INTERVIEW: Jubilo Drive

INTERVIEW:

Jubilo Drive

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THANKS to the guys of Jubilo Drive...

who have been telling me about their new album, Late Night Early Morning, and the inspiration behind it; which one album the members hold dear; how the band got together and the importance of L.A. regarding their creativity and sound.

I ask whether they will come to the U.K. and which approaching artists we need to watch; how they unwind away from music and the advice they would give to those coming through – the guys pick some cool songs to end the interview with.

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

It’s been good! We’re still on the heels of the record release, so we’re still kind of basking in the glory of that; but we’ve also got a ton of new demos in the works. Happy to be here right now.

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

Sure thing. We’re Jubilo Drive and we’re a group of fellows who enjoy playing music together and working to create new sounds. The five of us all have remarkably different taste in music, so we play a pretty eclectic blend of Psych-Rock/Synth-Pop. Jordan sings and plays guitar. Henry plays the guitar. Aaron’s on the keys. Jacob’s on the drums and Kalyn is the bass player.

Late Night Early Morning is out now. What does it feel like having the record out?

It feels great. Many of these songs were a long time coming and many of them were written before this current iteration of our lineup, so it’s cool to see things come full circle. The response has been awesome. It feels like a weight off our shoulders. We’re lucky to have a great support system. And, of course, there is the satisfaction of completing a project and putting it out into the world. Now that we have something to show for all our work, we feel really free to just create regularly. On to the next.

Are there particular inspirations and people that inspired the album and its stories?

Very much so. Tragically, much of this album was inspired by the untimely death our founding drummer and friend, Eric Cruz. Some of the lyrical content deals with themes of grief, anxiety; depression  and the power of music. For instance, our frontman Jordan H. Kleinman wrote the opening track, When The Curtains Draw, the night his grandfather died; he played trombone with Louis Prima in 1940s Harlem and met Eric a few times, so it felt fitting to include that song on such a cathartic album.

I think the process of building this album also really inspired us to grow and evolve as a band. In our current lineup, we’re still young and still working out the kinks. Seeing this album come together taught us a lot about our band dynamic.

How did Jubilo Drive get together? Did you bond over shared tastes?

We originally formed in college; played shows a lot and recorded a few bodies of work. In 2016, we decided to take a hiatus after a few years and, in early 2017, Eric passed away in a car accident. In early 2018, we reformed to keep the project going and began recording and releasing new music, using this exercise to heal as well.

We’ve always been lucky to have members who come from different backgrounds with various and unique music tastes. While we all definitely have shared musical interests, we individually hold wide spectrums of listening habits - which we feel gives us all an expanded musical knowledge to bring to the table.

What sort of music did you all grow up around?

As we said earlier, the influences are kind of all over the place. Henry and Aaron grew up on music that most California kids were raised on: a lot of Punk-Rock, Hip-Hop; Ska/Reggae. Jordan started out on Classic-Rock and later became obsessed with Jazz and World music. Kalyn was raised on R&B and Hip-Hop but also grew up listening to many different genres of Rock. Jacob’s a Metalhead and listens to a ton of Pop-Punk and Emo (still). Our parents introduced us to all the classics.

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

Our release show was an absolute blast, especially the part where (in practices leading up to the show) we swore we weren’t going to play an encore. And then the crowd really was calling for it, so we had no choice. Most encores are premeditated but it was cool to have such a genuine, spontaneous moment. We all kind of looked at each other and realized we had to go out there and play one more.

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

Jacob: Hybrid Theory by Linkin Park is the album that got me into Rock music, so I owe everything to it.

Jordan: I know this is going to sound corny…but The Dark Side of the Moon is probably the most meaningful and withstanding album to me and has been for a long time. The breadth of lyrical imagery, the fortitude and humanity displayed by the songs’ narrator(s); experimental recording techniques side-by-side hit songs, all while being considered a critical and commercial success. I’m sorry, but it doesn’t get better than that.

Henry: Too many. But, I would lean towards albums I’d listen to as a kid, when I had a C.D. case and a booklet to look through while listening. Very impressionable times.

Aaron: By the Way by Red Hot Chili Peppers

Kalyn: It’s impossible to choose just one, but Nevermind by Nirvana is certainly up there. Having grown up and spent the first nineteen years of my life in Seattle, something about that sound will always resonate with me.

Being based out of L.A., how important is the city and its people to your sound?

We’ve definitely written a considerable amount inspired by landscapes, traffic and weather of this town. Most of us work and live in Los Angeles, so there is an abundance of interesting characters to observe. You get a better understanding of the world the more kinds of people you see and meet. I don’t know how to articulate it but there are definitely ‘L.A. sounds’ in our music.

The ‘Indie’ music scene in L.A. is also superb. So many friendly and talented people and most people are pretty approachable. I definitely feel lucky to be able to call some of my favorite local artists friends and sometime-collaborators.

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

The Rolling Stones, Tame Impala; Radiohead or St. Vincent among others. Our rider would include Pepto-Bismol, Haribo gummy dinosaurs; hanging out with Keith Richards for fifteen minutes before the set, a handful of JUUL pods; five La Croix and a post-set joint (where legally applicable).

PHOTO CREDIT: Shawheen Keyani

What advice would you give to new artists coming through?

Keep putting out music. Keep playing shows. Find what works well for you first and try not to worry about what everyone else is sounding like. The more content you have and the more exposure you get, the better. We’ve been a band for a long time and there are days that feel like we’re still starting out - which just goes to show that there’s always something new to learn and ways to improve yourself, both personally and musically.

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

We’ve got a few things in the works right now, but can’t officially announce yet. So, we’ll say that you can catch us in L.A. this spring and definitely this summer.

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

Controlled chaos: sweaty, spectacular dance moves. Headbanging. Kalyn’s sultry gaze. Jordan dropped the mic and ran around the venue during Aaron’s keyboard solo one time. You know...standard Rock ‘n’ Roll stuff. Come ready to rock the **** out and, if you’re standing close to the stage, to get sweat on you. You might learn something new about yourself.

Might you play in the U.K. at some point?

We’d absolutely love to. A lot of us are huge fans of some big U.K. artists (Joy Division, New Order; The Cure, Cleaners from Venus; Radiohead, The 1975) so that’d definitely be a bucket list item. When are you having us?

 IN THIS PHOTO: James Supercave

Are there any new artists you recommend we check out?

Our friends in James Supercave just put out a stellar new E.P. Can’t recommend it enough. Check out SWIMM and SLUGS too.

IN THIS PHOTO: SWIMM

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

Honestly, most of us are still working on music when we’re away from Jubilo. We’re all pretty active in solo and side projects, so music keeps us pretty busy. We’re lucky to have a day jobs so, when we’re not there or working on music, we love to unwind with friends and chill out. Music is always playing in the background, so it never goes away.

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).

Jacob: How to Draw/Petrichor - The 1975

Jordan: Chiko-Chan - Yasuaki Shimizu

Henry: Fools - Drugdealer

Aaron: Slide - George Clanton

Kalyn: Star Treatment - Arctic Monkeys

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Follow Jubilo Drive

Official:

https://www.jubilodrive.com/

Twitter:

https://twitter.com/JubiloDrive

Facebook:

https://www.facebook.com/JubiloDrive/

Instagram:

https://www.instagram.com/jubilodrive/

Spotify:

https://open.spotify.com/artist/3WofJ6TcHQNvl2BUrQILdK?si=DyzlbXONSWi0AAYkgo75lg

SoundCloud:

https://soundcloud.com/jubilo-drive

FEATURE: Albums of the Decade: Part I: 2010-2012

FEATURE:

 

Albums of the Decade

IN THIS PHOTO: PJ Harvey/PHOTO CREDIT: Getty Images 

Part I: 2010-2012

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THERE are not many months left in the decade...

 IN THIS PHOTO: Kanye West/PHOTO CREDIT: GQ

and I am pretty sure there will not be many contenders that will challenge this list - when I get to the 2019 part, that is! Speculated albums from Madonna and The 1975 might be in with a shout of being the albums of the decade but I am starting this rundown with a look at the best albums from the three-year period that covered 2010 to 2012 - I might have a separate list for 2019 in December. Every decade boasts terrific records but this decade has been really strong and seem some truly unexpected revelations. I am starting with those first few years of the 2010s; when there were people asking how music would change and whether we would see anything as good as the 2000s. Here are the fifteen albums that defined and owned the years 2010 through to 2012. Future parts will bring us right up-to-date but here, in this opening part, we can see albums that made the 2010s start...

 IN THIS PHOTO: Fiona Apple/PHOTO CREDIT: Getty Images

WITH real fire.

ALL ALBUM COVERS: Spotify/Getty Images

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2010:

Kanye West - My Beautiful Dark Twisted Fantasy

Release Date: 22nd November, 2010

Labels: Def Jam/Rock-A-Fella

Producers: Various

Key Cuts: Power/Runaway/Who Will Survive in America

Standout Track: Monster

Review:

“Yet the ruthlessly self-indicting ”Runaway,” expanded to nine minutes from the version he debuted at this year?s VMAs, complicates Fantasy?s intermittent ugliness. ”You?ve been putting up with my s— just way too long,” he admits to a girlfriend, or maybe the entire listening public, before leading a bitterly ironic ”toast for the douchebags” in the chorus. It?s a dose of harsh reality that casts the excesses around it in a new light. West may be obnoxious, but at least he?s interested in confronting those aspects of his identity through his music. Few stars of comparable wattage would dare do the same” – Entertainment Weekly

Arcade Fire - The Suburbs

Release Date: 2nd August, 2010

Labels: Megre/City Slang/Mercury

Producers: Arcade Fire/Markus Dravs

Key Cuts: The Suburbs/Modern Man/City with No Children

Standout Track: Ready to Start

Review:

“The anxieties of Neon Bible still lurk in some of these songs – the unease of the "Modern Man" is rendered with the deceptive naivety of Talking Heads, and the futile search for "the places we used to play" in "Sprawl 1 (Flatland)" is beautifully evoked by shimmering strings. But part of the band's appeal derives from its ability to balance music and emotions in poised equilibrium while grasping confidently for the future, so the misgivings are forever being swept aside by hope.

Playing the character of a trapped suburbanite with unfulfilled dreams, Regine Chassenet sings in "Sprawl 2 (Mountains Beyond Mountains)" about how "these days my life, I feel it has no purpose; but late at night these feelings swim to the surface". As if to suggest those lurking ambitions, it's sung over cycling synthesisers, in the manner of some self-assertive Euro electro-diva. Despite it all, she will survive” – The Independent

Robyn - Body Talk

Release Date: 22nd November, 2010

Label: Konichiwa

Producers: Various

Key Cuts: Fembot/Indescribable/Call Your Girlfriend

Standout Track: Dancing on My Own

Review:

“Some songs sound even better here than they did on the EPs: “Love Kills” and “None of Dem”'s playful dancehall function more clearly as bridges to other tracks than they did before. Body Talk’s new songs also make good on the EPs’ gradual shift from fierce independence to togetherness, particularly on “Call Your Girlfriend,” a thoughtful twist on a love triangle that finds Robyn enjoying new love while being concerned for someone hurt by it, and “Stars 4-Ever,” which gives a fizzy, Euro-dance tinged happy ending to the Body Talk project. After the EPs’ conciseness, the album feels downright roomy, and maybe slightly too long; obviously, Robyn had a lot of songs to work with. Overall, though, Body Talk is more focused than Robyn, and just as bold in the intimacy it creates with listeners” – AllMusic

Laura Marling - I Speak Because I Can

Release Date: 22nd March, 2010

Label: Virgin

Producer: Ethan Johns

Key Cuts: Devil’s Spoke/Rambling Man/I Speak Because I Can

Standout Track: Goodbye England (Covered in Snow)

Review:

“Many of the songs struggle with Marling’s conflicted yearning for both traditional monogamy and unfettered independence. “I tried to be a girl who likes to be used,” she sings on Goodbye England, “I’m too good for that/ There’s a mind under this hat.” Elsewhere she gazes back into Greek mythology for female companionship, addressing the marriage goddess Hera and conjuring the spirit of Odysseus’ patient wife Penelope. I Speak Because I Can is my favourite release of the year so far – and certainly an album worth sailing home for” – The Daily Telegraph  

Deerhunter - Halcyon Digest

Release Date: 28th September, 2010

Label: 4AD

Producers: Deerhunter/Ben H. Allen/Henry Barbe

Key Cuts: Earthquake/Revival/Basement Scene

Standout Track: Memory Boy

Review:

“When a skeletal drum-machine beat sputters to life on opener “Earthquake,” Deerhunter’s third album threatens to be their most threadbare yet, but then a dreamy guitar floods the senses. Like frontman Bradford Cox’s solo records as Atlas Sound, Halcyon Digest exists mainly as another iteration of his shifting id, deeply plumbing memories real and imagined with a sound by turns spare and sumptuous. On the pensive “Basement Scene” and sublime centerpiece “Desire Lines” (actually written by guitarist Lockett Pundt), Deerhunter couples the Everly Brothers’ drawling croon with ’90s Sonic Youth surge, making for a blissed-out yet bittersweet reverie” – SPIN

2011:

PJ Harvey – Let England Shake

Release Date: 14th February, 2011

Labels: Island/Vagrant

Producers: Flood/Mick Harvey/John Parish/PJ Harvey

Key Cuts: Let England Shake/The Words That Maketh Murder/On Battleship Hill

Standout Track: The Glorious Land

Review:

“Rock songwriters don't write much about the first world war, but, perhaps understandably, when they do, they have a tendency to lay it on a bit thick: you end up with songs like the Zombies' The Butcher's Tale, so ripe it sounds more like the work of a fromagier. Harvey clearly understands that the horror doesn't really need embellishing: her way sounds infinitely more shocking and affecting than all the machine-gun sound effects in the world.

You're left with a richly inventive album that's unlike anything else in Harvey's back catalogue. That, she told Marr last year, is the point: "My biggest fear would be to replicate something I've done before." Let England Shake sounds suspiciously like the work of a woman at her creative peak. Where she goes from here is, as ever, anyone's guess” – The Guardian

St. Vincent – Strange Mercy

Release Date: 12th September, 2011

Label: 4AD

Producer: John Congleton

Key Cuts: Cruel/Cheerleader/Hysterical Strength

Standout Track: Strange Mercy

Review:

“On ‘Cheerleader’ she confesses: “I’ve seen America with no clothes on, but I don’t want to be a cheerleader no more”, and while this too clearly has personal resonance, it also captures the pervasive soul-searching of her fellow countrymen. Among all this intense intellectual wrangling sits the seductive title track, a song etched from beauty itself; Clark’s voice has never sounded so beguiling and her fretwork is tasteful, skilful and mesmeric.

It’s this combination of unforced sonic gorgeousness and a refusal to settle for the obvious that puts Clark in a field of her own, and makes for a strange and wonderful record that shows no mercy in blowing your mind” – NME

Bon Iver – Bon Iver

Release Date: 17th June, 2011

Labels: Jagjaguwar (U.S)/4AD (Europe)

Producer: Justin Vernon

Key Cuts: Minnesota, WI/Wash/Calgary

Standout Track: Holocene

Review:

“Vernon's most magnificent act on this follow-up to 2008's solitary, introspective For Emma, Forever Ago, is to open Bon Iver up to the world. That expansiveness influences everything, from the way the song titles reach beyond Vernon's Wisconsin home to the number of collaborators (10) and their intricately textured sound. In opening track Perth, you can almost hear Vernon exit his cabin in the woods to be dazzled by the colours and brightness outside, communicated in bold military drums and surging horns. But whether exploring supple R&B in Minnesota, WI, joyful country in Towers, or swollen soft-rock in Beth/Rest, Bon Iver remains rooted in the emotional sincerity that made Vernon's debut so mesmerising” – The Guardian

James Blake – James Blake

Release Date: 4th February, 2011

Labels: ATLAS/A&M/Polydor

Producer: James Blake

Key Cuts: The Wilhelm Scream/Lindisfarne I/Give Me My Mouth

Standout Track: Limit to Your Love

Review:

“The same goes for the album-ending "Measurements", which somehow pulls the sound of a Southern black gospel choir from Blake's laptop and white-boy coo. Feist cover "Limit to Your Love" works in just enough of dubstep's bass flutter and snare snap. If Blake really does cross over and become the pretty white male who introduces a broader audience to dubstep, with its foundations in Jamaican music and black musicians in South East London, he'll receive the tired, requisite backlash. But these 11 songs-- gorgeous, indelible tunes that are as generous in content as they are restrained in delivery-- will last a lot longer” – Pitchfork  

Kate Bush – 50 Words for Snow

Release Date: 21st November, 2011

Label: Fish People

Producer: Kate Bush

Key Cuts: Lake Tahoe/Misty/Snowed in at Wheeler Street

Standout Track: 50 Words for Snow

Review:

“But it's "50 Words for Snow" itself which offers the most engaging, genial development of the album's wintry theme, its scudding groove assailed by chilly wind as Stephen Fry enunciates the terms – mostly made-up by Bush herself – with quiet relish: "Eiderfalls... Wenceslasair... Vanillaswarm... Icyskidski...", while she stands on the sideline, occasionally jumping in to cajole him, like a coach boosting her player's morale. It's a fitting climax to a seasonal offering that manages to evoke the essential spirit of winter while avoiding all the dog-eared clichés of Christmas albums – or indeed, any overt mention of that particular fairy story. Which is some achievement” – The Independent

2012:

Fiona Apple – The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do

Release Date: 18th June, 2012

Labels: Clean Slate/Epic

Producers: Fiona Apple/Charley Drayton

Key Cuts: Valentine/Left Alone/Periphery

Standout Track: Every Single Night

Review:

“Lacking either ornate production or a pop single, The Idler Wheel plays like Fiona Appleat her purest and that's plenty complicated: she takes no shortcuts or easy turns, her intent somewhat shrouded but never absent. Much of the charm of Apple's music isn't decoding what it all means but learning its internal clockwork, letting the songs take root, so the love songs ("Jonathan") seem sweeter, the braggadocio ("Hot Knife") funnier, the pathos ("Valentine," "Regret") and paranoia ("Werewolf") feeling fathomless. Once the startling Spartan surfaces of The Idler Wheel become familiar, similarities to her three previous albums are apparent -- she takes certain jazzy strides that hark back to Tidal, there's a rigorous dexterity reminiscent of When the Pawn -- but what's new is an unwavering determination and cohesion. Nothing is wasted, either in the composition or arrangement, and this lean confidence binds The Idler Wheel. Stripped of all her carnivalesque accouterments, Fiona Apple remains as rich and compelling as she ever was, perhaps even more so” – AllMusic

Frank Ocean – Channel Orange

Release Date: 10th July, 2012

Label: Def Jam

Producers: Various

Key Cuts: Sweet Life/Pyramids/Bad Religion

Standout Track: Thinkin Bout You

Review:

“Channel Orange is as dazzling as it is baffling, rarely staying still long enough to get a grip on. This may be a drawback when it comes to scoring big hit singles, with only one track, the chugging Lost, really conforming to the kind of straightforward song construction favoured by radio. Yet, there has been a sea-change in mainstream pop of late, as the popularity of guitar rock has waned and the sound of blips and beats have become utterly dominant in the top 40” – The Telegraph

Kendrick Lamar – Good Kid, M.A.A.D City

Release Date: 22nd October, 2012

Labels: Aftermath/Interscope/Top Dawg

Producers: Various

Key Cuts: Bitch, Don’t Kill My Vibe/Money Trees/M.A.A.D City

Standout Track: Backseat Freestyle

Review:

“Equally heavy is the cautionary tale of drank dubbed "Swimming Pools," yet that highlight is as hooky and hallucinatory as most Houston drank anthems, and breaks off into one of the chilling, cassette-quality interludes that connect the album, adding to the documentary or eavesdropping quality of it all. Soul children will experience déjà vu when "Poetic Justice" slides by with its Janet Jackson sample -- sounding like it came off his Aunt's VHS copy of the movie it's named after -- while the closing "Compton" is an anthem sure to make the Game jealous, featuring Dre in beast mode, acting pre-Chronic and pre-Death Row. This journey through the concrete jungle of Compton is worth taking because of the artistic richness within, plus the attraction of a whip-smart rapper flying high during his rookie season. Any hesitation about the horror of it all is quickly wiped away by Kendrick's mix of true talk, open heart, open mind, and extended hand. Add it all up and even without the hype, this one is still potent and smart enough to rise to the top of the pile” – AllMusic

Grimes – Visions

Release Date: 31st January, 2012

Label: 4AD

Producer: Grimes

Key Cuts: Oblivion/Visiting Statue/Skin

Standout Track: Genesis

Review:

“Visions is anchored less by Boucher’s voice, a small but versatile falsetto with unexpected range, than by her personality, which grounds even the album’s oddest digressions with sweetness and sensuality. She sings mostly in a cryptic blur of impressions, preferring expressive sighs and squeals over complete thoughts, but the lyrics that are decipherable leave a mark. On “Oblivion,” Boucher pines for the simple comforts of romance, and on the penultimate track “Skin,” she reflects on how physical contact forges emotional bonds. It’s Visions’ longest, saddest song, but it’s a fitting closer for a record that’s so evocatively textured it’s practically a tactile experience” – AV Music

Jack White – Blunderbuss

Release Date: 20th April, 2012

Labels: Third Man/XL/Columbia

Producer: Jack White

Key Cuts: Sixteen Saltines/I’m Shakin’/Hip Eponymous (Poor Boy)

Standout Track: Weep Themselves to Sleep

Review:

“There are plenty of made-in-Nashville flourishes – fiddle, mandolin, pedal steel. White mostly strums acoustic, occasionally going electric for noise-splutter solos. But he power-riffs the Seventies stoner boogie “Sixteen Saltines,” his loudest and funniest tribute to the destructive force of passion and the healing power of overcranked guitars. “Spike heels make a hole in a lifeboat” – that could be White’s epitaph.

