened to it on the bus to and from college every day which, with hindsight, may well have played a very large part in me making the decision to move from the Midlands to Cardiff. Every different machine, headphones or speakers I play it on brings out a new line or melody or hook I’ve not noticed before (even now). It really is the gift that keeps giving.

Andrew: Stevie Wonder – Innervisions

I first heard it at the start of summer, right after the long slog of GCSEs. Every time I hear it now, I’m taken back to that feeling of total freedom and warm breezes. The songs are amazing too, obviously.

Heddwyn: When I was very young, I got given my uncle’s collection of Bob Dylan records. At the time, I was obsessed with The Times They Are a-Changin’ but it’s probably The Freewheelin’ Bob Dylan that’s stayed with me the most, even if that’s mostly due to songs that aren’t his.  

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

Andrew: I’d support either Ariana Grande or Guided by Voices and would have all of the halloumi fries on my rider, please.

Heddwyn: I want halloumi fries! I’d love to support Micachu/Mica Levi. Thought the stuff she did with The Shapes was great and the soundtrack for Under the Skin was just ridiculously good. I’d be intrigued to see how she’d perform live now, how those two worlds would interweave.

What advice would you give to new artists coming through?

Andrew: Don’t wait for someone else to do it for you. In 2019, it’s easier than ever to put yourself out there and control your own destiny.

Graf: You can do it. It’s in your own hands. Don’t wait for someone else’s approval. If you want to do it just get on and do it. Also, if that person seems a bit creepy or sketchy or useless it’s probably because they are a bit creepy and/or sketchy and/or useless.

Heddwyn: Don’t have only halloumi fries on your rider: get some fruit and veg on there too.

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

Graf: Firming up details of a London show in the very near-future and summer festival dates to be announced soon. We’re always open to offers.

If we came to one of your live shows, what might we expect?

Andrew: Graf climbing on something, usually.

Heddwyn: The unexpected! Guitar solos on viola, viola solos on guitar! Punk, Rock; Folk, Pop and Metal all coming at you from every conceivable angle. Oh, and Pokémon tattoos.

 IN THIS PHOTO: Silent Forum/PHOTO CREDIT: The Shoot

Are there any new artists you recommend we check out?

Andrew: Silent Forum, Big Thing; Perfect Body, Omaloma; Los Blancos, Serol Serol; Joe Armon-Jones and PREP are all relatively recent artists I’ve enjoyed. Silent Forum recently supported us at our album launch show.

Graf: Silent Forum, Perfect Body and Oh Peas!

Heddwyn: Zefur Wolves have a new album out soon. Their last one was great. Troubled Soul is such a good song! Not sure if they count as new but I don’t exactly have my finger on the pulse.

IN THIS PHOTO: Big Thing

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

Andrew: I mostly unwind from music by learning about music. It’s a problem. I’m the kind of guy who entertains himself by researching an artist’s chart history. Read in to that what you will.

Graf: Ah. Those sweet, sweet day jobs.

Heddwyn: Yeah, I work as a sound engineer/designer. Threatmantics ties in pretty well with that - there’s a lot of crossover. Away from sound and music it’s probably films, T.V.; PlayStation - the usual. I do enjoy a pub quiz. Huw probably has the most interesting hobby: he plays flag American football for Cardiff on the weekends.

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

Andrew: Carw - Lanterns

Graf: Gorky’s Zygotic Mynci – The Wizard & the Lizard. It came up on shuffle while I was in the park in the sunshine this lunchtime which reminded me what absolute bonkers-genius it is

Heddwyn: The Victorian English Gentlemens Club - Fire in the Wife. Criminally underrated

Huw (in absentia): Mclusky - Lightsaber Cocksucking Blues. It’s what he would have wanted

___________

Follow Threatmantics

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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.