Yet through all the heartbreak, he remains a mystery man, as if Don Draper went to that Rolling Stones show on Mad Men and ended up jamming with the band. White has the Midwest con-man reserve of Draper, along with the flamboyant-yet-unknowable flash of Jagger. So Blunderbuss gets stranger and more fascinating the closer you listen. It doesn’t give up any of the man’s secrets. And make no mistake: That’s exactly how Jack White wants it” – Rolling Stone

INTERVIEW: HEZEN

INTERVIEW:

PHOTO CREDIT: Diego Indraccolo

HEZEN

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IT has been a couple of years since I last...

spoke to HEZEN and, whilst one or two of my questions are the same, the latest single from her is definitely not. I ask about Bring Your Alibi and ask HEZEN about current controversies involving Ryan Adams and R. Kelly and whether she feels there is a lack of protection in the music industry at the moment.

She selects some special albums and a few rising artists to watch; how important it is being on stage and how she unwinds away from the strain and stress of music – she selects a great track to end the interview with.

____________

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

I'm good, thank you! I just arrived at my parents’ back in France, outside Paris. I'm playing my first Parisian date ever on Monday, 11th March, so I thought I'd take the opportunity to come a little earlier and help my parents pack – they're moving to Martinique, where my mum is from, in a few months. I'm also going to save the old notebooks where I used to write songs and poems when I was a kid - because people say that it's the kind of thing that one day I'll open with fondness. I've got my doubts about that but, whatever.

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

My name is Sarah. I'm a French producer/singer; living in North London for the past eight years and going under the name HEZEN. I make Dark-Pop with a neon-noir, futuristic edge (think The Little Mermaid-meets-Blade Runner).

Bring Your Alibi is your new single. Is there a story behind the song?

It started in May 2018. I had invited my friend, Laurane Marchive, over for a lyric-writing session. I had never written with someone else before but Laurane is an amazing writer so when she suggested we tried something - I was really into the idea. The week before, Harvey Weinstein had turned himself in to the N.Y. police on sexual assault charges. Being that most our conversations are about feminist issues, we naturally started to come up with an idea related to it. We wanted to write something empowering, something badass; using the trope of the weak and defenceless woman who turns out to be dangerous A.F. and takes her abuser down, like a feminist version of David vs. Goliath.

We visualised Lisbeth Salander from The Girl with the Dragon Tattoo as our protagonist. It's the song she sings as she's getting ready in the morning, putting a nice dress on; too much makeup. To me, she represents all the people from the #MeToo movement (and beyond) who had the courage to come forward and the person the song is addressed to is all their abusers. This is a song about justice but it's also a warning: you think you're gonna get away with this? Think again.

Do you think the recent news stories involving Ryan Adams and R. Kelly show a lack of awareness and protection from the music industry in general? Do you foresee changes coming regarding the way women are treated?

The misconducts and crimes that have been exposed in the art industries are the ones that ended up making the most noise, for obvious reasons. But, I don't think they're necessarily representative of a problem that's specific to these industries: that's just the exposed tip of the iceberg. I think what the #MeToo movement has shown, in such a shockingly democratic way, is how prevalent sexual assault and harassment are, in every industry, and how the lack of awareness and protection is just our reality as a whole: it's a system structured in a way that it protects abusers and discourages victims to speak.

We're not going to wake up tomorrow with no more sexual predators, nor in a world where victims can expect to be protected by the judicial system; the one that still today finds relevant information in the kind of clothes they were wearing or how much they had drunk when they were harassed or attacked. It's going to take time to program the kind of society we want but, if you look at history, going towards a more just and equal society seems like an ineluctable force (there's still loads to do but I'm a hopeless optimist).

I do think there's a before and after #MeToo, though. I think we've reached a critical mass, one where the problem-gangrening society cannot be brushed under the carpet anymore and people will be less and less afraid of speaking up. That's true for women - but hopefully for men and everybody else too.

As long as we keep the conversation going...

PHOTO CREDIT: Diego Indraccolo

Might we see an E.P. or album later this year?

Bring Your Alibi is the first out of three songs I wrote last year and will be releasing before the summer. To me, they're part of the same chapter: it's called Safe & Bound. I've also started this year's chapter and I'm incredibly excited about the direction it's taking. I'm hoping to release it soon after Safe & Bound.

When did music come into your life? Did your parents play a big role?

At home, my parents played a lot of music, from Chanson Française to Classical music and a lot of U.K. and U.S. classics – Elton John, Neil Young; Pink Floyd, The Beatles; Queen...my dad is very musical and, in my memory, he'd play the guitar or the keys most evenings. I started writing songs when I was thirteen and he's been supportive ever since; buying me my first guitar and being the first to hear my demos recorded on Audacity with a computer microphone. He was hard to please. He still is.

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

It's a hard question: I feel like so many had their own impact on me...I guess music started becoming a very personal and intense experience when I was young teenager (like most people). At the time, I discovered Nirvana, Pink Floyd; Sia, Led Zeppelin; Muse (pre-Black Holes and Revelations, obviously), Radiohead, Björk and all of them were very important to me. Muse is the band that made me want to write songs and Unintended was the first song I taught myself on the guitar (I was and still am such an Emo kid).

I heard Sia's Breathe Me on the radio and I think I stopped breathing during the whole song. The same thing happened when I heard Karma Police by Radiohead, Chop Suey by System of a Down and Is There Anybody Out There? by Pink Floyd. Later, I discovered Trip-Hop and that changed my life: Massive Attack, Tricky; UNKLE, Portishead...basically, anything that was dark and/or very sad I was an absolute sucker for.

PHOTO CREDIT: Diego Indraccolo

Looking back at your earliest work, what are the main changes/developments you have seen inside yourself?

I think I take it all less seriously. I've always used songwriting as a catharsis; as my only way of expressing and processing my emotions. But, my creative process was often painful and I lacked the confidence to express myself in an approachable way, often hiding behind words and production. I still write based on my experiences but I've now allowed fun in my work, as well as accepted being more vulnerable by being more honest and direct. It helps that I also feel more confident in my production skills and, over time, I've enjoyed simplifying, having more space and less elements.

I've definitely felt a shift in what and how I create and that really happened last year when, after working hard on myself, I came out of depression and had some sort of creative epiphany. The tree songs of the E.P. I'll be releasing are the result of it.

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

One of my biggest handicaps in life is that I have no memory, so it's very hard to answer this question. So, I'll stick to something recent – writing Terrible Animals last year - the song I'm releasing next month - is standing out for me because it marks the beginning of getting my head out of the water and relearning the joys of music-making, which I had forgotten.

PHOTO CREDIT: Isaac Murai

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

You asked me this question two years ago, but I guess I should come up with three different ones (smiles).

Overgrown – James Blake

It's a masterpiece. It's had a huge influence on me and it's been teaching me about simplicity.

Rossz Csillag Alatt Született – Venetian Snares

Another masterpiece. It's one of the saddest and darkest albums I've ever heard, but it's also incredibly beautiful. His blending of strings and electronic beats has shaped my music so much.

Homogenic – Björk 

I think it's the album that made me drop my acoustic guitar and teach myself production. And it probably all started with All Is Full of Love.

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

Young Fathers. On my rider, I'd want lots of olives of different kinds; whiskey sours on demand and a dressing gown.

 PHOTO CREDIT: @sarahezen 

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

That's a good question...

To be honest, I don't do much that isn't music-related, aside from a healthy amount of procrastination and occasional Netflix evening sesh. I do love cooking, so I guess that's my twice-daily dose of unwinding. I'm also lucky to live very close to Hampstead Heath, so a walk up to Parliament Hill to look at the London skyline often helps when I feel a little overwhelmed.

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

Performing is vital to me. I'd go mental otherwise; writing songs behind my computer without ever living them in the flesh. There's an energy I find only on stage and it's such a magical moment for me when I can perform a song that's only lived in my computer until then and feel how people react to it. I've set myself this challenge this year: of having one new song per gig. The two worlds have been fostering each other - having a deadline has boosted my creativity in the studio and it's made gigging even more exciting because I get to share something new and get almost immediate feedback from people who come to my show.

But, I'm also a massive geek and I can spend days on end working on a track and not speak to another human with no major problem.

 IN THIS PHOTO: Tamino

Are there any new artists you recommend we check out?

Recently, I discovered a few gems I'm super-excited about. There's Farai and her liberatingly W.T.F. prose and sick production; Tamino, who I fell in love with (even more after seeing him live last year at Omeara); the dreamy Imperial Daze (to catch live absolutely) but also Alxndr London, Joji and Erland Cooper...

 IN THIS PHOTO: Imperial Daze/PHOTO CREDIT: Chris Heaton

Might we see you on tour in 2019?

That would be really nice. I'll let you know if that happens!

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).

Yseult – Rien à prouver

___________

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FEATURE: The Alternative National Health Service: Sparkling New Material from the Ohio Band - and Why They Hold a Special Place in My Heart

FEATURE:

 

The Alternative National Health Service

IMAGE CREDIT: Spotify 

Sparkling New Material from the Ohio Band - and Why They Hold a Special Place in My Heart

__________

I do not usually get excited about bands...

 IMAGE CREDIT: Getty Images

and what they are releasing at the moment. I am trying to scan around and ask myself which groups I am looking forward to hearing from this year. My mind goes blank but I am sure there are some – even if it is hard to recall. Most of the best and most exciting albums at the moment are from solo artists and it is rare when a band rocks up and I have that excitement. It is just the changing times and the fact solo artists have overtaken groups in terms of popularity and quality. I think, more accurately, it is the music bands play and the fact many are looking for something different. It is hard to thrill like Rock and Pop bands of the past used to. Have we grown tired of the same riffs and stadium-sized choruses? Have we got a little bored of the Electro bands that produce pretty samey music? I do think there is a bit of a problem with mainstream bands and it makes me excited seeing more potent and varied examples in the underground. My point is that, at the moment, the solo artists are making my head turn. I think there is one band that will always be an exception to the rule. The National are back – not that they ever went away – and they have released a fresh song in the form of You Had Your Soul with You. It is a gorgeous and hypnotic track with some tense beats, strings and gorgeous vocals.

It is a masterful and typically reliable song from the band and one that will open their new album – more on that in a bit. Past material from The National has been a bit pessimistic and emotionally raw but that is not all that they are about. Matt Berninger, their lead, is someone who can pen these incredibly intelligent lyrics and structure these fantastic images that portray all manner of subjects. On You Had Your Soul with You, as SPIN state, the band has added new elements to their sound:

“But on “You Had Your Soul With You,” the opening track from I Am Easy to Find, Berninger also experiments with empathy and optimism. He’s found a perfect complement in noted singer and session musician Gail Ann Dorsey, whose honeyed vocals offer another side to Berninger’s story. Around the two-minute mark, the clouds start to open up; as dizzying guitar runs give way to solo piano and a lofty string arrangement, Dorsey sings, “I have owed it to my heart every word I’ve said / You have no idea how hard I died when you left.” It’s a perfect counter to Berninger’s typically inward-facing lyrics, and an anchor for one of the band’s prettiest codas. Dorsey even manages to temper the track’s brutal refrain: “I had only one thing left / And I couldn’t see it yet.” The National have long traced their own anxiety and emotional volatility through manic highs and desperate lows. But by inviting another voice into the fold, they open themselves up to something new—understanding”.

 

There is, as I said, an album coming and it has taken many by surprise. Their previous record, Sleep Well Beast, only came out in 2017 so one would forgive them for taking some more time to craft an album. That is never the case with The National. They are fast to turn material around and, unlike most bands, their consistency is exceptional. Consequence of Sound have details regarding their May-due record:

“The National have announced the release of a new album called I Am Easy to Find, due out on May 17th via 4AD. Additionally, the New York alt-rock mainstays have teamed up with director Mike Mills (20th Century Women) for a 24-minute short film of the same name, starring Alicia Vikander.

The 16-track album was recorded primarily at Long Pond in Hudson Valley, New York, with additional sessions taking place in Paris, Berlin, Dublin, Cincinnati, Austin, Brooklyn, and elsewhere. The album features vocal contributions from Sharon Van Etten, Brooklyn Youth Chorus, Lisa Hannigan, Mina Tindle, and Bowie collaborator Gail Anne Dorsey, among others.

According to a press release, The National’s album and Mills’ film inspired the other, but “don’t necessarily need one another.” Mills describes the releases as “playfully hostile siblings that love to steal from each other”.

I look back through the career of The National and cannot see an album they one can call average or bad. Maybe their 2001 debut, The National, got a few mixed reviews but they have excelled since then and produced brilliant work after brilliant work. I think solo artists, maybe, are steaming ahead of bands because they write songs that are more personal and can tap into our deep emotions and feelings.

 IMAGE CREDIT: Spotify

I am not saying bands cannot do that but most tend to concentrate on other aspects or fail to deliver with as much power and emotion as solo artists. With Matt Berninger at the helm, there is this captivating singer who is able to make every word sound spellbinding and unique. I think, in many ways, The National are a tonic and comfort in hard times. A lot of their lyrics might paint slightly dark and moody images but there is an arresting beauty that makes all their songs sound hopeful and spirited. It is hard to describe but The National can be deep and revealing but they always ensure there is that emotional balance. I love every album they put out as it has The National’s core sound but there is new skin. The reason I have focused on The National for special consideration is the special place they have in my heart. I shall not name the woman, lest she be reading by a long-shot, but I discovered the band just after High Violet was released in 2010. This friend, she was/is a big fan of them and ran her own blog. We used to swap emails and she, on social media, would profess her love of The National and their music. I was not aware of them at that point so listened to High Violet and had my mind opened.

Not only is it one of the best albums of this decade but the songs are so effortlessly brilliant. Listen to the drawl-and-rush of Bloodbuzz Ohio and the images it projects – our lead owing money (to the money he owes) and being carried by a swarm of bees! Terrible Love and Anyone’s Ghost are incredibly rich and evocative whereas England is one of those songs that rarely got mentioned in reviews around the time yet is one of the standouts. They would create – and had to that point – better-reviewed albums but High Violet is very personal to me. I connected with this music lover and human who turned me onto The National and related what they meant to her. At that point, my band music was still very much Rock and Alternative but The National broadened my palette and introduced me to this fresh world of sound and emotion. I use words like ‘emotion’ but it is a good thing: the songs resonate with people and we can all relate to what is being said and find something beautiful. Before moving on, AV Music reviewed High Violet and stated why it is a wonderful thing:

“Less outwardly aggressive than even the relatively restrained Boxer, and yet big and grand enough to fill the large theaters The National finally occupy after spending a decade slowly building an audience, High Violet is carefully considered without being labored, richly detailed without being fussy. “Bloodbuzz Ohio” and “Anyone’s Ghost” satisfy the band’s quota of driving, brooding pop songs, but the breathtaking “England” rises to an unprecedented climax that puts the band squarely in Arcade Fire territory. “Afraid Of Everyone” is another landmark for The National, with Berninger taking on a potentially trite subject—being a new father—and making listeners feel the sledgehammer pounding of a scared (but committed) man’s heart. With High Violet, The National has graduated from being a critic’s band. Now it belongs to everyone”.

Every album from The National is crammed with life and these vivid stories. Boxer has the wondrous Fake Empire – and is one of their most popular albums – and that 2007 album was the one I investigated after discovering High Violet. Trouble Will Find Me arrived in 2013 and, at a hard point in life, provided guidance and strength. I guess the mark of every great artist/album is the ability to lift the mood or put the listener in a better frame. Whether The National are singing about swarming bees or letting the heart bleed, it provides me (and countless others) with this warm and comforting feeling. It is weird but I listen to The National and they compel me to look inside myself and provide wisdom; I can close my eyes and get lost in their music and, when I need a boost, they are on hand. All of their albums hold some sort of significance and the latest revelation, I Am Easy to Find, sounds like it will be a masterpiece. Whereas other bands experience dips and they fade away, The National seem to keep building and finding new ground. I love the Matt Berninger, Aaron Dessner; Bryce Dessner, Scott and Bryan Devendorf think and play. Their music has helped so many people and provides this gorgeous and utterly captivating soundtrack. At their most energised and playful they can provide smile but I love their most heartaching songs and they tend to strike me harder. Their back catalogue is amazing and crammed with brilliance and I so glad they are back. There is a bittersweet realisation when I hear news of a new album from The National. The fact the woman who introduced them to me is not in my life anymore is sad but, when I hear their music, I am cast back to that time around 2010/2011. I am always curious how long The National can keep creating these brilliant albums without losing a step and producing something inferior. By the sound of their latest single, You Had Your Soul with You, that is not going to happen...

 IN THIS PHOTO: The National/PHOTO CREDIT: Getty Images

ANYTIME soon.

FEATURE: Viva Hate: Should Artists Like Morrissey Be Snubbed Because of Their Political Views?

FEATURE:

 

Viva Hate

IN THIS PHOTO: Morrissey/PHOTO CREDIT: Monika Stolarska  

Should Artists Like Morrissey Be Snubbed Because of Their Political Views?

__________

IT is a bit handy that I have been speaking about...

 IMAGE CREDIT: Spotify

one world-famous and iconic artist being judged because of their personal life and now, with Morrissey, I get to explore another controversial story. To be fair, there is not the same sort of attention aimed at Morrissey as there has been Michael Jackson – given the allegations of sexual abuse being levied at him. I will not talk more about Jackson but, with regards Morrissey, he has announced a new album. In fact, the news broke late last year but I think it might have passed many of us by. It seems, however, to be a bit of a departure for Moz:

“Morrissey has announced a new covers album, titled ‘California Son’.

The former Smiths frontman made the announcement on his official website late yesterday (December 5), revealing that he’s recorded versions of songs by the likes of Bob Dylan, Joni Mitchell and Roy Orbison for the new album.

‘California Son’ has been produced by Joe Chiccarelli and will comprise of 12 tracks. BMG are releasing the album – although an actual release date has yet to be confirmed – and you can see the tracklist below”.

He is tackling songs by Joni Mitchell (Don’t Interrupt the Sorrow) and Bob Dylan (Only a Pawn in Their Game) and we just got the video for his version of Roy Orbison’s It’s Over. There is a good selection of songs and Morrissey definitely adds his own stamp to the Orbison classic. It follows his 2017 album, Low in High School, and gives a chance for the former Smiths lead to hook up with other artists. It is fascinating seeing some of the names that will appear on the new Morrissey album. He has been a little quite on the new music front for a while so it is good to have more stuff from him. There are reservations, from some fans, that Morrissey’s political views are offputting and many have boycotted his shows. Morrissey has come out in support of far-right groups and has been very vocal regarding the British government and how they operate. The man is no stranger to controversy and having his say. In the past, he has talked about animal rights and been pretty direct regarding chains like McDonald’s; been critisised because of his rash and bold statements and, over time, we have grown use to the ageing Morrissey being a bit grumpy and angry. Not that this is any excuse but one would not refuse to work with him based on some of his comments of the past.

I apply that statement to anything other than politics because, as he has talked about the far-right, this sort of raises questions. The Guardian wrote an article where it was announced some people were shocked to see left-leaning artists unite with the more extreme Morrissey:

“Morrissey, 59, announced a new album earlier this week: California Son is his first covers album, and will feature protest-themed songs by the likes of Bob Dylan and Buffy Sainte Marie, along with various guest vocalists. Many were surprised to see ostensibly left-leaning artists such as Green Day’s Billie Joe Armstrong, and Ed Droste of cult indie group Grizzly Bear, among those backing the controversial singer.

Droste declined to comment. The only artist willing to speak with the Guardian was Canadian vocalist Ariel Engle, who performs with cult indie outfit Broken Social Scene. She received a call from the American producer Joe Chiccarelli asking her to contribute backing vocals for a cover of Joni Mitchell’s Don’t Interrupt the Sorrow. “I thought, ‘Oh the Smiths, sure’,” she says. “It was $500 for two hours’ work.”

Engle says she didn’t become aware of Morrissey’s political views until the album was announced and a friend emailed to question her involvement. “It’s a very weak argument to claim ignorance,” she says, “but it is my argument. It’s not an excuse but it happens to be the truth.” 

IN THIS PHOTO: Ariel Engele of Broken Social Scene/PHOTO CREDIT: Norman Wong  

There have been backlashes and problems regarding Morrissey before. This is, as the article continues, not the first time there has been that clash between his politics and his music:

“There have been visible protests against the singer. “The backlash against him has been particularly strong in Manchester,” says author Dave Haslam, who organised an anti-racism party to coincide with Morrissey’s scheduled shows in his home city last July, “in response to Morrissey’s divisive views, and his support for the far right”. The gigs were then postponed due to “logistical circumstances” that the singer’s management insist were not linked to the protests.

But one prominent UK concert promoter says such controversies are still unlikely to have a significant impact on the star’s pulling power. “There’s always going to be demand for him. There are plenty of people willing to see past accusations, perhaps looking at things through rose-tinted glasses and able to take a more lenient stance because of their affections towards him”.

IN THIS IMAGE: Morrissey has announced a Broadway residency/IMAGE CREDIT: @officialmoz

I will provide my thoughts and argue why the debate is not that clear but, before then, I have been lured by an article from FADER. In the article, the author provides a brief recap of the controversy Morrissey has stirred over the last few years. I shall not mention them all but here are a couple of prime examples:

“For those lucky enough to have avoided the back-and-forth between Morrissey and the world over the past decade, here’s a non-exhaustive recap. A little over a decade ago, in an interview with the NME, the singer went off on a tangent about immigration in the UK. "England is a memory now,” he was quoted as saying. “The gates are flooded and anybody can have access to England and join in." He took the NME to court for libel, gave £28,000 to Love Music Hate Racism, and eventually got an apology from the magazine, but he wouldn’t stay out of the headlines for long. In a 2010 interview with the Guardian Weekend Magazine, the singer, upset at China’s treatment of animals, referred to the Chinese people as a “subspecies”.

It goes on to say why artists like Billie Joe Armstrong would align themselves with Morrissey given their own political views – and what they have to gain from these collaborations:

“But it’s difficult to imagine what, precisely, that something might be. Billlie Joe Armstrong turned literally millions of kids against his country’s war-mongering government when Green Day reemerged with American Idiot. Ed Droste feels queasy about bringing politics and art into the same space, but he said that he was devastated by the fact that the people he met on the campaign trail with Bernie Sanders — LGBTQ people and Muslims in particular — were facing aggression in the wake of the Trump election...

IN THIS PHOTO: Green Day’s Billie Joe Armstrong/PHOTO CREDIT: Getty Images  

Because, at root, a guest spot on California Son isn’t just an opportunity for these artists to sing alongside someone they liked when they were teenagers. It’s a co-sign, one that gives Morrissey credibility to a younger generation. And for what? Will any of these musicians really see a spike in sales or popularity by collaborating with Morrissey in 2019? Will their own credibility be burnished by singing alongside a man who so openly backs the far-right? If it’s a calculated risk, what’s the pay-off? Who wins except Morrissey?”

Articles like this show there were some artists who were getting pretty political in 2018. To be fair, most of these were aiming their words at leaders like President Trump and how he is leading the U.S. When we hear songs here and in the U.S. that have a political edge, they are usually aimed at those currently in power; people making bad decisions and figures that are generally unpopular. Is there a difference between those who attack current leaders in the U.K. and U.S. because of their ineptitude and those like Morrissey who support the far-right? There are many who say the two things are the same but Morrissey’s support and understanding of the far-right is a world away from bringing people like President Trump to justice and putting them under the spotlight. I cannot think of another musician who supports far-right groups and I think it would be very dangerous to come out and admit that.

Everyone is entitled to their beliefs but far-right groups breed hatred, intolerance and discrimination. Someone like Morrissey supporting their views – or being understand about their agenda – is more radical and troubling than a politically-motivated artist talking about current leaders (those in power who are not extremists) and striking against them. Does that mean, like an artist who is accused of sexual assault, we should boycott or ignore artists with political views that do not match ours? Some have boycotted Morrissey and are no longer fans but most are sticking with him and buying his records. I feel uncomfortable supporting Morrissey knowing his politics and would not go and see him perform live – lest he use the stage to let his mouth run away. I am definitely still listening to his music and, like Michael Jackson, I can separate the man from the artist. I think the case is a bit difference when it comes to musicians collaborating. It is strange that the artists who appear/will appear on California Son are unaware of Morrissey’s stance and his beliefs. Many say it is all about the music and few are making a fuss it but it seems a bit ironic that someone like Billie Joe Armstrong would perform with Morrissey – given the fact they are on different ends of the political spectrum. Listen to a lot of Green Day’s songs and we find Armstrong attacking corrupt leaders and rallying against hatred.

 IN THIS PHOTO: Sameer Gadhia of Young the Giant/PHOTO CREDIT: Getty Images

Morrissey is not exactly rallying and marching in protests but he is unafraid to share his views and it definitely clashes with Billie Joe Armstrong – and most other musicians for that matter! I am sure all the musicians connected during recorded and there were no beefs but Billie Joe Armstrong’s charged and inspiring songs are a world away from Morrissey’s political beliefs. Political beliefs are very important and they can define a person. If an artist were sexist or homophobic then one would hope other artists would stay away and not collaborate. On this occasion, the fact Sameer Gadhia (of Young the Giant), Ariel Engle (of Broken Social Scene) and Petra Haden have their voices on California Son is not going to affect their careers and cause much damage.

IMAGE CREDIT: @officialmoz

They would not necessarily have known about Morrissey’s politics but, going forward, should other artists be a bit more wary? By collaborating with someone like Morrissey, you are not actively supporting his viewpoints and politics but it might send the wrong message to fans and followers. Maybe the preoccupation with Morrissey’s politics is a British thing but I think it is down to artists, wherever they live, to be more aware and conscious when it comes to collaborating and that other artist’s beliefs. Everyone is different but I, personally, would never collaborate with someone who backed right-wing groups because it flies against everything I believe. Everyone is entitled to make their own choices but I do think the case of California Son should be a bit of a lesson: whether you think political beliefs are a big issue or not, there is that commercial risk and it might send conflicting messages to fans. California Son will do well and I am sure it will get great reviews but I think the should-people-sing-with-Morrissey debate is an interesting one. I do wonder, if the artists on the albums on the record knew about Morrissey’s past statements and controversies, they would have been as eager...

TO record with him.

FEATURE: FX Levels and Serious Gain: The Sensational Wave of Women Bringing Strings, Fresh Confidence and Electricity to the Scene

FEATURE:

 

FX Levels and Serious Gain

IN THIS PHOTO: St. Vincent/PHOTO CREDIT: Matt Forsythe  

The Sensational Wave of Women Bringing Strings, Fresh Confidence and Electricity to the Scene

__________

THAT title might seem unwieldy...

Guitars ! More guitars ! Don’t you think ?

— Chris (@QueensChristine) March 4, 2019

but, f*ck it, I couldn’t think of anything more elegant and verbose to put in there. In any case, it detracts from my observation: the fact there is this exciting new buzz of female artists who are, in my view, showing greater intent, expression and excitement than male artists. This piece was provoked by a simple tweet from Christine and the Queens (or simply ‘Chris’ to give full accuracy). In it, she (Héloïse Letissier) simply expressed her desire for more guitars and that extra bit of oomph. Whether provoked by an observation that she, and many of her female peers, are adding fresh impetus into music or a casual remark...it got me thinking. What is the state of the band market these days?! Look around the mainstream; check all the cupboards and have a look under the bed and there are not as many great groups as once there was. I do not mean there is an absence of promising bands coming through: the mainstream is not stuffed with iconic acts that can rival the best bands of the past. I think the days of male bands ruling the scene are over and it will be hard to return to that state. I was just reminiscing, the other day, about the 1990s and a time when Blur, Pulp and Supergrass were all running alongside one another. There were female-led bands – such as Republica – but, for the most part, it was the male bands that won much attention.

 IN THIS PHOTO: The 1975/PHOTO CREDIT: Getty Images

I am not sure when that died out but it might have been at the turn of the last decade. There are some great male bands around now – including The 1975 and Queens of the Stone Age – but I do not think there is the swell and inspiring scene that we saw back then. If anything, the most interesting male bands are bringing Pop and other genres into the mix. Maybe the days of men riffing and penning the same kind of songs is getting a bit boring and harder to market. I feel there has been this shift of dominance from the male bands to female solo artists. Whether they are delivering confident jams and defiant songs or wielding an axe, there is this definite charge and revolution occurring.

IN THIS PHOTO: Christine and the Queens (Héloïse Letissier)/PHOTO CREDIT: Jamie Morgan

Think back to Chris and what was being said, rather dreamily, about the need for (more guitars) and I think she represents what I am saying. Not only is she a fantastic musician but her live sets are thrilling. You cannot go to a Christine and the Queens gig and be unmoved. It is her physicality, dance and captivating delivery that means one experiencing something much hotter and physical than we find on the records. The current album, Chris, marked out Christine and the Queens as this leader and extraordinary explosion. Look at peers such as Anna Calvi and St. Vincent and, here, we have two artists who are among the finest guitar players in music. They, like Héloïse Letissier, have incredible power and songcraft but it is their shredding that really moves me.

 IN THIS PHOTO: Anna Calvi/PHOTO CREDIT: Petr Klapper

We have great male shredders like Jack White but here we have two women who sort of remind me of Prince and his incredible range. Perhaps Calvi is the more accomplished player but both she and St. Vincent are helping to shift the narrative and tone of modern music. I am not slamming male bands and a lack of invention but I feel we have reached an impasse regarding revolution and revelation. The reason bands like Blur and Oasis were popular is because they channelled a spirit in the air and a desire that needed to be satisfied. I feel the demand for these types of bands are waning and we want to embrace something different. What these women – at the forefront; pushing forward – represent is all the fun, power and potential of the male bands but with a much deeper and eye-opening set of lyrics. Maybe it is the rather tired staples of Rock bands and their lyrics that has seen a comparative lack of demand. Listen to an album from Christine and the Queens or Anna Calvi and you get these incredible moments, stunning riffs and tough songs but there is heart, openness and important messages – everything from female empowerment and gender roles to expressing love or being vulnerable. Powerful female icons of the past – including Patti Smith and Debbie Harry – showed female-delivered music did not have to fit into formulas and could be as potent and popular as anything recorded by a man.

Late last year, it was reported that women/girls are responsible for half of all guitar sales. Artists like St. Vincent, who can be seen shredding it at her gigs and producing these amazing songs, has inspired girls and young women to pick up a guitar. A Taylor Swift phenomenon started this rise: girls wanting to idolise the Pop artist and the fact she plays guitar. There are articles out there celebrating the best female-fronted bands and how they are adding a much-needed sense of flair and colour. I have mentioned some of the best female solo artists showing their power but even today’s Pop artists, the finest of the breed, are overtaking their male peers. From Pop’s Ariana Grande and Dua Lipa to Country’s Kacey Musgraves and Hip-Hop’s Cardi B and Little Simz, I am seeing the changes.

There is still a commercial core in Pop but many women are breaking away from that pitfall and delivering music that is much more exciting, original and potent. In a recent piece, I noted how a few of this year’s boldest and most memorable albums have been created by women who are showing incredible strength and ambition – Little Simz’s GREY Area and Sharon Van Etten’s Remind Me Tomorrow among the very best. I am not saying this has been this coup where male solo artists and bands have been usurped and replaced by women but, when you look at the most impactful and striking music right now, it is being made by women.

Whether there are electric strings attached or it is just a much more exhilarating and nuanced style of music, it is good to see. I think male bands will start to claim back some territory but we live at a time when music is starting to flag a bit; it is not as fun and memorable as it once was. Maybe that is a reaction to general malaise and strife but I think we are seeing a revival. There is still a tendency for a lot of artists be introspective and revealing without adding anything positive against the rather dour and sombre tones. That is something I am keen to see reduced but I feel there is a fresh Pop movement where we are spawning far less cliché artists. I love the fact more women are picking up guitars and there are these incredible players in the mainstream. Much more dynamic, confident and liberated artists like Christine and the Queens and Florence and the Machine are adding raw power to the mix and, projecting forward, I think the fact more women are picking up guitars means we will see more female bands and solo artists adding electricity and unique spark to music. Artists such as Sigrid are representing a fresh and more exciting brand of Pop that sparks with joy, freshness and thrills. Her debut album, Sucker Punch, has been long-anticipated and is already gaining big reviews.

 IN THIS PHOTO: Sigrid/PHOTO CREDIT: Getty Images

There is a lot of change coming through and, from the guitar heroes to the new Pop expression, I am excited to see what happens next. Maybe it is an exaggeration to say women are totally ruling but I can detect this new movement and rumble that is much more exciting and diverse than we have seen in years. Of course, it is the festivals’ lack of diversity and adaptability that is holding back true explosion. Were there headline slots reserved for some of these terrific artists then that would help platform this evolution but, alas, the majority of headline slots are still going to male artists – many are largely-ignored, older bands who are not providing much modern-day relevance. I would like to think this will all change as we are seeing more female recognised and celebrated but that, sadly, is no guarantee. I come back to the rather brief and intriguing tweet from Christine and the Queen’s lead and the desire for a six-string thrill.

I am seeing a lot more women pick up guitars and female/female-led bands doing what all-male bands did years ago: provide these anthemic and epic tracks that lodge right into the brain. Pop’s most exhilarating and the big shakers from Rap, Hip-Hop and R&B are, in my view, women - and they are helping make modern music a very eclectic, dynamic and promising thing. There are, of course, plenty of men adding essential voice but I like the fact there has been a shift and a balance in power. If this can be acknowledged by festivals and those in a position of power – more women work in P.R. than men but most of the big labels and stations are run by men – then we can see real progression and quality. To round it off, have a search and look for all the powerful and inspiring women tearing it up – from the Pop elite to Jazz artists like Nubya Garcia – and revel in the brilliance. If you don’t mind, I will take inspiration from Christine and the Queen’s tweet and satisfy my guitar lust. Thinking about the perfect song and there is a wonderful St. Vincent track...

THAT springs to mind.

FEATURE: A Tarnished Icon: Separating the Man from the Artist: Should We Stop Listening to Michael Jackson's Music?

FEATURE:

 

 

A Tarnished Icon

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

Separating the Man from the Artist: Should We Stop Listening to Michael Jackson’s Music?

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I think there is a big difference between the case...

 IN THIS PHOTO: Ryan Adams/PHOTO CREDIT: Christopher Polk/Getty Images for Universal Music

of Michael Jackson and allegations against him and living musicians Ryan Adams and R. Kelly. I make that distinction because, as Adams and Kelly are accused and seeing their careers damaged, it seems likely we will see the truth and justice done. It is shocking to hear about their wrongdoings, especially R. Kelly, and there will be a chance for them both to have their day in court. Ryan Adams has cancelled his U.K. tour and R. Kelly’s music is being decried and banned by many. Both men are influential artists and hold a degree of power. The cases are very different but it comes down to men in the music industry thinking they can do what they want and feel it is appropriate to cross the line. Their cases of sexual abuse and inappropriateness have made for disturbing reading and one suspects neither will be able to revive their flagging careers. There is an ethical and moral question that one poses when we think of those artists. Do we listen to their music and can we separate the men from the music? Naturally, Ryan Adams music will be played on radio still and many own his albums. Do we burn or throw them away because Adams is being accused by a number of women? R. Kelly’s case seems more disturbing but I know he has millions of fans and many are still listening to his songs.

 IN THIS PHOTO: Michael Jackson with one of his accusers, Wade Robson/PHOTO CREDIT: Getty Images

It is a hard question to answer but I think there is a difference between keeping an artist alive in creative terms – giving them gigs and publicity – and listening to their music. Unless their music is actually promoting and glorifying sexual abuse then I feel people should not feel wrong listening to it. It is definitely uncomfortable listening to songs from an artist who has been tarnished and is now seen in a different light. Many artists through history have faced criminal charges and, in many cases, we judge and criticise the artist but listen to the music still. I think, regardless of the outcome regarding R. Kelly and Ryan Adams, neither will have a viable career but people will still listen to their music because it inspires them and provides them with comfort. I do not think we can judge them but it is definitely a divisive issue. This brings me to Michael Jackson and the ongoing slew of news articles dedicated to him. I mentioned how Adams and Kelly are living artists because, happily, they can answer their accusers and we can see justice done – we can get actual clarity and, if found guilty, both men will get their comeuppance. Michael Jackson is a different case altogether. He has faced accusations and judgement throughout his career and, yes, he is definitely known for his eccentricity and odd behaviour.

It is clear Jackson has had a difficult childhood but, of course, that does not excuse him of sexual abuse or any crime. Leaving Neverland is a documentary that speaks to two men, Wade Robson and Jimmy Safechuck, who have accused Michael Jackson of sexual abuse. It is not just a few times we are talking about: between them, it is alleged he abused them hundreds of time. There is this media furore and desire to see Jackson in a criminal light without any proof and substantial evidence. Vanity Fair seem to have their opinion: that Jackson is guilty and there is no denying the facts. They set out ten points but these two caught my eye:

“So far, five boys Michael Jackson shared beds with have accused him of abuse: Jordie Chandler, Jason Francia, Gavin Arvizo, Wade Robson, and Jimmy Safechuck. Jackson had the same nickname for Chandler and Arvizo: “Rubba.” He called Robson “Little One” and Safechuck “Applehead.”

The parents of boys Jackson shared beds with were courted assiduously and given myriad expensive gifts. Wade Robson’s mother testified in the 2005 trial that she funneled wages through Jackson’s company and was given a permanent resident visa. Jimmy Safechuck’s parents got a house. Jordie Chandler’s mother got a diamond bracelet”.

The points raised are definitely shocking but the most obscene and uncomfortable aspects are the fact Jackson let children into his bed – there is never a mention that he touched or had sex with any of them. There is this assumption that he must have abused children because he shared their bed. The man was an eccentric and misguided but the facts we already know – him sharing his bed and nicknaming children – does not a guilty man make.

Forbes made interesting observations in this article when it came to the testimony and motives from one of Jackson’s accusers, Wade Robson:

“That same year, with Robson’s career, finances, and marriage in peril, he began shopping a book that claimed he was sexually abused by Michael Jackson. No publisher picked it up.

In 2013, Robson filed a $1.5 billion dollar civil lawsuit/creditor’s claim, along with James Safechuck, who also spent time with Jackson in the late ‘80s. Safechuck claimed he only realized he may have been abused when Robson filed his lawsuit. That lawsuit was dismissed by a probate court in 2017.

IN THIS PHOTO: James Safechuck, another of Jackson's accusers/PHOTO CREDIT: Channel 4

In 2019, the Sundance Film Festival premiered a documentary based entirely on Robson and Safechuck's allegations. While the documentary is obviously emotionally disturbing given the content, it presents no new evidence or witnesses. The film's director, Dan Reed, acknowledged not wanting to interview other key figures because it might complicate or compromise the story he wanted to tell.

The media’s largely uncritical, de-contextualized takes out of Sundance seem to have forgotten: no allegations have been more publicly scrutinized than those against Michael Jackson. They elicited a two-year feeding frenzy in the mid-90s and then again in the mid-2000s, when Jackson faced an exhaustive criminal trial. His homes were ransacked in two unannounced raids by law enforcement. Nothing incriminating was found. Jackson was acquitted of all charges in 2005 by a conservative Santa Maria jury”.

 

It seems like there are two schools of thoughts here. There is the one camp who knows there is a financial incentive telling your story now; the fact Jackson has been dead for almost ten years and it seems strange to speak out so late. There are others who hear the graphic stories and feel these men have no reason to lie and they have just been scared to speak out. We will, of course, never know the actual truth but one wonders why more men have not spoken out in the wake of the documentary and why, if Jackson had countless boys in his bed and is seen as this predatory figures, charges have not been brought. One might say his celebrity and fame protected him but one cannot jump to conclusions in that respect. It is troubling to see the slew of articles coming out where the author has this viewpoint based on what has come from Leaving Neverland. Louis Theroux has spoken about the allegations and feels that, despite no evidence being found, he is a paedophile. Again, he feels like testimonies, stories and what we already know regarding Jackson’s behaviour regarding children makes it all point to abuse.

PHOTO CREDIT: Getty Images

There is definitely division and whether you believe Wade Robson and Jimmy Safechuck and feel their motives are pure and they have no reason to lie, one must also look at the flip-side of the argument – the fact no criminal charges have or will be brought and Jackson cannot have its say. I feel the fact Michael Jackson is dead and will, a) never be able to have his say and answer his accusers and, b) he will not be punished in any way makes me wonder what the ultimate goal is. If it is to discredit Jackson and have people stop listening to his music then that brings me to another interesting argument. Neither man will be able to see justice done and get their day in court. It all seems a little late, pointless and flawed – Jackson is dead so cannot hurt anyone ever again.

I am definitely on the side that suggests Jackson is innocent until any real evidence comes to light as it is irrational and irresponsible calling someone a paedophile based on stories and the fact that they might have invited children into their bed – there is a difference between doing that and touching them inappropriately. In any case, many are asking whether we need to stop listening to Michael Jackson’s record. The Guardian ran some interesting features regarding this question. Suzanne Moore seems unequivocal in his denouncement and judgement of Michael Jackson:

“The idea of Jackson as an abuser is not new. In 1994, he made a financial settlement of $23m with the family of Jordan Chandler. Everyone knew he had young boys sleeping in his bed. This was not normal, we said – but we had decided it was not sex. Oh no. When every big case of predatory paedophilia breaks, we rush to say it was obvious all along, but somehow we looked away.

Jackson turned himself into a monster in front of us in Thriller, yet he was also always the victim. As more and more awful, awful details emerge of boys who claim he abused them from the age of seven, I don’t know what box to put his music in any more. It doesn’t matter. Sometimes we draw lines and it is way too late, but it has to be done. That is how cultural shifts happen. They happen when we say: no more. Enough.

How sad is it that I might not listen to Jackson any more, that this investment in my own past is so morally rotten? In the scheme of things, not so sad. There is so much magnificent music in the world; I won’t go without. He is properly dead to me now”.

 

This article asked a few Guardian contributors to have their say and whether, in light of these accusations, we can keep listening to Jackson. I want to, first, bring in Alexis Petridis’ comment:

“I thought about that remark when the furore around the Leaving Neverland documentary blew up. More compelling allegations that Jackson was a paedophile will undoubtedly lead to more calls for his music to be treated the way Glitter’s is – unofficially banned from radio and TV, never mentioned in public (even the Glitter fans I met would only talk to me under a veil of anonymity). I can see why, but I don’t think it’s going to happen. You can’t easily eradicate Jackson from history: too many people have too much of their lives bound up with his music. And perhaps you shouldn’t. Perhaps it is all right that his music continues to be heard, so long as it comes with a caveat: that it reminds us great art can be made by terrible people, that talent can be weaponised in the most appalling way, that believing an artist automatically embodies goodness because we like their work is a dreadful mistake that can have awful consequences”.

Lyndsey Winship has similar views…

“But, the allegations against him are hideous. Abuse can never be excused. As a society, what we consume and what we celebrate is what forms our values. Does that mean a ban on his music? It is impossible to erase from our consciousness (and much of its brilliance was created by others – Quincy Jones, Rod Temperton – not Jackson alone), but choosing to now actively listen to, or dance to Jackson? Once people have seen the film, that will be a personal reckoning, yet it must be possible to condemn the person, even shelve the records, without being ashamed of the influence his music had on us, the good things he inspired and the careers he started”.

 IN THIS PHOTO: Michael Jackson's accusers, Wade Robson and James Safechuck, as well as Leaving Neverland director Dan Reed/PHOTO CREDIT: Taylor Jewell/Invision/AP/REX/Shutterstock

The allegations, yes, are seriously unsettling but that does not make them true. If artists like Ryan Adams and R. Kelly are found guilty of their charges, it brings to the table the debate as to whether their music is erased from streaming platforms. I tend to find there is a difference between the artist and the person and the music itself is not linked to their alleged crimes. Jackson’s music never makes allusions to sexualising children and his impact through the decades is clear: he has transformed Pop and helped bring about huge change. Maybe Jackson’s accusers are in it for the money or they may have felt, when with Jackson, what he was doing was okay and he was their idol – it seems sort of okay as children but, looking back, it was wrong. We will never get the clear truth but that is no reason to toss Jackson’s back catalogue on the pyre. The deceased icon is already being tarnished and vilified and Jackson’s estate are refuting claims against him; they have released a pair of concert films that shows Jackson playing live...not as a distraction but a chance to see the man in his element. I grew up listening to Michael Jackson and he is still a very important part of my life now. I am definitely unsettled regarding the allegations but his music is separate from him as a human.

Jackson will not earn any money from anyone now and one cannot discredit and disrespect what is, arguably, the finest collection of Pop songs ever produced. He helped bring black faces to mainstream stations like MTV and he has influenced countless artists today. The Guardian’s piece that I just quoted from – and will return to – asked others for their opinions and the consensus was that he is a paedophile and, therefore, there is this sense of discomfort. I feel like, regardless of his culpability, why should the music make one feel dirty? It seems strange we should be of this mindset where the mere sound of Michael Jackson singing makes us feel somehow immoral and strange. The lyrical content is perfectly fine and, even when Jackson wrote songs rebuffing critics and asking to be left alone, he was never mentioning allegations or abuse against children. The music has reached millions and has pushed music to new heights. It is a part of our psyche and shared experience and we have always bought his records – even when he was in the press years ago for misconduct, abuse and inappropriateness. We have, through the decades, always squared his artistic merit against accusations and how he is seen as a human being. If people want to throw their Jackson albums away that is fine but what good does it do?! His music will never be erased and, until there is definitive evidence regarding sexual abuse claims, what can streaming sites do?!

People can do what they like but this crusade to blacken his name and get people to stop listening to him is futile. His music provides joy and happiness to people and to deny that would be dangerous. I completely feel Jackson was a man who often used his celebrity in very strange and unsettling ways and I have known this for years. Other articles such as this say that money was a factor and there was a sense of hush-hush when allegations were made years ago. If Jackson was found guilty then it would be hugely damaging to his career and record label. There are a lot of debates and sides to this argument but I want to bring in the article I quoted and a quote from Chuck Klosterman from that Guardian article I have quoted:

“What will happen, I suspect, is that the ever-increasing population of transgressive musicians (both living and dead) who find themselves recast as irredeemably problematic will eventually be lumped into a separate silo of cultural history. The unspoken rule will be that their work can be consumed and analysed, but not without overtly recognising that they are members of this exiled fraternity. It will be somewhat similar to how a film student can still reference the cinematography of Leni Riefenstahl, but only after first noting her political relationships. Jackson’s work is brilliant and unusually ubiquitous, so people will always want to talk about it. They just won’t be able to talk about that music to the exclusion of non-musical events, which will incrementally change its musical meaning”.

PHOTO CREDIT: Kevin Mazur/Wireimage 

One cannot say for sure what happened and how extensive Jackson’s supposed abuses are. We can have our views about the man and whether he is a bad human being but I feel we need to take aside his music and judge it on its own merits. To deny the world of his brilliant Pop would be a travesty and I do not see the point in doing that – Jackson is no longer alive so cannot profit or be punished. I do understand it is a personal choice and some people will feel wrong listening to his music; unable to disassociate the predatory image and paedophiliac claims with this megastar who earned millions and was mega-famous. I think the Leaving Neverland documentary is nothing more than sensationalism given the fact Jackson died a decade ago. To get a true sense of balance and truth we need Jackson to speak and go to court and the fact he cannot makes me wonder what will happen next. Do we keep making these sort of documentaries and writing pieces about how awful Jackson is?! If you want to get truth and justice then that is fine but so much of it seems like witch-hunting and attack. It all comes down to the music and how we perceive that in decades to come. I think there will be a definite dent when it comes to sales figures but, no, the music will never disappear and fans, old and new, will continue to listen to him. His music will always be popular and he will always influence; radio stations will continue to play him and, soon enough, artists will come through citing Jackson as an influence. I do not think we should dismiss Jackson as a recording artist and to do so would be folly. Although I am shocked by Leaving Neverland and the press obsession with Jackson the Villain, I will continue to listen to his music because for me, and many others, Michael Jackson’s albums were crucial parts...

OF my childhood.

INTERVIEW: Bairbre Anne

INTERVIEW:

Bairbre Anne

___________

THE wonderful Bairbre Anne has been telling me...

about her new single, 27, and its story; whether we might see more material coming along and what she thinks of the contemporary music scene – I ask her whether there are a few albums that stand out and mean a lot to her.

The Dublin-based songwriter tells me what comes next and explains when music came into her life; which upcoming musicians we should all investigate and tells me if she gets time to unwind away from music – Bairbre Anne selects a great song to close the interview with.

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Hi, Bairbre Anne. How are you? How has your week been?

Hi! I’ve had a busy week promoting my new music - but I’m very happy it’s finally out in the world.

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

I’m an Irish musician and writer of songs. I currently live in Dublin but I work with a super team in London. Working with them, I’ve already released two E.P.s: Arrows and Sparks.

Is there a story behind the new single, 27?

I wrote 27 when I was, in fact, twenty-seven; in a rut and felt completely lost. It was a song to reassure myself that everything would figure itself out and to just take things one day at a time. I think everyone needs that reassurance at various stages in their life.

Are you looking ahead regarding more material? What are your plans in that respect?

Yes. I am going to release my debut album later in the year which I’m really excited about!

When did music come into your life? Can you remember the first song you heard?

I was always surrounded by music. My dad is a sound engineer and my mum has a huge love and appreciation for music. I don’t remember the exact song but some of my earliest memories would be going into the backroom of our house when it was dark out, turning on the light and using the reflection of the glass sliding doors as my personal stage. Belting out the likes of Hey Jude by The Beatles, all of the Grease soundtrack songs and probably some Spice Girls numbers.

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

I started writing songs on the piano at an early age so, from around the age of twelve,  I was obsessed with any woman at the time who was playing the piano and writing her own songs – Alicia Keys, Vanessa Carlton; Tori Amos, Missy Higgins; Norah Jones etc. I was also heavily influenced by anything my older brother was listening to. He introduced me to a lot of great Irish musicians and bands - Glen Hansard and The Frames, Gemma Hayes; Damien Rice and Bell X1 to name a few.

As an Irish artist, what is the vibe like where you are? Do you think Irish music gets the attention that it deserves?

I think Ireland is known for having one of the best music scenes going! We have a lot of amazing homegrown talent going on! Dublin is definitely a hub for music. There’s always something going on; live music is everywhere.

How do you view the modern music scene? Do you listen to a lot of contemporary music?

I do listen to contemporary music and I think some of it is amazing. I think this wave of Electronic music is interesting but I’m afraid, if there’s no musical instruments on the stage, I won’t be hanging around.

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

Getting to play at the National Concert Hall in Dublin and Ulster Hall in Belfast. They are absolutely stunning venues and standing on those stages gave me goosebumps.

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

There are too many albums to choose from: here are three of my favourites:

Imogen Heap – Ellipse

Watch the ‘making of’ documentary and then listen to it. It Is a masterpiece and she is a genius.

The Frames – Fitzcarraldo

My teenage years were made up of going to Frames gigs and screaming “Revelate” at the top of my lungs.

Gemma Hayes – The Hollow of Morning

This woman taught me what it means to write a sad song.

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

Stevie Nicks (Fleetwood Mac) – purely to sit her down and talk me through those initial years of Fleetwood Mac. They sound bonkers! The rider – I don’t know – to demand Lindsey Buckingham join the band again...and some nice white wine!

Might we see you on tour in 2019?

Possibly. Keep an eye on my website!

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

They are both very separate things. I enjoy them both! I love going into the studio in London, and the process involved in recording new music! I also love going on stage and making the same songs sound just as good with one instrument.

 IN THIS PHOTO: Kacey Musgraves/PHOTO CREDIT: Kelly Christine/Courtesy of Mercury Nashville

Are there any new artists you recommend we check out?

Who I’m currently listening to a lot: Theo Katzman; Kacey Musgraves; Natalie Prass; The Magpie Salute.

 IN THIS PHOTO: Natalie Prass

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

I love to travel and explore new places with my camera! You can check out some of the photos I’ve taken by looking up ‘She Shoots Green’ on Instagram!

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).

Theo Katzman – My Heart Is Dead! What a tune!

___________

Follow Bairbre Anne

Official:

https://www.bairbreanne.com/

Twitter:

https://twitter.com/bairbre_anne

Facebook:

https://www.facebook.com/BairbreAnne/

Instagram:

https://www.instagram.com/bairbreanne/

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https://open.spotify.com/artist/0JJYXS3j3ShaBVSERT82p2?si=cEaL3RIgR4eWuQ04__z2jQ

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https://www.youtube.com/channel/UC6Nj-zMkHPxBq0eo65I78Iw

FEATURE: Taking Its Toll: Changing the Conversation Regarding Mental Illness

FEATURE:

 

 

Taking Its Toll

PHOTO CREDIT: @daanmooij/Unsplash 

Changing the Conversation Regarding Mental Illness

__________

EVERY time we hear about a much-loved artist...

 IN THIS PHOTO: The Prodigy’’s Keith Flint

taking their own life or suffering from serious mental-health issues, it always hits me and it is hard to get over. Today, we heard the news about The Prodigy’s Keith Flint – the cause of death was confirmed, by his bandmates, as suicide. I am not sure as to the exact details or why he took his life but very few who knew Flint would have expected this to happen. Whether his death was the culmination of a tough time and a lot of stress or the result of years of emotional ill health, we might never truly know. Flint, aged only forty-nine, was touring with The Prodigy as recently as last year and it seemed like they were hitting a new stride. Tragically, Glastonbury organiser Emily Eavis confirmed the band were booked to play this year so it all looked pretty rosy and promising. I have been following the music of The Prodigy since their album, Music for the Jilted Generation, arrived in 1994. When The Fat of the Land came out in 1997, the incredible power and voice of Keith Flint gave the music new life and crossover appeal – taking the music to the masses and getting new ears interested in Trance and Electronic music. Great charities like the Samartians do great work and I have seen a lot of messages on social media posting their contact details. It might seem rather easy to call them and feel better and, whilst they do great work, there are many great people losing their lives because they feel helpless.

If anyone does feel low or suicidal, they must absolutely reach out and talk. Whether that is their families or a helpline, it is never a great idea keeping things bottled in. I can relate to the struggles artists like Keith Flint face and, whilst our experiences are different, I know it can be hard seeing the light and feeling like there is a happy place waiting – the darkest thoughts do creep up and all can seem hopeless. The fact Flint has legions of fans and is an icon would have been known and, when it comes to those who met him, everyone can attest to how personable and lovely he was. It is never easy knowing what is happening in someone’s head and what happens behind closed doors. Whether Flint was feeling strain about The Prodigy’s work schedule or he felt in a particularly bleak place, we have lost someone loved by many; a singer and human who changed music and, in a short life, managed to bring these wonderful moments to people – that have shaped lives and made us all happier and better. I hear a lot of musicians suffer from mental illness and post tweets regarding their state of mind. A lot of these communications are quite upsetting and I do wonder whether the fatalities will rise and we will lose more artists.

 IN THIS PHOTO: Chris Cornell/PHOTO CREDIT: Getty Images

I remember when I heard the news about Chris Cornell’s suicide in 2017 and feeling instantly numb. The Soundgarden frontman (he was also a member of Audioslave and Temple of the Dog) took his own life in a hotel bathroom after a concert. Nobody saw that coming and, whilst there have been explanations – one is that he was over-prescribed medication for anxiety – we may truly never know why he killed himself. There have been, in my mind, too many suicides in music and drug overdoses that have led to premature deaths. The more time that goes on, the more we are all seeing self-destruction and a rise in mental-health issues. If any good can come from the tragic news we heard today it is that something this big can be sobering and lead us to look at our lives and try and embrace something positive. Many, of course, all around the world are suffering and I shudder to think how many artists are in such a horrible place where they see suicide as their only option. Even if a musician is self-harming or suffering anxiety, it is very harrowing and not something any of us want to see. There are organisations such as Help Musicians UK and CALM who do fine work and are well worth exploring if you are feeling low or suicidal. I think modern society is one where more of us are communicating with more people – if you see what I mean – are we are opening our horizons.

We might have loads of followers online and share messages but do we know many of the people we are communicating with?! Are we actually using technology as our way of communicating and not doing it in a human and face-to-face form? Our lives are all so busy and it seems the Internet, more and more, offers this fast and easy way of getting to know people and conducting our business. Many of have our heads buried in laptops and Smartphones and it gives us very little time to unwind and actually get out. This can cause huge anxiety problems and a rise in mental-health worries. The burden placed on health services is enormous and the Government, whilst they have pledged more money to tackling it, are not putting the subject as high up the priority list as they should. How many people does it take to open eyes and get real change happening?! I know the solution is complex and there is no easy fix but it seems many people feel unable to talk about their mental-health or feel they are not in a position to make things better. Even though we have to deal with heartbreaking stories like Keith Flint’s suicide it seems, at least, there is a decline in suicide rates around the country. This report from last year laid out new figures:

“Suicide rates among men in the UK are at their lowest for more than 30 years, official figures show.

In 2017, there were 4,383 male suicides and the rate was 15.5 per 100,000 men - down from 20 in the late 1980s, data from the Office for National Statistics reveals...

PHOTO CREDIT: @samr1os_official/Unsplash 

Although the male rate is falling, men still account for three-quarters of suicides in the UK.

The Samaritans said recent efforts to prevent suicides had helped.

The female suicide rate has remained stable for the past 10 years.

'Reducing stigma’

Ruth Sutherland, head of the Samaritans charity, said the figures were "encouraging" but "every death was still one too many".

"We believe that the focus in recent years on suicide prevention to tackle the higher rates in men has contributed to this," she said.

"Added to this, reducing stigma around men's mental health and encouraging men to open up and seek help when they are struggling has been beneficial".

It is good there is a drop in suicide rates but we still have a big problem regarding the mental-health crisis in the U.K. In music, I think there are different pressures and very few artists get much time to relax and detach. From established artists like Keith Flint through to newcomers, there is this need to always be ‘on’. The nature of modern music means so many artists spend most of their lives promoting and working; they get less sleep than they should and touring commitments can leave them drained. I know Keith Flint loved what he did but one wonders how busy and packed his life was; whether he was ever capable of getting time to himself and recharge. We will, as I say, not know why he took his life but I worry there is this burden being placed on artists.

 PHOTO CREDIT: @studiomedia/Unsplash

I fear social media makes us less social and, a lot of the time, we are shutting ourselves away or feel like there are few people out there who can understand us and we can reach out to. The solutions to tragic suicides is not simple but I think we need to look at the music industry and why a lot of artists are suffering from the black dog of mental illness. There are very few fundraisers and event that shine a light on mental illness. I think a lot of artists get into this cycle of working endlessly and having pressure on their shoulder. There is this expectation to be someone quite big and brave on the stage and in the studio and, when alone, the artist experiences a different reality. It can be tough revealing to people – family or strangers – that things are bad or we are not coping. Even if general rates of suicide if men are declining, I am seeing far too many posts from artists who are experiencing really bleak and disturbing moods. I have seen many comments reacting to Keith Flint’s death and revealing their own struggles. I do feel we have come say way regarding mental-illness and how it is discussed but so many, myself included, feel uneasy talking about it and being honest – and is social media the best platform and most effective way of finding help?!

We all struggle in life but I think there is this culture to sort of bury things or try and carry on. Maybe it is the way we try and cope but more money and time needs to be put into mental-health charities and the music industry needs to react. Each time an artist as beloved as Keith Flint departs and we are blind-sided, it makes me angry that they had to face what they faced and feel the way they did at the end of their lives. Perhaps it is time for labels, managers and bodies to intervene and monitor their talent. Perhaps it is time to give artists a break and make sure we are not pushing them too hard. Even if someone is putting on a brave face, you never know how they are feeling inside and it can be hard getting that conversation started. It has been a tough and bleak day but I hope something positive can come from it. I am already seeing people connect with strangers and talk about their lives and situation; how they have felt low and, on a positive note, how wonderful and life-affirming the music of Keith Flint/The Prodigy is. We go to bed tonight having lost an icon of music but I hope the discussion opens and many artists suffering from mental illness feel like they need to speak out and talk. If we can prevent another suicide or make someone feel like they will be heard and are confident talking about their struggle then that is wonderful. We are seeing slight improvements regarding suicide statistics but I feel, when it comes to huge change and ensuring artists around the world are protected and do not succumb to the worst side-effects of mental illness, we have...

PHOTO CREDIT: @ernest_brillo/Unsplash

A bit of a way to go.                                           

FEATURE: The Great Escape 2019: Ones to Watch: Part Three of Three

FEATURE:

 

 

The Great Escape 2019

IN THIS PHOTO: Zuzu 

Ones to Watch: Part Three of Three

__________

ROUNDING off my piece about this year’s The Great Escape...

  IMAGE CREDIT: @thegreatescape

I am collecting together the best names from the names announced that you will want to get behind. It is going to be a packed festival filled with life and variation. It is hard to pick out the very best from the festival but I have selected some of the artists you will want to catch if you are down in Brighton. From 9th to 11th May, it will be an intense and exciting time to be around Brighton. Some of the best rising artists will be playing there and you’d be mad to miss out! Make sure you get down there and investigate the wonderful talent on display. It is a wonderful time for new music and, very soon, we will see some of the best...

 IN THIS PHOTO: The Beths

TAKE to The Great Escape.

___________

Millie Turner

Bio:

“Millie Turner is a homegrown 18-year-old Hackney kid who’s an artist in every sense of the word. About two years ago, she swapped a paintbrush for a recording studio. Still very early days in her music career, Turner is proving she has a knack from bringing out the message of empowerment in her music. She wants you to feel “feelings” both great and small. Because of this warm sentiment, many music critics praise her work. Totally worthy based on her output, which belies a lot of those in a similar lane to her”.

Twitter: https://twitter.com/MillieTurnr

Facebook: https://www.facebook.com/millieturnr/

Spotify: https://open.spotify.com/artist/53GC8IrnkJXGO7znOiv4tD?si=F3D2-26YR_2qSAqKj-5eUg

Key Cut: Eyes on You

Miraa May

Bio:

“Born in Algeria and raised in Tottenham, Miraa came to the UK as a young child with her parents, and quickly settled into life in N15. Flying out of the UK for the first time in her life to meet Salaam Remi in Miami, he wanted to push Miraa to connect with music in a new and different environment, the answer was EP N15.

N15 EP shows Miraa adjusting her style to the different musical productions from Salaam and producer James Poysner, and has received huge support of late from BBC Radio 1 and 1Xtra, Huw Stephens, Trevor Nelson, MistaJam and more
In December 2018, she released her follow up EP Care Package. This five-track release sees May provide her airy and light vocals over R&B and tropical house-inspired instrumentals”.

Twitter: https://twitter.com/miraa_may

Facebook: https://www.facebook.com/Miraa-May-776139285859987/

Spotify: https://open.spotify.com/artist/2fOvE1l01YyORhYzwoaLCM?si=g-N1c-fcSe6vBgpOV0-qaA

Key Cut: Nobody

ORCHARDS

Bio:

“Things are most certainly on the up for Brighton-based alt-pop quartet ORCHARDS. For anyone who might be wondering why, there’s one word that seems oddly lacking in the description of many bands, but sticks to Orchards like glue: Fun. Charming, delirious, positive, big-beaming-grin-on-your-face bundles of fun. Friends since childhood, Sam (Rushton, guitar) and Dan (Fane, bass) met remaining members Will (Lee-Lewis, drums) and Lucy (Evers, vocals) in their first week at university in Brighton – the start of a friendship which has seen them become increasingly inseparable and has resulted in the tight, family unit they are today. To date, they’ve released a steady stream of standout singles including fan favourite ‘Peggy’, the ‘80s summer pop anthem ‘Darling’, and their surprisingly meta ode to the worldwide bee colony collapse ‘Honey’ – all of which feature on the EP. These tracks have seen keen support from local and national radio at BBC Introducing, Juice Radio and BBC Radio 6 Music”.

Twitter: https://twitter.com/orchardslive

Facebook: https://www.facebook.com/orchardslive/

Spotify: https://open.spotify.com/artist/4XWU6kWmuSBJJ1QL0BV3NZ?si=1UHFacUjQT-FNyH15lacOA

Key Cut: Young

Pearl Charles

Bio:

“Pearl Charles lives in the moment, seeking excitement whether it leads her down a dark, dusty road or into the arms of a trouble-making lover. Her full-length debut album, Sleepless Dreamer, describes late night revelry, love affairs, running away and running towards, serenading the sunrise through whirlwind stories of her native Los Angeles, the city, the canyon, the desert, and the road. On a quest to discover the truest version of herself, Charles embraces the feeling of not being settled, a person who always restlessly wants more from life and is willing chase it, wherever it may lead her.
“Think of Pearl Charles as a stoner Lana Del Rey or a Jenny Lewis with grit.” – NME”.

Twitter: https://twitter.com/pearl_charles

Facebook: https://www.facebook.com/PearlCharlesMusic/

Spotify: https://open.spotify.com/artist/5PWyKTCk0kzNytmI0NI2JX?si=oCDsmuhtQSeGAnMB3ES3vQ

Key Cut: I Run So Far

Pigs Pigs Pigs Pigs Pigs Pigs Pigs

PHOTO CREDIT: Janina Sabaliauskaite 

Bio:

“The period since Pigs’ Rocket Recordings 2017 debut ‘Feed The Rats’ – a mighty tsunami of rancorous riffage and unholy abjection that wowed critics and wreckheads alike – has seen the band build on their incendiary live reputation far and wide, from the sweatiest of UK fleapits to
illustrious festivals like Roskilde. Perhaps the most relentlessly head-caving outfit of an alarmingly fertile scene operating in Newcastle at present, the band have all been busying themselves in a variety of activities, with Baty running Box Records (home of underground
luminaries like Lower Slaughter, Casual Nun and Terminal Cheesecake) and both himself and bassist John-Michael Hedley playing in Richard Dawson’s band – indeed Dawson himself guests on ‘King Of Cowards’, both on synth and as part of a vocal ensemble on the opening ‘GNT’ – moreover, guitarist Sam Grant has been working hard on a new incarnation of Blank Studios, which began its life with the recording of this very album”.

Twitter: https://twitter.com/pigsx7

Facebook: https://www.facebook.com/PigsPigsPigsPigsPigsPigsPigs/

Spotify: https://open.spotify.com/artist/1F7QDWyZTLGzkyGLgFjEhU?si=k7xxpj30RmmdJasJlgPByQ

Key Cut: GNT

Pip Blom

Bio:

“22-year-old Amsterdam-based Pip Blom started writing, recording and releasing her own indie-pop tunes with a twist in 2016. Early songs, which were simply uploaded to the internet, quickly amassed thousands and thousands of plays – prompting Pip to recruit a band and start playing them live. The band’s energetic live show quickly pricked the ears of press and radio – with Vice’s music channel hailing Pip as ‘ready to join the ranks of 2018’s rising guitar acts’, and BBC 6 Music A-listing recent singles ‘I Think I’m In Love’ and ‘Pussycat’. The station’s DJs Marc Riley hailed the former as ‘perfect pop’ with Gideon Coe branding it ‘excellent’ and, elsewhere, on the UK’s most popular music station BBC Radio One, Pip Blom performed a live session at Maida Vale for Huw Stephens. Not bad going for someone whose early ambitions were to write a few songs and upload them to the internet in case people wanted to hear them”.

Twitter: https://twitter.com/pipblom

Facebook: https://www.facebook.com/pipblommusic/

Spotify: https://open.spotify.com/artist/6zWJfH1TTmIqEi7EV35HGr?si=By_xnve_SKWkMBkJ6X_h-g

Key Cut: Daddy Issues

Pom Poko

Bio:

“Between the quartet’s sweetly punky melodies and disco-fried art-rock eruptions, a spirit of free-firing, balls-out individuality courses through Pom Poko’s exhilarating debut album, ‘Birthday’, which is released through Bella Union on 22 Feb 2019. Their unique creativity curiously melds together tonal lurches and math rock guitar riffs that are barely tamed by a time signature or key. As admirers have heard, Pom Poko’s music sounds properly played and performed: no mere recitation, it’s the sound of four distinct personalities driving in divergent directions towards one destination”.

Twitter: https://twitter.com/pompokotheband

Facebook: https://www.facebook.com/pompokounofficial/

Spotify: https://open.spotify.com/artist/4RkC3KmYWnr6PM1FM5Shwz?si=CoKtfFHLSuGiyyzQYQDAng

Key Cut: My Blood

PROJECTOR

Bio:

“Projector occupy the heavy space between brooding 80s darkwave and My Bloody Valentine’s wall-of-sound pop; a combination tone of Goo era Sonic Youth and Pixies pulled together with an industrial Joy Division pulse.

2018 was a highlight year for Projector. A spot at Latitude (their performance securing them a Sunday highlight), supports with Blood Red Shoes and a European tour has seen them stretch themselves live. Their debut EP, welcomed by DIY, Clash, and Dork, culminated in two sold out shows in at the Haunt Brighton and Moth Club London.
Latitude – ‘Projector show off a versatility that few bands would be able to echo.’

DIY – ‘Rest assured that their latest track ‘Break Your Own Heart’ falls firmly into that category of bangers. Built on a foundation of chugging riffs and deep, pulsating bass licks, it’s a brooding yet scuzzy cut that gradually builds in intensity, exploding with visceral grunge-pop energy”.

Twitter: https://twitter.com/projectorsounds

Facebook: https://www.facebook.com/projectormusic

Spotify: https://open.spotify.com/artist/25loVbwSp0xXNu4Ds1lTa9?si=11eYRFZMRnOjDMhJ06X8Jw

Key Cut: Let Me

Rebecca Garton

Bio:

“Nigerian Raised by Ghanaian mother and British expatriate father; Rebecca Garton comes from an especially musical household. With her father; an avid music fan who spent his spare time as a composer & Rebecca’s younger sister, Afrobeats artist Lola Rae, consuming a wealth of different genres came naturally to Rebecca.

In 2015 Rebecca featured on Krept and Konan’s debut album, ‘The Long Way Home’. She collaborated on three songs, Wait Up for Me, Fell Apart / Lucky Ones and I Don’t Know. In the same year she also featured on the track “Helpless” Featuring, Wretch 32 and Devlin.

On the verge of releasing her EP, Rebecca is already commanding attention. She has a growing fan base, which happens to include godfather of Grime, Wiley”.

Twitter: https://twitter.com/rebeccagarton

Facebook: https://www.facebook.com/RebeccaGartonMusic/

Spotify: https://open.spotify.com/artist/10SSWFHswODW4VG1y56JbL?si=PLK3Z8doSju2EcaTZxkgaA

Key Cut: Always

Rosie Carney

Bio:

“22 year old singer/songwriter. Originally from Hampshire, currently in Downings co Donegal. Sometimes the bravest thing you can do is stop moving, take a deep breath, and in the stillness, unleash what you once thought you’d better keep locked up. Rosie’s soprano—conversational yet ethereal—winds through finely sketched, intimate portraits of herself and others to create a musical experience that is somehow both sobering and dreamy—and fiercely confident. “I know what I want to do with my music,” Rosie says. “I have a stronger sense of self now”.

Twitter: https://twitter.com/rosiecarney11

Facebook: https://www.facebook.com/RosieCarneyOfficial/

Spotify: https://open.spotify.com/artist/3Aut8hgiqZSy2qmJluZMU9?si=cuf0-KHPQYy44eg-V-auMA

Key Cut: Winter

Sam Tompkins

Bio:

“At only 21 years old singer/songwriter Sam Tompkins has performed alongside the likes of Krept and Konan, recorded with MNEK, gained attention from Bebe Rexha, Bastille and Passenger and had his original song ‘Chains’ feature in Noel Clarke’s smash hit ‘Brotherhood’. Sam’s music is nostalgic of 90’s R&B with a 2018 fresh production. He has a wide range of influences, from Ray Charles to Justin Timberlake, Usher, Ed Sheeran and Drake. He is a talented songwriter and has a unique ability to pen lyrics that touch people emotionally. Very much in tune with his fans, Sam is relentless and personable on his social platforms, always engaged in talking with his social media fan base (now well over the 100k mark collectively)”.

Twitter: https://twitter.com/SamTompkinsUK

Facebook: https://www.facebook.com/SamTompkinsUK/

Spotify: https://open.spotify.com/artist/04uu8U3I1h26Fp2NBkPTRZ?si=U6fHhgvNQjiAGz_BtvHy4

Key Cut: Tears Beneath My Eyelids

SHADED

Bio:

“An alluring blend of hard-hitting modern pop-punk and poignant rock, complete with R’n’b-driven vocals, London-based SHADED have undoubtedly been on a swift rise since forming in 2017. Comprised of vocalist Matt East, guitarist Callum Irons and bassist Dan Bradberry, the band released the EP ‘A Familiar Love’, which received great acclaim from likes of Rock Sound, Kerrang! and Scuzz. After a successful UK & EU tour with PVMTNS in December, SHADED are kicking off 2019 alongside Milestones and Stand Atlantic. This year is shaping to be a fundamental year that will take the band to new heights”.

Twitter: https://twitter.com/shadeduk

Facebook: https://www.facebook.com/SHADEDUK/

Spotify: https://open.spotify.com/artist/46lf9xDBhmOtltUfdKGvbw?si=RS4u6XmuQN2NOfteXzGsOg

Key Cut: Tell Me

Sick Joy

Bio:

“Cutting together malign heaviness with acidic melody then tying into place with the reigns of contagious pop. Sick Joy’s ‘noise-pop’ blood is dirtied with echoes of Pixies and Nirvana.

After being awarded the Help Musicians and Pledge Music’s ‘Emerging Artists Fund’, Sick Joy’s debut EP ‘Amateurs’ landed in March 2018, which included the singles ‘Smiling Shame’, ‘Senses’ and ‘Stumbler’, which saw support from the likes of Radio 1, Spotify, Kerrang, BBC Introducing, Amazing Radio and Radio X”.

Twitter: https://twitter.com/sickjoyband

Facebook: https://www.facebook.com/sickjoyband/

Spotify: https://open.spotify.com/artist/2KmAhNcPz1C3oz0rS4iMlx?si=ZDAcaLrpTN2VyJw82C-L-g

Key Cut: Dissolve Me

Sports Team

Bio:

“Hailing from various corners of England, six-piece Sports Team met whilst studying at Cambridge. Channelling a lyrical cynicism that touches on young- professionals and provincial clichés their debut EP, Winter Nets, and new single Kutcher, serve as a darkly humorous introduction to their weird world. With influences ranging from indie pioneers Pavement, through to 90s post punk also-rans The Family Cat, Sports Team spent 2017 cutting through the ranks of London’s live scene before releasing their first single ‘Stanton’ in late November. The band recently announced their biggest live show to date, headlining London’s Scala in September, and will join The Magic Gang on tour this Autumn. New single, Kutcher, is available now on Nice
Swan”.

Twitter: https://twitter.com/sportsteam_

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

Spotify: https://open.spotify.com/artist/04JIxSs2P0iteVWtaskfeh?si=T3fJ2SA1S9CnD76MXy0c-g

Key Cut: Margate

Stonefield

Bio:

““An inspiring dose of classic rock that hits harder than a shot of whiskey.” – The Music, 4 stars
Following a huge tour with Black Rebel Motorcycle Club last month and currently in the midst of a residency in LA, Victorian four-piece Stonefield have today released their third studio LP. Far From Earth, the latest addition to their ever-growing catalogue and a veritable psych-prog gem, is out now on Flightless Records via Inertia Music.

Their second full-length LP As Above, So Below (2016) firmly established Stonefield as one of the key players in the current wave of Australian psych-rock, but Far From Earth – the bands’ Flightless debut – sees the band’s sound enter a whole new spectrum. With Black Mountain’s Stephen McBean at the production helm, first single and album opener’Delusion’ demonstrates a shift from the hardened psych pop of earlier records toward more prog and heavy metal”.

Twitter: https://twitter.com/stonefieldband

Facebook: https://www.facebook.com/stonefieldband/

Spotify: https://open.spotify.com/artist/2xhrgovPiJBMN8cyW2iflu?si=1h-YhjINQlW6oNfzRLS5Mg

Key Cut: Far From Earth

Tebi Rex

Bio:

“2018 saw Tebi Rex establish themselves as one of the leading names on the Irish hip-hop scene. The singles ‘Men Are Trash’ and ‘Peggy’s Bus’; debut EP Welcome To The Darkest Year Of Our Adventures; collaborations with the likes of Eve Belle; triumphant festival appearances at Longitude, Electric Picnic, Indiependence and Other Voices; being named as one of RTE 2FM’s Rising acts for 2019 – all contributed to an incredible year for the duo. Now they return to undertake their next adventure, one that will take them down new paths, to new heights and to new experiences”.

Twitter: https://twitter.com/tebirex

Facebook: https://www.facebook.com/tebirex

Spotify: https://open.spotify.com/artist/7zS2n2fSTNuwDTqfYHv55G?si=HhA8WvNDREmsOmHFvxAFwA

Key Cut: Men Are Trash

Tess Parks

Bio:

“After moving back to her hometown of Toronto in 2012, Tess formed a band on the advice of Alan McGee and less than a year after their meeting, he returned to music with his new label, ‘359 Music’. Tess became one of his first six signings and released her debut record Blood Hot in November 2013 to excellent reviews.
In February 2014, she began recording with Brian Jonestown Massacre frontman Anton Newcombe in Berlin and they completed their debut record ‘I Declare Nothing’ in autumn 2014. The record was released on ‘a Recordings’ in June 2015 to stunning reviews and a series of sold out UK and European tours. Tess continues to collaborate with Anton on Brian Jonestown Massacre records, co-writing the title track on their November 2015 EP ‘Pish’, the title track ‘Third World Pyramid’ released in October of 2016, and several songs on ‘Don’t Get Lost’.
The next Tess Parks & Anton Newcombe record was released in October 2019”.

Twitter: https://twitter.com/tessnormaparks

Facebook: https://www.facebook.com/tessparksmusic/

Spotify: https://open.spotify.com/artist/0EPmJUz0lE18y95cYzB840?si=p2jFlBXfTTmMXpJwo9i0sw

Key Cut: Somedays

The Beths

Bio:

“New Zealand’s purveyors of high-energy guitar pop, The Beths, channel their longtime friendships into high-energy guitar pop with a smart lyrical bite.

2018 was an incredible breakout year for The Beths. Since releasing ‘Future Me Hates Me’ via Carpark Records/Dew Process in August, The Beths have been lauded from all corners of the globe. Known for their signature sunny guitar pop, technical prowess and frontwoman Elizabeth Stokes’ witty, self-deprecating lyricism, ‘Future Me Hates Me’ received international acclaim from music media including PopMatters and Pitchfork, who named it “one of the most impressive indie-rock debuts of the year”.

The Beths have toured relentlessly on the back of ‘Future Me Hates Me’ with sold-out headline tours of Australia and New Zealand, a US headline tour and shows across the UK and Europe, getting audiences hooked on their ebullient sound”.

Twitter: https://twitter.com/lizstokedstokes

Facebook: https://www.facebook.com/thebethsnz/

Spotify: https://open.spotify.com/artist/7DjwIxbe8kpw4pqnzAMoin?si=6W1XAoMCT6mC0JYv3hZ12A

Key Cut: Future Me Hates Me

These New South Whales

Bio:

“It wasn’t long until the band earned a reputation on the Sydney underground punk scene as a raucous, unpredictable and exciting beast. Live, These New South Whales are taking audiences to new depths. Donning nipple tape, an obscene amount of strobe lights, smoke machines and twisted vocal FX pedals, These New South Whales create sonic hell-scapes with deeply pitch bent vocals, jarring loops and screaming, heavy guitars. Effortlessly, they manage to engage and break down barriers by confusing, scarring/scaring (take your pick), surprising and most importantly entertaining their ever-growing fan base”.

Twitter: https://twitter.com/TheseNSWhales

Facebook: https://www.facebook.com/thesenewsouthwhales/

Spotify: https://open.spotify.com/artist/0srVTNI2U8J7vytCTprEk4?si=w4DP-dksSNagQ9m_NN7Gdg

Key Cut: Meat Hook

Tiana Major9

Bio:

“Jazz is her heart. Although Tiana Major9 fell in love with R&B and Hip-Hop first, her fascination with their origins had quickly turned from curiosity to a genuine obsession for this style of music. ‘Jazz is as free and uncompromising’ – Two of many words which can also be used to describe the East London born Empress and her music.

Her musical career is blossoming attractively having had great support from the BBC Radio 1Xtra entering the official playlist via BBC Introducing. Tiana has also graced many stages and blessed many ears across Europe whether it be on her own or supporting acts such as Kelela, Ray BLK and Ella Eyre to name a few”.

Twitter: https://twitter.com/TianaMajor9

Facebook: https://www.facebook.com/TianaMaj9

Spotify: https://open.spotify.com/artist/1Naqgo0HMRoumRP0e2MXD9?si=c7aM2xNCQKeSz94AVQ8Hpw

Key Cut: Levee (Let It Break)

Vulpynes

Bio:

“Don’t let looks deceive you, for a 2 piece band Vulpynes make serious noise. Expect a fusion of heavy and melodic hooks, snarling vocals and a visceral rhythm section. Vulpynes have spent the last 2 years unapologetically tearing up venues and festivals with their fiery and relentless wall of sound. These ladies are in your face garage punk at its finest, stamped with a fierce rawness that remains inimitably their own. With new music on the horizon and tours and festival slots filling up their diary for 2019, Vulpynes promise they are only getting started”.

Twitter: https://twitter.com/vulpynes

Facebook: https://www.facebook.com/vulpynes/

Spotify: https://open.spotify.com/artist/6o1HJeyCGoMJPxaROwzE59?si=KjBGWMmQSBq8UUiDAtfkNw

Key Cut: 2 Cents

Zuzu

PHOTO CREDIT: Hollie Fernando 

Bio:

“A penchant for pop music (specifically Cardi B) combined with deep rooted love for acts like The Beatles, The Libertines and Bright Eyes lends itself to Zuzu’s introspective ruminations on subjects ranging from love to outer-space; all packaged in her very own brand of transient fuzz. Zuzu’s upcoming debut EP, rather fittingly called “Made On Earth By Humans”, is a culmination of her journey thus far, filled to the brim with quick-witted lyricisms and hook-laden choruses that stands up next to contemporaries Courtney Barnett and Warpaint and her Liverpool contemporaries the La’s and The Coral”.

Twitter: https://twitter.com/thisiszuzu

Facebook: https://www.facebook.com/thisiszuzu/

Spotify: https://open.spotify.com/artist/4GcpGBggb1BbFfG4jS2Wpm?si=C3dIMjfxS46CX1_ebxcRzA

Key Cut: All Good

____________

IMAGE CREDIT: @thegreatescape

ALL PHOTOS (unless credited otherwise):

Artists/Getty Images

BIOGRAPHICAL INFORMATION:

https://greatescapefestival.com/

TICKETS:

https://greatescapefestival.com/buy-festival-tickets/

FEATURE: A True Prodigy: Remembering the Exceptional Keith Flint

FEATURE:

 

 

A True Prodigy

IN THIS PHOTO: Keith Flint/PHOTO CREDIT: Getty Images

Remembering the Exceptional Keith Flint

__________

IT seems cruel that we cannot brace ourselves for such...

 IMAGE CREDIT: Spotify

news when a brilliant artist leaves us. The past year or so has not been as tragic and horrendous as 2016 – when David Bowie and Prince died – but some big names have departed since then. A few hours ago, the world started reacting to the news that The Prodigy’s Keith Flint has died aged forty-nine. It is a tragic revelation and, for a man so young, it adds extra punch and sadness. People from all corners are paying tribute and sharing the news. The Guardian have reported what is known so far:

“Keith Flint, vocalist with the Prodigy, has died at the age of 49, it has been reported.

The singer was found dead at his home in Essex on Monday.

An Essex police spokesman confirmed that a 49-year-old man had died. “We were called to concerns for the welfare of a man at an address in Brook Hill, North End, just after 8.10am on Monday,” he said.

“We attended and, sadly, a 49-year-old man was pronounced dead at the scene. His next of kin have been informed. The death is not being treated as suspicious and a file will be prepared for the coroner.”

With his punk aesthetic of spiked hair and intense stare, Flint became one of the UK’s most iconic musical figures in the 1990s. He joined the Prodigy – originally formed by Liam Howlett in 1990 – as a dancer, later becoming a frontman alongside rapper Maxim. Aside from their 1992 debut, all of the group’s seven albums have reached No 1 in the UK, the most recent being No Tourists, released in November 2018”.

 

Although The Prodigy’s Liam Howlett has been responsible for shaping the sounds that make the songs so evocative and timeless, it is Keith Flint’s vocals that brought the songs to life. Many consider Music for the Jilted Generation to be the finest moment – that used samples and other vocals – but I connected with The Prodigy when they released The Fat of the Land in 1997. In 1997, the landscape was changing and we had seen the best of Britpop. American guitar sounds were inspiring a lot of evolution but there was this vein of brilliant Dance and Electronic music that was offering genuine difference and commercial freedom. Away from the mainstream sounds, acts like The Prodigy were providing this intense, thrilling and unifying music that one could lose themselves in. Some see The Fat of the Land as less credible and consistent as Music for the Jilted Generation but the powerhouse vocals of Keith Flint brought something new to the fold. I had never heard a singer like him: a sense of energy and expression that was so foreign to the vocalists who were scoring Rock and Pop hits of the day. Backed by fiery and innovative compositions, Flint turned songs like Firestarter and Breathe into classics. Seeing him in the videos with his unique looks and mad moves thrilled me and my peers and we would chant The Prodigy in the playground.

This review from NME in 1997 highlighted the strengths of The Fat of the Land:

“I remember imitating – in terms of the moves rather than the looks! -  Breathe and Firestarter’s concept and we would often lark around pretending to be Keith Flint. I love the fact he took The Prodigy to new audiences and helped bring the music to the masses. The Prodigy did not lose any edge or credibility: instead, they had this firecracker vocalist whose personality and nuances make songs on The Fat of the Land so indelible. Smack My Bitch Up might be the classic from The Fat of the Land but I have a very special place reserved for Breathe. It is a song I remember a school chum of mine playing as we played football outside his house. I hear the song now and am transported back to the time I was thirteen/fourteen and would barrel out of school; run around the corner to Stefan’s house and hear the song played on a stereo – as we would kick the ball around the field and enjoy that freedom.

Now, following the chart triumphs of 'Firestarter' and 'Breathe' (the best darkly apocalyptic pair of Number Ones since Frankie Goes To Hollywood's 'Relax' and 'Two Tribes', and both included here), a two-show blitz at traffic jam-cum-festival Phoenix and a support for Oasis at Knebworth, they're on the brink of US destruction care of a deal with Madonna's Maverick label and all set to terrify a continent whose musical wet dreams remain controlled by Beavis And Butt-head...

 

Before it all is sonic grace. 'Breathe' - that rarest of things, a Prodigy track that grows on you - sounds ever more sinister in such claustrophobic surroundings, drilled as it is to a brain-numbing intensity of kick drums over which Keith howls the still baffling lyric, "Twisted animator!". 'Diesel Power', an overdriven nod to the band's hip-hop roots, comes care of a growled vocal from Kool Keith, aka Dr Octagon, and 'Serial Thrilla', home to the best example yet of Keith's ability to faultlessly master vocalus Johnny Rottenus, covers the Jeffrey Dahmer axis comprehensively (sample lyric: "Serial Thrilla!/ Serial Killa!") before ending, after five and a quarter brain-in-the-Kenwood-mixer minutes”.

Fast-forward to 2009 and the album, Invaders Must Die. There are period where Flint did not feature on Prodigy records and, on songs like Colours and Take Me to Hospital, Flint – alongside Maxim – brought new life and insight into the songs. Some say Flint, on the biggest moments, was too aggressive and lacked clarity but it is his force and electricity that made the songs so exhilarating and memorable! Listen to the vocals on Nasty and Rebel Radio – from 2015’s The Day Is My Enemy – and, again, these potential-great songs are lifted to the status of classics. Even if Howlett was providing the inspiration and source; Flint was making songs realised, confident and colourful. His input and role in one of the greatest Dance/Electronic acts this country has every produced is obvious.

On 2nd November, 2018, the band released No Tourists – an album that won acclaim and, again, featured Flint. I do wonder if they will continue without him now but I know this is sure: the gap he has left will never be replaced! We Live Forever and Champions of London are a couple of the strongest songs The Prodigy have released in years and both feature Flint’s vocal skills. Maybe the quality declined after their 1997 peak – or the end of their peak – but you cannot refuse the urgency of The Prodigy’s music, regardless of when it arrives. Keith Flint was a vital ingredient in the mix and, away from the music, the man’s loveable personality and crazy hair certainly made us smile! He was an original and someone not willing to conform to ideals and be anyone else. I wanted to quote from one of the last interviews he gave (at the end of last year) that showcases why his sort of honesty and lacking ego is what makes him so authentic.

“There’s a no-smoking sign on the wall of the London studio where we meet Keith Flint. Still, The Prodigy’s pierced and punk-plumed wildman is rolling a fag. He crams a wad of Golden Virginia into a crumpled Rizla, licksit, lights it and takes a long, merciful drag.

“I fucking hate this nanny state we live in right now,” he exhales, filling the room with smoke. “It’s like being back at school. I cannot be told what to do. As soon as I’m told not to, I will. It’s the death of life, the nanny state. And it kills everything. It will turn us all into zombies”.

As the reporter/interview remarked, having a chat with Keith is not a forgettable or average experience – it is almost like him and the music are the same:

“A conversation with Keith is not unlike one of his gigs. It is unpredictable, visceral, and raw. It can be angry at times, scary at others, but entrancing throughout. But he is not the four-letter lady-part he just singled out. Not today, anyway. In fact, he is rather charming and funny. Eloquent, too. And he laughs a lot.

“I am kind of a court jester meets asylum escapee,” he says. “I sometimes describe myself as like a hallway in a house: you think you’re inside, but there’s another door to the real me. I’ll sit and wait like a predator and then I will cut you down. I will fucking cut you down to the ground”.

IMAGE CREDIT: Spotify

His fashion and looks, again, are hardly what you’d confuse with your everyday Pop artist – the type that seemed dressed by committee and unwilling to deviate in case their Spotify numbers decline!

“Keith Flint has come to this interview dressed as Keith Flint. Apart from the shades, he’s wearing a pork-pie hat and a blue-and-white striped prison uniform shirt. A bolt bores through his upper ear and tattoos cover his arms and chest. He bursts with energy and ideas, pogoing between topics as they come into his head, and he swears like a trucker in a jackknife. He’ll often call someone, or himself, a cunt, apologise, then use the word again”.

PHOTO CREDIT: Getty Images 

The final part of the interview I want to bring in concerns the turn of the century and The Prodigy stepping into the 2000s. The end of the 1990s, in a way, ended a creative flow from the band and it would be a little while until Liam Howlett rediscovered that Midas touch. There were problems when Howlett gained new focus:

“By the time Liam finally found his mojo, Keith had unravelled. “I got to the point where I had to stop. I didn’t want to be a jabbering wreck.” But coastal walks and solitary Saturday nights in never much suited Keith. “I was heading for complete vanilla-ism,” he says.“Being sober, my obsession became being fit and focused, but I like to leave the planet now and again. I decided to have the odd joint or a few beers to keep a bit of psychedelia in my life.”

And here we are now, sitting with Keith in this London studio, five albums and 26 years since he and Liam first met in that muddy Essex field – two lost boys drawn together by a shared love of hardcore and a burning problem with authority. “I think Liam is the only person I’ve ever loved,” says Keith, with genuine affection. “He and Maxim have actually taken time to get to know who I am. It’s probably to do with not having a good family background. The band became my family”.

 

The band has lost a family member: its quirky uncle and its faithful brother; its strange lead and its true voice. I know many prefer the samples vocals and periods when The Prodigy operated differently but I love the Keith Flint contributions. From the cocktails of explosion on The Fat of the Land to the new vocals on No Tourists; there is nobody in music that boasted the same qualities and angles as Keith Flint. His death is unexplained but, tragically, I feel like suicide might be the cause – although it would be reckless to mention that or feel drugs played a part. Whatever the cause of his death, the music world has lost another star. Social media is filled with tributes and sad words. It is a bolt out of the blue and one that will take a long time to recover from. As a tribute to Keith Flint, listen to those great records and feel the impact and power he brought to them. He was in life as he was on record: a unique and open human who was contradictory, earnest and bold. The music industry is becoming more sanitised, safe and less interesting and losing someone like Keith Flint highlights that sharply. We go to sleep with the knowledge Keith Flint is no longer with us but, through the wonderful music he left behind, we will never...

TRULY lose the master.

FEATURE: Vinyl Corner: A Tribe Called Quest – The Low End Theory

FEATURE:

 

 

Vinyl Corner

IMAGE CREDIT: Spotify 

A Tribe Called Quest – The Low End Theory

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WE have just finished celebrating thirty years of...

 IN THIS PHOTO: A Tribe Called Quest in 1991/PHOTO CREDIT: Getty Images

De La Soul’s debut album, Three Feet High and Rising, and now my mind turns to A Tribe Called Quest’s, The Low End Theory. It was released on 24th September, 1991 and was the second album from the Hip-Hop group. I look around modern music and wonder whether any artists make as a big an impression on their debut and sophomore albums as De La Soul and A Tribe Called Quest – it seems unlikely! The reason why I love this album is because it sound great on vinyl and it is a record that is full of innovation, samples and confidence. Like all great records from that golden era of Hip-Hop (sort of between 1986 and 1991), you cannot take everything in right at once: several listens later and you are still processing the multi-layered songs and cool beats. The Low End Theory was recorded in New York from 1990 and 1991 and largely produced by the group’s legendary member Q-Tip. Rather than copy the busier sound of their debut, People’s Instinctive Travels and the Paths of Rhythm (1990), the follow-up is a minimalist affair that relies on well-incorporated bass, drum-breaks and Jazz samples. When the album first came out, there was doubt whether it could be a success and whether people would actually buy it. A Tribe Called Quest scored big when their debut came out but they changed their style (slightly) the second time around so there was a fear that, maybe, people would want more of the same.

There were some issues within the group when the album was being put together. In fact, just after the release of their debut, Phife Dawg, a band member, learned he was diabetic and did think about leaving A Tribe Called Quest. The group wasted no time following their debut and essentially went straight from the debut to recording The Low End Theory. Q-Tip was keen to keep things going – maybe he wanted Phife Dawg to keep active and not think about his condition – and it was a hectic time of creativity.  Their manager Kool DJ Red Alert was fired by the group and Chris Lighty stepped in. The softer and more melodious voice of Q-Tip contrasted with that of Phife Dawg who was higher-pitched and was more comedic. This balanced and contrast led to an album that was brimming with imagination and brilliance. Such smooth and gifted rapping was excellent, even in a quality Hip-Hop scene. I do not know where people would rank it in terms of Hip-Hop’s peak period but The Low End Theory is a masterful and divine record. Like, too, a lot of other Hip-Hop records of the period, The Low End Theory has a social conscience and dug deep. Everything from date-rape to consumerism was covered on the album. Q-Tip and Phife Dawg’s interplay and chemistry is key to the brilliance of The Low End Theory.

Q-Tip was, by 1991, already established as a lyricist but Phife Dawg provided plenty of experimentation, skills and fresh flow. Another thing that marks The Low End Theory out from albums by peers such as N.W.A. and Public Enemy is the lack of profanity. De La Soul would also employ very little (if any) expletive language on their debut and A Tribe Called Quest were keen to keep things pretty clean. The reviews that greeted The Low End Theory upon its release were deeply impressive and passionate. There has been plenty of retrospective acclaim, too. AllMusic, in their review, said this about the album:

“While most of the players in the jazz-rap movement never quite escaped the pasted-on qualities of their vintage samples, with The Low End Theory, A Tribe Called Quest created one of the closest and most brilliant fusions of jazz atmosphere and hip-hop attitude ever recorded. The rapping by Q-Tip and Phife Dawg could be the smoothest of any rap record ever heard; the pair are so in tune with each other, they sound like flip sides of the same personality, fluidly trading off on rhymes, with the former earning his nickname (the Abstract) and Phife concerning himself with the more concrete issues of being young, gifted, and black...

IN THIS PHOTO: Q-Tip in N.Y.C. on 24th July, 1994/PHOTO CREDIT: Chi Modu/Diverse Images/Corbis  

The trio also takes on the rap game with a pair of hard-hitting tracks: "Rap Promoter" and "Show Business," the latter a lyrical soundclash with Q-Tip and Phife plus Brand Nubian's Diamond D, Lord Jamar, and Sadat X. The woman problem gets investigated as well, on two realistic yet sensitive tracks, "Butter" and "The Infamous Date Rape." The productions behind these tracks aren't quite skeletal, but they're certainly not complex. Instead, Tribe weaves little more than a stand-up bass (sampled or, on one track, jazz luminary Ron Carter) and crisp, live-sounding drum programs with a few deftly placed samples or electric keyboards. It's a tribute to their unerring production sense that, with just those few tools, Tribe produced one of the best hip-hop albums in history, a record that sounds better with each listen. The Low End Theory is an unqualified success, the perfect marriage of intelligent, flowing raps to nuanced, groove-centered productions”.

The Low End Theory changed Hip-Hop and marked this extraordinary time for the genre. It helped push Rap to new avenues and broke sonic ground. Unlike some of the harder-edged and more aggressive Hip-Hop records that came out in the 1980s and 1990s, The Low End Theory had more Jazz elements – that helped bring the genre to more people – and was a mellower thing. Hip-Hop, before 1991, was not necessarily filled with macho songs and toughness but there was a sense that the genre was defined by a sense of aggression.

 IN THIS PHOTO: Phife Dawg (who died in 2016 due complications with diabetes)/PHOTO CREDIT: Lukas Maeder/13 Photo/Redux

A Tribe Called Quest offered a new angle and perspective. Alongside peers such as De La Soul, there was this calmer and less aggressive sound. Many can trace A Tribe Called Quest’s Hip-Hop and Jazz blends to many Hip-Hop artists today such as Kendrick Lamar. There is an argument that suggests the lines between Jazz and Hip-Hop have been blurred more than they were in the early-1990s. It is hard to create an album now that will change the course of music and have impacted decades later but that is what The Low End Theory has done. In 2016, writing for The Quietus, Angus Batey talked about the album twenty-five years on and how it has impacted music:

“Yet The Low End Theory took Tribe to that fabled "next level" hip hop acts always bang on about by performing the trick every authenticity-obsessed artist most dearly wants to execute. They crossed over without selling out - in fact, they crossed over while retrenching. Contrary to what Weiss and colleagues thought at the time, ...Low End... is harder-edged, darker, and, in terms of its adherence to established hip hop codes, actually a little bit conservative. (Not that that's a bad thing, of course.) The record became beloved of fundamentalist b-boys because it rooted itself firmly in the music's core sonic, conceptual, lyrical and artistic values, yet managed to increase the band's appeal to listeners who generally shunned rap for sonic or ideological reasons. Here was a group from a still outsider genre, uniting hardcore fans and curious outsiders by making music that worried more about integrity, commitment, creativity and resolve than it did appealing to the mainstream. Who'da thunk it?”

 

“Even after 20 years it's difficult to work out quite how they did it: the music makes no concessions to outsiders - meaning, essentially, anyone outside the group and their immediate circle of creative associates - and, a couple of half-decent jokes aside, neither do the lyrics. There are formal and aesthetic changes from the first LP, but they're slight: even the much-vaunted coup of landing the input of jazz bass icon Ron Carter has minimal impact on the album as a whole (he only appears on one song, so the notion that Carter's appearance somehow validated hip hop as jazz's heir - which was claimed in all apparent seriousness at the time - doesn't really hold water).

It's still a record that sounds fresh and potent, with even the anachronism of 'Skypager' coming across as a quaint curio rather than a jarring disconnect. And ultimately, this is the most important thing about The Low End Theory: it really doesn't matter what the critics said, whether it helped legitimise hip hop as music among folks who'd hitherto only heard it as noise, whether the label knew what they were dealing with, or even the (huge, undeniable) impact it had on the kindred spirits who heard it and incorporated its teachings into their own art. Even the band's subsequent history, the eventual split and its uncomfortable aftermath that provides the narrative for Rapaport's film and which occasionally lends certain Tribe tracks a subsequent layer of melancholia, can't alter ...Low End...'s power. It's one of those rare instances where a group reaches a creative peak and got to put that moment down on tape, without worrying about what anyone else was doing or listening to any voices of advice but their own. If only making records was always this easy”.

IN THIS PHOTO: A Tribe Called Quest chilling in New York in 1991/PHOTO CREDIT: Getty Images 

An article from The New York Times in 2016 saw their contributor Touré look at the impact A Tribe Called Quest made in regards Afrocentrism and how their different Hip-Hop approach – mellower and with greater spirit and control – inspired:

“In time, Afrocentrism was seized by Madison Avenue as a marketing tool and a gimmicky way of trying to sell things to black consumers, as if putting red, black and green on the bag makes the French fries inside more authentic. But for those like me who took Afrocentrism to heart, it mattered.

A Tribe Called Quest helped open the door to Afrocentrism for many, just as they helped open the door to hip-hop for me and many others. Lots of different sorts of people are able to succeed in hip-hop now: a superblerd (black nerd) like Questlove; a self-proclaimed Oreo like Childish Gambino; an intellectual like Talib Kweli; a tormented skater-punk like Tyler the Creator; a fashion designer/rapper like Kanye West. We can thank Phife and A Tribe Called Quest for helping to inspire them, and us”.

It is clear The Low End Theory changed the game and A Tribe Called Quest would continue to inspire and innovate. The follow-up, Midnight Marauders, arrived in 1993 and many see it as their best work – I feel The Low End Theory is a more satisfying and nuanced listen.

 IMAGE CREDIT: Spotify

The group’s sixth and final album of 2016, We Got It from Here... Thank You 4 Your Service, was an emotional affair. Deteriorating relationships in the group meant they could not continue and, ironically, there are many who feel their swansong is their very best – almost like The Beatles going out on a high with Abbey Road. All A Tribe Called Quest fans will have their personal favourites but, to me, The Low End Theory is the biggest revelation and step forward. The sheer consistency from A Tribe Called Quest – on The Low End Theory and through their career – was amazing and they are deeply missed. If you are new to Hip-Hop then this is a great album to start with. It is a wonderful record that sounds perfect on vinyl and takes you somewhere incredible and safe. The record keeps revealing its layers and meanings nearly twenty-eight years after its release. You can hear so many elements from The Low End Theory in modern Hip-Hop but I wonder whether a new generation needs to open their ears more and take notice. I still think there is this tendency for Hip-Hop artists to be aggressive and lack that melodic sensibility. A Tribe Called Quest showed what could happen when you take a different approach and so, in 2019, isn’t it time for the new breed to...

IN THIS PHOTO: A Tribe Called Quest’s Ali Shaheed Muhammad photoed in 2016/PHOTO CREDIT: Getty Images

LEARN valuable lessons from this masterpiece?!

INTERVIEW: Scott Lavene

INTERVIEW:

Scott Lavene

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I am starting this week by speaking with Scott Lavene...

as he discusses his latest track, Methylated Blue, and how it all came to pass. He talks about filming its video in New York; which albums and sounds have made a big impression on him and what he can reveal about his upcoming album – Lavene reveals some new artists that we need to get involved with.

I ask if there are any tour dates coming up and, if he had the chance, which artist he’d support on tour; the advice he would provide to approaching musicians and which career memory stands out from the pack – he picks a cool tune to end the interview with.

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

Hi there, Music Musings and Such. I’m ok, thanks. My week’s been swell. Mainly writing and staring out of the window.

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

Yeah. I’m Scott Lavene, an Essex boy. A songwriter. I make Punk ballads and Gutter-Pop; been compared to the ’70s English mob that Stiff Records put out: Ian Dury, Wreckless Eric and Elvis Costello. High prais,e indeed

Methylated Blue is your new song. How did that song start life?

It was one of those songs that emerged, fully-formed. I was part of a theatre show last year and sat at a piano during a break, sorted out the chords and melody and then the words came fast later at home.

What was it like putting the video together? Did you have much say in terms of its concept?

It was all me. The song is set in New York and the label were kind enough to let me use the budget for the video to go there and make it myself with a mate. It was great. Few ghosts from the past and bitterly cold but it’s such a great place. You could film anything and make a great video but we chose Harlem and Coney Island.

There is an album coming later this year. Is there anything you can reveal regarding song themes and sounds?

Yeah, sure. The songs are stories. One is about having a speed habit and working in a factory, one about my dislike for small talk; one about being skint, one about the afterlife; cynical takes on modern life, weird and wonky Pop. In terms of sound, I was going for a Serge Gainsbourg-meets-Chas and Dave and I think that, by jove, we’ve done it. 

When did music come into your life? Can you remember the first song you heard?

Music has been part of my life since the start. Apparently, I took 7-inches to nursery. Every memory has a song attached. Stray Cats’ Runaway Boys is my first memory of music. 

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

At first, The Beatles, Stevie Wonder; Stax and Motown. Cheesy Pop and power ballads. I was into old Soul music as a small kid. Then I was a ’60s obsessive as a teenager, the Woodstock lot: The Doors, Small Faces; Joni Mitchell, Velvet Underground. I lived like it was San Francisco in the ’60s but it was actually Romford in the late-’90s.I mean, too many people are important to me to list. I haven’t even put anyone from this century. I’m a nostalgic fool, really. Idols would be Iggy Pop, Tom Waits; Nick Cave, Ian Dury and David Byrne. I like songs. I like singers. I like oddballs.

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

Steve Lamacq playing my first single. Dream come true. I can retire now.

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

Now that’s hard, but here you go.

Elliot Smith – Either/Or

It’s a cuddle. It lets you know that it’s ok to feel sad and that you’re not alone.

The Libertines – Up the Bracket

It reminds me of youth and rebellion. It’s chaotic and loose - brilliant.

The Beatles - Revolver

Perfect songs. Incredible band.

Might we see you on tour in 2019?

Yes. A couple of times. With a full band in June upon release of the album and then a solo tour in the autumn.

You have received support from D.J.s like Steve Lamacq. How rewarding is that sort of attention?

I probably care too much about that stuff sometimes but he’s a bloody hero isn’t he? 6 Music is on constantly in my flat, so to hear one of my songs on it is mind-blowing. More please. But, if my career goes down the sh*tter, I can keep that and bore my kids with it when they grow up.  

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

Tom Waits - just so I could watch him from the side of the stage. My rider would be Crunchy Nut Cornflakes, tea bags; a kettle and a trumpet. I really want a trumpet.

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

I wouldn’t say I prefer it. I could live in a studio forever. Playing live is a buzz, a fix. Making people laugh, cry and wince is pure joy and I’m grateful for every show as I’ve done my share of jobs I hate.

 IN THIS PHOTO: Shop Girls

Are there any new artists you recommend we check out?

Shop Girls, a songwriter from Cardiff. He’s got a few songs on SoundCloud. I love him. He can’t afford to get his E.P. mastered so, if there’s any fat cats reading this, give the kid a leg-up. You already know her but I’m completely in love with Adrianne Lenker’s songs and voice. Heaven.

 IN THIS PHOTO: Adrianne Lenker

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

I live by the coast, so I swim in the sea a lot but I unwind with music and books and films.

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).

The Clean – Anything Can Happen

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Follow Scott Lavene

Official:

https://www.scottlavene.co.uk/

Twitter:

https://twitter.com/scottlavene

Facebook:

https://www.facebook.com/scottlavenemusic/

Instagram:

https://www.instagram.com/scottlavene/

Spotify:

https://open.spotify.com/artist/6dpTFwhi4Z3QIJeOxjZB3n?si=FPD2_BxVQhem2mzQmeDfYw

YouTube:

https://www.youtube.com/channel/UCWRsNsaS79SIlfd3oMJJX5A

FEATURE: The Ever-Evolving Pop Leader: Why Madonna’s Year Will Shine Brighter Than Her Peers’

FEATURE:

 

 

The Ever-Evolving Pop Leader

IN THIS PHOTO: Madonna/PHOTO CREDIT: @Madonna  

Why Madonna’s Year Will Shine Brighter Than Her Peers’

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I cannot claim to be a Madonna superfan...

 IMAGE CREDIT: Spotify

but I am pretty well-versed when it comes to her music and world. 2019 is going to be a very big year for Madonna and, as I have recently mentioned, there is a lot going on! I am going to put together a separate piece before 21st March that celebrates thirty years of Like a Prayer. This is a huge album for the Queen of Pop and, as we look back at that landmark record, it gives fans the chance to connect with the amazing record that transformed Madonna’s career and saw her reach rare heights. I will try not to repeat myself – I know I have covered this ground before – but I am interested when we get a chance to look back at Madonna’s work. I can just about recall Like a Prayer coming out and the sort of attention it gained. It was a great way to end the 1980s and, after a series of incredible albums, this was the peak of Madonna’s career. Not only was the video for the title cut much-discussed and the reason for controversy – many feeling the images depicted blasphemy and there was controversial images of inter-racial love – but Madonna was showcasing what an amazing songwriter she was. The ‘scandal’ regarding her video seems tame by today’s standards but it was clear here was a Pop artist who was bold, fearless and a natural icon. The tracks on Like a Prayer are focused, personal and benefit from having few bodies in the pack – mainly Madonna and Patrick Leonard writing the songs.

There are many highlights but, aside from the title cut, Express Yourself, Cherish and Oh Father are the standouts. I hope the media reacts and plays proper tribute to the album. Later this year we will see Like a Virgin turn thirty-five and Bedtime Stories turn twenty-five. These are big albums and, again, the need to focus on them and understand their relevance is key. Today, there is nobody like Madonna out there and Pop albums are not being made in the same way. Madonna has recently buried the hatchet with Lady Gaga – whether the feud between them is as intense as the media makes out – and the two seem to be on a better footing. There is a feeling that, in ways, Lady Gaga is modelling herself on Madonna: the reinventions and type of Pop; her forays into acting and her imagery. Of course, the two are quite different but I can understand why Madonna would feel a little bit like there is copyright infringement. I have also mentioned the Madonna biopic/documentary, Madonna and the Breakfast Club, that stars Jamie Auld in the role of a young Madonna. It is good to see a rare glimpse into Madonna’s early life – when she moved to New York and was part of The Breakfast Club; it covers her period before she recorded her eponymous debut in 1983. This year is a great one in terms of looking back at her career and celebrating her legacy.

It is obvious, looking back at her big albums and projects involving her, there is still a big appetite for Madonna and we all know what an impact she has made. At this point in her career, there is that never-ending battle with ageism in the industry. One doubts any new music will be top of the playlists of BBC Radio 1. It is a shame that someone who pretty much pushed Pop to where it is is being denied airplay and will struggle to make it on the ‘hip’ stations. Many do not bother to listen to what a song sounds like and, instead, focus on age and whether someone is outside their demographic. Madonna has crafted thirteen albums and, since the early-1980s, she has revolutionised the game and inspired countless artists. I have written about Madonna’s 2019 before and how we will get a clash of the older-recorded material and some new stuff. It is, in fact, the new developments that led me to write this. Even at the age of sixty, Madonna is showing her cool and still the most important Pop artist out there. Look at her Twitter and Instagram feeds and she is keeping people updated professionally whilst letting them in personally. Maybe this is more of a personal love letter from a big fan of Madonna. I am not enamoured of her fashion and changing styles; her personal life and that side of things. It is part of her ethos and stature but, to me, it is the way she has survived and endured that is the most impressive.

 IN THIS PHOTO: Madonna, Snoop Dogg (back) and Pharrell/PHOTO CREDIT: @Madonna

Many of her peers have either retired or died and how many Pop artists who started decades ago are still innovating and pushing forward?! Look at the latest news and it seems like something new from Madonna will be coming along. This article gives some insight into what the next Madonna single might be like:

“Not only did Monét X Change recently (jointly) win the latest series of All Stars 4, but now the super queen is set to appear in a music video for Madonna.

However, this did come at a slight cost, as Monét was forced to cancel the Haters Roast show she was set to appear at. Writing on Instagram, on a post with the comments turned off, the show said: “Yesterday @monetxchange arrived in Denver to appear on our show.

“Sometime during the afternoon, we’re told she received a phone call from @madonna with an offer to be in an upcoming music video. Monet asked MP if it would be ok to leave the tour to accept the offer. We said no because it was too short notice to replace her on Haters.

“Just hours before the show was to start and without telling anyone including the other queens on the Denver show, Monet left the venue and flew to LA to accept Madonna’s offer. Therefore, we have decided that Monet will no longer be on any upcoming Haters Roast dates”.

 IN THIS PHOTO: Madonna during her Blond Ambition World Tour in 1990/PHOTO CREDIT: Getty Images

Madonna is filming a video with queens and, in terms of sounds, who knows. Maybe it will be Pop-cum-Disco or something more Hip-Hop-leaning. There have been some cryptic and interesting posts on social media that give a bit of insight into what the new album might be about. Many feel it will be called Magic – not the greatest title but it seems like the one she has gone with – and I have seen videos of her singing with African women and experimenting with different people. It seems a sense of the spiritual and magical will mix alongside the sort of sounds we hear on albums like MDNA and Rebel Heart. Madonna has posed with Pharrell and Snoop Dogg and one suspects there will be a bit of Rap and tough edges on the album. As it stands, there is no confirmed release date but discussion around a new music video suggests we will not have to wait too long. Her last album, Rebel Heart, came out in 2015 and was her best-reviewed record since 2005’s Confessions on a Dance Floor. Although a new Madonna album does not create the same buzz and excitement as back in the 1990s, it is never a boring thing and it is interesting to see how she has changed. There is always talk that women are circling her throne and she will be deposed as the Queen of Pop. Whether you mention Lady Gaga or Ariana Grande it seems, for many more years, Madonna is safe where she is.

 IN THIS PHOTO: Madonna and Lady Gaga in a post-Oscars embrace/PHOTO CREDIT: @Madonna

I felt it important to mention Madonna again before Like a Prayer’s anniversary because a lot is happening and she has been busy the last couple of weeks. Her post-Oscar party was, apparently, quite the do and a must-go event. Many of her similarly-enduring peers might quiet down and not be so active but Madonna seems to be at her most ambitious and excited. I guess I wanted to revisit Madonna’s work because so much of today’s Pop seems formulaic and slavishly designed to fit into station playlists and this set formula. There is not a huge amount of movement and evolution and, at a time when we need fun and uplift, there is not too much of that! I do hope new Madonna material will bring some fire and intensity and, as many young Pop artists are finding their feet or not quite mature enough to command the scene, Madonna has the knowledge and experience to be able to deliver. In many ways, it seems like the peace with Lady Gaga and the old clashing with the new – album anniversaries and a new record – are part of a new phase. The post-sixty Madonna shows no sign of slowing and is always exploring new avenues. The next few weeks are exciting: many will be looking ahead to Like a Prayer at thirty and the arrival of a new album.

So Excited to Share the Amazing Orquestra Batukadeiras with the world!...........🥁 on my new record. 🎶⚽️! The future is female! 🙏🏼 say AMEN! #dinodsantiago. #mirwais #music. #magic #lisboa #caboverde. 🇨🇻🇨🇻🇨🇻 ♥️ pic.twitter.com/G2hKN17Zs2

— Madonna (@Madonna) February 5, 2019

Even if you are not a mega-fan who knows her insides and every avenue, you have to admit the continuing juggernaut of Madonna’s career is just as exciting now as it has always been. There are so many young Pop artists coming through but they do not carry the same weight and lure. Apart from promising material from Ariana Grande – her new album, thank u, next, has won big praise – and a few artists here and there it seems 2019 will be about artists in other genres. I can see work from female artists in other genres and tell they have Madonna-sized ambitions. The original Madonna is fresh and busy on social media and always keen to make sure people are aware of her older work as they are the new. She is not this nostalgia-heavy artists and is always looking to create something masterful. Whether that is bringing in new sounds and voices to her music or planning her next video, there is never a dull moment. Many people will be anticipating something pretty cracking with the as-yet-unnamed next single but it seems like it will be pretty colourful! I will be sure to check back in to mark Like a Prayer but now seems like a busy and packed time when new music is about to come. No matter what is happening with the rest of the new Pop artists and those looking up to Madonna, it seems there years will not be as memorable as...

AS the authentic Queen of Pop.

FEATURE: The Great Escape 2019: Ones to Watch: Part Two of Three

FEATURE:

 

 

The Great Escape 2019

IN THIS PHOTO: Jvck James 

Ones to Watch: Part Two of Three

__________

THE names who will play at this year’s The Great Escape in Brighton...

 PHOTO CREDIT: Getty Images

are almost confirmed – I think there are a few more coming through – but there is such a range of musicians to look out for. Covering multiple genres and nations, it will be a busy few days from 9th May. I think The Great Escape is one of those festivals that concentrate on the smaller acts and those coming through. Openings its doors to an international and eclectic fleet, everyone will be able to find something that suits them in a gorgeous surrounding. I have selected another batch from the announced that you need to investigate and, if you can, go and see. There are so many brilliant artists heading down to Brighton and it is hard to find which are worth that extra bit of focus. These names are, in my few, among the very best and those that will command...

IN THIS PHOTO: Maisie Peters

A big crowd.

___________

Gently Tender

Bio:

“Gently Tender formed from the ashes of instigators Sam Fryer, Pete Mayhew and Will Doyle’s former band Palma Violets, along with keyboardist The Big Moon’s Celia Archer and guitarist Adam Brown. Taking their name from a song by The Incredible String Band, Gently Tender draw on the sounds of old Soul and Folk records, with a tinge of 60s and 70s psychedelic pop. Their love of those records shines through brightly on their first offering ‘2 Chords Good’ – a sprawling collective sound powered by the gang vocals of the entire band recalling everyone from Spiritualized and The Animals to Kevin Ayers and back again”.

Twitter: https://twitter.com/Gently_Tender

Facebook: https://www.facebook.com/gentlytender/

Spotify: https://open.spotify.com/artist/483bBNsBBCvjAnx2Sc8BHc?si=C_t6PttBTQWBfcCgTv1eEQ

Key Cut: Some Hard Advice

GGallan Partridge

Bio:

“Four Northern lasses present a skewed and lively version of punk, owing more to X-Ray Spex then The Sex Pistols, and express themselves like 60’s gogo dancers who have watched too much Vic and Bob. Active for less than a year, GGAllan Partridge have self-released an 8-inch vinyl EP, supported acts such as Richard Dawson, Dream Nails and Viagra Boys. Their mix of the Fat White Family’s barely contained ire and Dee-Lite’s boundless sense of fun is an absolute joy; a gloriously off-kilter dayglo girl-gang riot of pop and politics”.

Twitter: https://twitter.com/geegeeallan

Facebook: https://www.facebook.com/geegeeallan/

Key Cut: Eyesore

Gia Margaret

Bio:

“Chicago singer/songwriter/producer Gia Margaret describes her music as “sleep rock.” It’s a genre all her own, combining elements of folk, shoegaze, slowcore, ambient electronica and trip hop. For her self-produced debut album, There’s Always Glimmer (out July 27, 2018 on Orindal Records), Gia Margaret crafted twelve gorgeously melancholic lullabies to combat her own insomnia, and to salvage some beauty from the brighter and darker moments of her life.

There’s Always Glimmer explores relationships between friends, family members and significant others, often in past tense. Sparse verses isolate mundane moments of domestic and urban life, and choruses ache with earnest expressions of yearning and loss”.

Twitter: https://twitter.com/gia_margaret

Facebook: https://www.facebook.com/gia.margaret/

Spotify: https://open.spotify.com/artist/7fnMav7xXJwwjbyWbSjF4C?si=ykx4qkFIRUSz7xgcy4kP6Q

Key Cut: Groceries

girl in red

Bio:

“girl in red is the project of 19 year old Marie Ulven. Hailing from Horten, Norway, Marie began the girl in red project in 2017 and rapidly developed a significant fanbase across Soundcloud and Youtube. Following the critically acclaimed release of her debut EP, ‘chapter 1’, with support from The Fader and the New York Times, girl in red won NRK P3’s ‘Urørt’ (Introducing) Artist of the Year award. Combining melancholic, angst ridden lyrics with undeniably catchy melodies, girl in red’s sound sees her begin what will be a very exciting 2019”.

Twitter: https://twitter.com/_girlinred_

Instagram: https://instagram.com/girlin.red

Spotify: https://open.spotify.com/artist/3uwAm6vQy7kWPS2bciKWx9?si=ClsZau0OQka_uM6mn0eDZA

Key Cut: we fell in love in october

Haggard Cat

Bio:

“An absolute sonic beast, the band has stormed onto the scene over the last 12 months and there seems to be absolutely no letting up from them. Combining enormous hooks, violently voracious beats and thoughtful lyrical themes all pummelled out live at head spinning volumes with unrivalled intensity. To witness Haggard Cat live is as immersive as it is devastatingly chaotic, which is something the band has managed to replicate perfectly on their debut full length album.

Challenger (released through Earache Records) is a 10 track warts-and-all crash course in everything rock and roll should be, receiving rave reviews across the board including Kerrang (4k), Metal Hammer (4/5) and Total Guitar (4/5). Haggard Cat have managed to showcase exactly how well they can craft great songs and contain them in a package that sounds so visceral and real that they could be in the same room as you”.

Twitter: https://twitter.com/theHaggardCat

Facebook: https://www.facebook.com/HaggardCat/

Spotify: https://open.spotify.com/artist/0fIUq6BR8xSAMsi1VvBW2e?si=ftEhBt-6RbGnCKeErtPw2A

Key Cut: American Graffiti

Hot Milk

Bio:

“Hot Milk are an emo power-pop duel fronted band from Manchester, England. Jim and Han met in a bar in the Northern Quarter in 2016, became fast friends and have lived together ever since. What started over a bottle of wine and an acoustic guitar in their living room, whilst it pissed it down outside, quickly became their vice and way to survive through everyday life. The Manchester weather coupled with their persistent desire to fill a meaning-shaped hole meant that one song quickly turned into fifteen after running home from work during lunch breaks and staying up all night.

Singing sad songs with happy melodies, Hot Milk are a celebration of the real. With Fun, Family and Kindness at the forefront of their minds, Hot Milk hope to create an open and warm sphere where everyone is invited”.

Twitter: https://twitter.com/hotmilkhotmilk

Facebook: https://www.facebook.com/youlikehotmilk/

Spotify: https://open.spotify.com/artist/1koutXdSFq2PHqtxSWj9tK?si=67x-CnGzQC6ip_tmlLZcnA

Key Cut: Awful Ever After

Indoor Pets

Bio:

“Formerly known as Get Inuit, the Kent quartet recently released their first single since signing to Wichita Recordings, appropriately titled ‘Hi’. The track premiered by Radio 1’s Jack Saunders, and with further support coming from Huw Stephens and Radio X. Previous releases, such as ‘So Soon’ and ‘Barbiturates’, revealed the large scope and diversity the band have available in their repertoire. Expect to witness a display of confidence and manic fervour on stage, a result of months fine-tuning their live show supporting the likes of Slaves, Spring King, The Big Moon and The Magic Gang”.

Twitter: https://twitter.com/IndoorPets

Facebook: https://www.facebook.com/indoorpetsband

Spotify: https://open.spotify.com/artist/5abBw7CgjR22S31JWg0g84?si=eoBCUthVSsOidY4-L-LhpQ

Key Cut: Hi

iris

PHOTO CREDIT: Kenny McCracken 

Bio:

“iris makes music of exquisite balance. Deep emotions play out on a backdrop of warm, minimalist electronica. Stories of love and connection vie with a desire for solitude. On her debut EP “a sensitive being”, five songs of intimate, electronic beauty are brought to life with the cream of London and Norway’s young producers. The first of those tracks, “from inside a car”, was recently just released. This painterly, synth-driven stream-of-consciousness arose from a session with Bergen producer Askjell Solstrand and was based on a formative trip to Paris. Having never travelled on her own, iris lived in France, working on farms, and experienced for the first time the energising power of loneliness”.

Twitter: https://twitter.com/iris_caltwait

Instagram: https://www.instagram.com/iris_caltwait/

Spotify: https://open.spotify.com/artist/5jOiYJPp5e84cnK2KO1aNz?si=M9z-lhZyTEmk4PnutmRYGA

Key Cut: from inside a car

JC Stewart

Bio:

“Raised on the Northern Coast of Ireland, Callum picked up a guitar at the age of 12 and within a year was writing his own songs. Now, just ahead of his twenties, Callum Stewart has blossomed from a bedroom singer/songwriter into one of the hottest voices coming from Ireland today. He’s been tipped as a ‘One To Watch’ for 2017 by Hot Press and made the playlists of Irish radio across the country.

With swelling arrangements and heart stopping melodies, Stewart creates climactic, alt-pop marked by real emotion and raw passion”.

Twitter: https://twitter.com/jcstewart

Facebook: https://www.facebook.com/JCStewart/

Spotify: https://open.spotify.com/artist/2TAqN8fwfaKauvviN4pOsv?si=bzcHUHfrQm-h5RUDK22l1w

Key Cut: Like I Did

Joy Crookes

Bio:

“Joy Crookes is ONE OF THE UK’S MOST EXQUISITE NEW TALENTS . Still only 20, her songs effortlessly capture the trials and tribulations of life. Born and raised in Elephant and Castle, Joy’s musical journey is still just beginning but she’s already garnering Amy Winehouse and Lauryn Hill comparisons.

‘Reminiscence’ is the second EP from Joy Crookes, following the widely acclaimed debut ‘Influence’ last year. Introduced by the heartbreakingly beautiful first single ‘Don’t Let Me Down’ at the end of last year, the brand new EP marks the start of a new chapter for Joy in what’s promising to be an enthralling story”.

Twitter: https://twitter.com/joycrookes

Facebook: https://www.facebook.com/joycrookes

Spotify: https://open.spotify.com/artist/5XMyhVhi5ZN2pi0Qwi1zXS?si=wlmr2lO3TYm-sQNrezlwWg

Key Cut: Bad Feeling 

Jvck James

Bio:

“East London born & bred, 19-year-old JvckJames is already creating a buzz with his blend of Jamaican roots and tasteful soul music taking in influences from the 90’s greats such as D’Angelo & Lauren Hill whilst giving a nod to the likes of Khalid & Frank Ocean. Graduating from ELAM (East London Academy of Music), young Jvck has been mixing his studies with song-writing sessions for the last year, laying the foundations of what promises to be a very exciting next chapter in his life. Having already released ‘Extroverted Lovers’ and ‘Easy’ to much critical acclaim, plus his stand-out live session for Berlin based ‘COLORS’ and recent appearance on the JD Reid track ‘Home’, he’s already pricked the ears of numerous tastemakers and fans. Having spent time working with a crop of talented producers including Scribz Riley (Khlaid, Ca rdi B), Di Genius (Drake — Controlla), this year will see this unique British talent release a slew of new music to the world”.

Twitter: https://twitter.com/jvckjames

Facebook: https://www.facebook.com/jvckjames

Spotify: https://open.spotify.com/artist/0hhGFNFQrdE34ZYR1CaBYN?si=QMP1FBZKSPSH-OFcy1622g

Key Cut: Wave

Kara Marni

Bio:

“Since her debut release in September 2017, Kara Marni’s work has amassed incredible radio support from the likes of industry tastemakers MistaJam, DJ Target, Annie Mac, Benji B and Jamz Supernova.

After two show-stopping, sold-out headline shows, three European support tours, including the Rita Ora ‘Girls Tour’ and a string of Summer festival appearances the 21-year old concludes the year with the hit single ‘Move’.

For a chance to see Kara Marni at The Great Escape Spotlight Show you can sign up here or alternatively buy standalone tickets here to be guaranteed a ticket”.

Twitter: https://twitter.com/KaraMarni

Facebook: https://www.facebook.com/KaraMarni/                     

Spotify: https://open.spotify.com/artist/2lfOu2DjnvR4Xpolt3OPfv?si=mkU2C7rZRWSYuYhNAlMxeg

Key Cut: Curve

Kingswood

Bio:

“It’s six years since Kingswood first crashed the Australian touring circuit, supporting iconic headliners such as The Saints and The Living End with belching rock singles like “Ohio”.
Their debut album, Microscopic Wars, made directly for the Top 10, followed by nomination at the 2014 ARIA Awards. Following up with 2016’s After Hours, Close to Dawn, Kingswood got their biggest hit to date, “Golden.” In 2018, the band made a debut appearance at Mondo in NYC, followed by extensive touring through the Europe. Meanwhile, sessions for album #3 continue. The first taste, “Messed It Up” — all sinewy synth-soul compulsion with a restless rock undertow — presages another stunning act of evolution”.

Twitter: https://twitter.com/kingswoodband

Facebook: https://www.facebook.com/KINGSWOODmusic/

Spotify: https://open.spotify.com/artist/4zOw0E0NA7B4lIYyc3XNt5?si=FeDhaT4oTeaFZlkE6I7Hug

Key Cut: Golden

Kizzy Crawford

Bio:

“A Welsh speaker with Bajan heritage, 22 year old Kizzy Crawford has already achieved great recognition for her work including airplay on BBC Radio Wales, BBC Radio1,2,6 & 4, as well as her music being used as set works for the WJEC 2016 A Level Music syllabus. Festival highlights include Glastonbury, L’Orient, Cambridge Folk Festival, Womex & Hay Festival.

Her recent single Progression was playlisted on the Jo Whiley & Simon Mayo BBC Radio 2 Drivetime show and received support from Tom Robinson & Craig Charles on BBC 6Music. Kizzy is excited to release her debut album via Freestyle Records this year”.

Twitter: https://twitter.com/kizzkez

Facebook: https://www.facebook.com/kizzycrawfordmusic/

Spotify: https://open.spotify.com/artist/5yPNQ2rLG2TDftpNXr1ckY?si=g4SJ04qzR0eMqlFGCOOgww

Key Cut: Enfys Yn Y Glaw

L Devine

Bio:

“21 year old pop singer-songwriter from Newcastle. “I don’t get why people hate on pop – it’s the best kind of music. Everyone listens to it. It’s way more credible than people think, and it’s way easier to write some sort of metaphorical bullshit on an acoustic guitar”.

Twitter: https://twitter.com/ldevinemusic

Facebook: https://www.facebook.com/LDevineMusic/

Spotify: https://open.spotify.com/artist/5dhyUSoGhz79WTzP39vKs4?si=UQzZDrbGRaW79KtA7dI1lg

Key Cut: Panic

LEISURE

Bio:

“Made up of five independently talented and successful members who were looking for a new creative outlet unconstrained by over-thinking, over-planning, and excessive control; LEISURE are an anomaly in the music industry. This unusual melting-pot of contributions means LEISURE is greater than the sum of its parts, each member bringing different influences from 70s funk, to 90s rap and R&B, all the way to dance music from the early 2000s. Each member also brings a different skill set – strong pop song writing sensibilities, experimental production techniques, and the talent to mix and master their own work”.

Twitter: https://twitter.com/le_isure

Facebook: https://www.facebook.com/theleisurecollective/

Spotify: https://open.spotify.com/artist/7b04D0yLktCUpvxQBhmG7R?si=Ve75HisNQoWSCz9HVYswSA

Key Cut: Got It Bad

Lewis Capaldi

Bio:

“When Lewis Capaldi’s debut single Bruises exploded at the start of 2017 it seemed from an outside perspective to have all the hallmarks of an overnight sensation. How could this 20-year-old with a soul-wrenching voice that sounded like it had been hewn from granite seemingly emerge from nowhere with a song of such emotional depth?

A stripped-back and almost painfully raw meditation on love and loss from a writer who seemed like he’d already lived several lives and had the scars to prove it, within weeks it had racked up an astonishing 15 million Spotify plays and topped streaming charts around the world.

For a chance to see Lewis at The Great Escape Spotlight Show you can sign up here or alternatively buy standalone tickets here to be guaranteed a ticket”.

Twitter: https://twitter.com/lewiscapaldi

Facebook: https://www.facebook.com/lewiscapaldi

Spotify: https://open.spotify.com/artist/4GNC7GD6oZMSxPGyXy4MNB?si=xM_lpX7PTgaxcWfZtLRxiw

Key Cut: Bruises

LION

Bio:

“Lowen embraces the ferocious, Janis Joplin-esque rasp of her voice. In fact, it’s one of the reasons she chose to adopt the name Lion. “Someone said I sound like a lion,” she explains, “Also, everyone says I have lion hair, and ‘Löwen’ means lions in German.” Still, declaring herself deserving of such a fierce moniker wasn’t something that came easily. “I didn’t mention it to anybody for months,” she admits. “It’s a big statement, it’s pretty extreme.
Lowen doesn’t make music than can be easily compared or categorised. Each song differs from the next – though there’s one thing she hopes they all manage to achieve. “I hope people feel something,” she says, “like I do when I’m playing it. Take what you want from it, but feel. I want to make boys cry.”

Lowen doesn’t make music than can be easily compared or categorised. Each song differs from the next – though there’s one thing she hopes they all manage to achieve. “I hope people feel something,” she says, “like I do when I’m playing”.

Twitter: https://twitter.com/iamlionofficial

Facebook: https://www.facebook.com/iamlionofficial/

Spotify: https://open.spotify.com/artist/3yIyRdeLGNW1NhRZaFrMW4?si=KxaHuYW6QEm2xzd9LdLEZQ

Key Cut: Oh No

Little Simz

Bio:

““Me again… and I’m here to pick up where I left off”, Little Simz states over a growling bassline on the opening bars of her new album, GREY Area. Amid the chest-thumping chaos of jazz flute and playground chants, on the bold first track “Offence”, the UK rapper aligns herself with male auteurs including Picasso, Jay-Z, and Shakespeare. This bravado lays the stage for a project that, in its fullness, actually takes the listener to dark, vulnerable, and tender places. First, though: a reminder that Little Simz is at the peak of her powers. The 24-year-old independent artist has been living in the midst of a whirlwind since dropping Stillness in Wonderland, her second full-length album (and 11th release in total), in December 2016. Simz is no stranger to success. By the time she was 21, Kendrick Lamar had called her “one of the illest doing it right now”, and she was the first independent UK artist to ever be listed on Forbes’ 30 Under 30”.

Twitter: https://twitter.com/LittleSimz

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

Spotify: https://open.spotify.com/artist/6eXZu6O7nAUA5z6vLV8NKI?si=2qp_50qgTpan6beuhJOs9A

Key Cut: Offence                                                                                                                                      

Maisie Peters

Bio:

“The quiet town of Steyning in West Sussex, where Maisie was born and raised, was hardly the kind of cosmopolitan capital you assume all pop artists are raised in these days; she would have been more likely to see the town choir play church concerts than her own kind of idols. Maisie Peters knows that pretentious singer-songwriter cliché just as well as you do. “I love Joni Mitchell, and I listen to her in the bath – with the lights off!” she laughs, creating a caricature of the woman so many assume this gifted artist might be in real life. But there’s something different about this girl: one who, at the age of 18, has already spent years beguiling millions of followers with her breezy, folkish guitar pop. A Joni Mitchell fan she might be, but beneath it all there’s a regular teenager who’s more interested in modern chart superstars than the esoteric legends of her field. She is, quite simply, not all that bothered about seeming cool”.

Twitter: https://twitter.com/maisiehpeters

Facebook: https://www.facebook.com/maisiepetersmusic/

Spotify: https://open.spotify.com/artist/2RVvqRBon9NgaGXKfywDSs?si=BR87lHqoSnSZ86S7MYT-kg

Key Cut: Worst of You                                                                                                                            

Malphino

Bio:

“Malphino are an outer-national, mystical band from an imaginary tropical island that has dreamt up a cinematic score and audio backdrop to their idyll. A promised land of hypnotic cumbia rhythms, subtle digital warbling, accordion textures, voodoo vapours and woodblock charm awaits the off piste explorer willing to step through the arch and Visit Malphino, the debut album from this London based collective of musicians and visual artists.

The joyous, often frenetic, style of cumbia that Malphino have landed on, tips its hat to the various denominations of modern cumbia movements worldwide yet carves its own unique, transcendental spin on the genre”.

Twitter: https://twitter.com/malphino

Facebook: https://www.facebook.com/Malphino/

Spotify: https://open.spotify.com/artist/1hWJbIVGfYRmwRgmM6HFij?si=nkSZDeHcTB-m8zqnL5Fi7Q

Key Cut: Molienda                                                                                                                                   

Mathilda Homer

Bio:

“20-year-old Mathilda Homer’s contemporary soul is formed by blending traditional influences with modern, creative production. After leaving London for rural England in her formative years, Mathilda’s alternative education lead her to pursue music from a young age. Born to two established composers, music filled their family home and inspiration was found everywhere. Growing up in a social environment, Mathilda grew to be a natural performer and turned away from academia in favour of exploring her creative side. After moving back into London in her late teens to study, Mathilda connected with her now main collaborator, writing partner and producer Isaac. Finding each other a perfect fit creatively, the pair began writing, recording and relentlessly gigging their music in pubs
and bars around London.

Mathilda and Isaac’s natural rhythm and spontaneous writing process bore fruit and a body of work began to form, including Mathilda’s upcoming debut single ‘Ready When You Are’”.

Twitter: https://twitter.com/Mathilda_Homer

Facebook: https://www.facebook.com/mathildahomermusic/

Spotify: https://open.spotify.com/artist/0uwGk8b2zINQFSKiLbK50Y?si=koQvT-q8TqymQIpgRN-oyA

Key Cut: Ready When You Are                                                                                                            

_______________

IMAGE CREDIT: @thegreatescape

ALL PHOTOS (unless credited otherwise):

Artists/Getty Images

BIOGRAPHICAL INFORMATION:

https://greatescapefestival.com/

TICKETS:

https://greatescapefestival.com/buy-festival-tickets/

FEATURE: Inertia Creeps from the Man Next Door: Massive Attack’s Spellbinding Mezzanine

FEATURE:

 

 

Inertia Creeps from the Man Next Door

IMAGE CREDIT: Spotify 

Massive Attack’s Spellbinding Mezzanine

__________

EVEN though the album is not celebrating an anniversary...

IMAGE CREDIT: Getty Images

Massive Attack are touring are bringing songs from Mezzanine on the road and introducing them to new fans. The reviews for their live shows have been great. Here, for The Guardian, Alexis Petridis assessed their recent O2 Arena gig:

“As Massive Attack perform an amped-up version of Man Next Door – Horace Andy’s voice quavering, its ominous dub backing freshly augmented with distorted guitars – the screens behind them flash up a warning against the seductive power of nostalgia. “All around you are two-dimensional images of people who died long ago,” it reads, over black-and-white footage of a person who died long ago, British pop artist Pauline Boty. “They say, ‘don’t bother with the future. Stay with us here. For ever.’”

This is an intriguing message to send out in the middle of one of those gigs at which a band play a beloved album from their back catalogue in full, but then Massive Attack’s live revisiting of their 1998 album Mezzanine is clearly a more complex and troubled affair than such gigs usually are. Most gigs like this are predicated on a comforting familiarity – the audience buy tickets knowing exactly what they’re going to get – which is not an accusation you could lob the way of tonight’s show...

In 1998, a lot of music sounded like Massive Attack’s debut album Blue Lines: umpteen trip-hop and chill-out compilations were packed with artists imitating it; you couldn’t turn on the TV without hearing something inspired by it pattering away in the background of an advert. At the time, Mezzanine seemed completely at odds with the mood of beatific stoned tranquillity the band had inadvertently unleashed. It was twitchy, gloomy and suspicious, filled with songs that fretted about surveillance and control, less fashionable topics then than in today’s era of data harvesting and digital footprints”.

Robert Del Naja and Grant Marshall recently talked about the making of Mezzanine: some of the challenges involved and what the takeaway impression is from the recording sessions:

“Does it still feel raw? Marshall has entered the dressing room and leans against the wall, languid and softly spoken. “Raw. Yeah, it is to a certain extent. [Mezzanine] was the end of our trio but… it projected us to greater things, I suppose. We’ve been through different things which have made us a bit raw, but we’ve managed to patch it up.”

What is Marshall’s abiding memory of making the album? “It’s fraught with bad memories, but it was a departure from what we were used to and so, yeah, that’s kind of where all the heartaches came in.” Del Naja’s main memory “is probably the fight really. It wasn’t as simple as it used to be, because Blue Lines [their debut] was based on our collective history. Culturally and musically it was a big jam together. And then the second album [Protection] we’d become something, so we had a kind of routine and procedure. I felt that [with] Mezzanine, the procedure had to be ripped up, the rulebook had to be changed”...

The fight was about Teardrop, still their biggest-selling single; Del Naja and Marshall wanted former Cocteau Twins frontwoman Liz Fraser on vocals. Mushroom secretly sent the track to Madonna, who loved it and called, keen to record it. Having already worked with her in 1995 on a cover of Marvin Gaye’s I Want You – at the time, to Mushroom’s fury – Del Naja was incandescent and turned her down. He won’t comment on it now. “It was hard,” he shrugs. “I guess that is what I remember of Mezzanine: it was a proper struggle”.

Maybe Massive Attack are not keen to look at Mezzanine as a nostalgia trip but more as an album that is relevant today and whose messages, nearly twenty-one years ago, seemed to predict the future. In many ways, there is more corruption and deceit than there was in 1998 – Mezzanine is almost a light relief compared to the realities of today! The entire production and recording was a struggle. The tensions within the group almost split them and, in a way, it is almost like a 1998 version of Fleetwood Mac’s Rumours. Even though the source of friction was different in each case, having this group working in such a heated environment could have derailed the record and led to disaster. Instead, like Rumours, there was this masterpiece born that sounded like nothing else – maybe that tension leads to creativity.

 IN THIS PHOTO: Robert del Naja and Grant Marshall/PHOTO CREDIT: Getty Images

Robert Del Naja wanted a more New Wave sound in terms of samples of themes but Andrew Vowels was sceptical. Grant Marshall wanted that New Wave sound and something quite edgy and dark. Although there was some tension and disagreement within the ranks, Mezzanine is considered a classic and one that mixed Trip-Hop and Electronic. There is this darkness and claustrophobic sound that mixes with a sense of calm and melancholy. Singles such as Teardrop (ft. Elizabeth Fraser) compared to something like Inertia Creeps sounds natural. There is never a sense Massive Attack were trying to cram diverse sounds together just for the hell of it. Lesser Electronic/Trip-Hop acts would do that without much thought but Massive Attack were keen to create this very evocative and eclectic album that had a range of moods. A range of samples are used on Mezzanine, including songs from artists such as The Cure and Isaac Hayes. The fact that Massive Attack are on this anniversary tour means the album holds a special place in their hearts. Even though the group was splintered and fraught before Mezzanine was released, one would not realise it. Before I come to look at the reception and reaction to Mezzanine, I wanted to bring in an article from Billboard regarding Mezzanine and how it managed to turn out so well:

“Yet what resulted in that perceived mess turned out to be what many consider to be Massive Attack's greatest album, despite the absence of the group's secret weapon, quixotic rapper Tricky, who left the fold shortly after Protection to focus on his fledging career as a solo artist...

 

Alongside Davidge behind the board, the group opted to go in a darker, more guitar-driven motif for Mezzanine, flexing their roots in early 4AD dreampop with the appearance of Elizabeth Fraser of the Cocteau Twins on the album's signature hit "Teardrop" (which has since been used to wide renown as the theme to the sorely missed medical drama House), as well as a darker hue of dub reggae with Jamaican roots legend Horace Andy, the only artist to guest on all five Massive Attack LPs. His appearance on the third Mezzanine single "Angel"—one of three Andy songs on the album—is the one by which he is most well known. The track, which stems from Horace's 1973 lovers rock classic "You Are My Angel," truly takes flight in the remix provided by another longtime Massive associate, British dub giant Neil "Mad Professor" Fraser. And for the Guyana-born DJ and producer, collaborating with Andy was indeed familiar territory.

"I've been working with Horace Andy from when my studio was in my front room back in my 8-track days," he explains to Billboard. "Me and Horace, we are guys who have been through a lot of ups and downs together. Sometimes we're brothers. Sometimes we're like father and son. And sometimes we are enemies. We go back many years, man. One of the first things we dubbed up from Mezzanine was 'Man Next Door,' which was originally a reggae song done up by John Holt and Dennis Brown. Horace is a very special talent. He has a very unique style, and some people think he is Massive Attack (laughs), because they know his voice more than 3D or Daddy G".

PHOTO CREDIT: Getty Images

Everyone has their own memories of Mezzanine but, when I experienced it as a fourteen-year-old, it was a revelation. I was aware of Massive Attack’s work and was a minor fan. A lot of Post-Britpop mainstream music was being played at school and, when kids started to talk about Mezzanine, it was a breath of fresh air. The searing beats and that blend of the ethereal and intense was stunning and I was instantly hooked. Mixing samples in with original loops and expressions, such a full and wondrous album took me aback and I was keen to learn more. Teardrop and Inertia Creeps are my favourite songs from the album but, truthfully, every one of the eleven tracks shines and has its place. A lot of retrospective acclaim has come in for Mezzanine and, if you look at the reviews, they are glowing and keen to express their delight. AllMusic, in 2013, has this to say:

“"Risingson" is a dense, dark feature for Massive Attack themselves (on production as well as vocals), with a kitchen sink's worth of dubby effects and reverb. "Teardrop" introduces another genius collaboration -- with Elizabeth Fraser from Cocteau Twins -- from a production unit with a knack for recruiting gifted performers. The blend of earthy with ethereal shouldn't work at all, but Massive Attack pull it off in fine fashion. "Inertia Creeps" could well be the highlight, another feature for just the core threesome. With eerie atmospherics, fuzz-tone guitars, and a wealth of effects, the song could well be the best production from the best team of producers the electronic world had ever seen. Obviously, the rest of the album can't compete, but there's certainly no sign of the side-two slump heard on Protection, as both Andy and Fraser return for excellent, mid-tempo tracks ("Man Next Door" and "Black Milk," respectively)”.

In some ways, Mezzanine seems almost historic in terms of its sounds and the sonic palette. It is almost Victorian in its moods and mixtures but, in 1998, it was an album that resonated and spoke to the people. Now, over twenty years after its release, its words have adopted new meaning and there are scores of people discovering the album for the first time. Massive Attack are taking the album on the road and ensuring as many as possible to get to hear these epic songs. I have revisited Mezzanine and picked up stuff I had not noticed before. Whether it is a sample of a lyric that passed me by, Mezzanine is a record that keeps rewarding you. I think it is one of the best albums of the 1990s and one of the finest Trip-Hop records ever created. I am glad Massive Attack are still going and the tensions of recording their 1998 masterpiece did not break them. It is amazing to hear them talk about Mezzanine twenty years after its release with such insight and passion. Maybe things were quite anxious when it was being made but time has elapsed and they can view the experience with fresh eyes. The music throughout Mezzanine is wonderful and it deserves to be heard by the new generation. There is not a lot of great Trip-Hop around in the mainstream (if any) and I feel it is time to see a Massive Attack-like charge come through. The world is in a dark space and it would be easy to document the splits and uncertainties through music. Maybe that is the truth about Mezzanine: it is such a brilliant and singular moment that nobody...

IN THIS PHOTO: Massive Attack in Berlin in 1998/PHOTO CREDIT: Kevin Westenberg

CAN equal.

TRACK REVIEW: Stealth (ft. The Dap-Kings) - Black Heart

TRACK REVIEW:

 

Stealth (ft. The Dap-Kings)

Black Heart

9.5/10

The track, Black Heart, is available via:

https://open.spotify.com/track/5joZkgTCteYR5SWvSesUSQ?si=vTk4qxTlShOH0NVIn1PwrA

ORIGIN:

London, U.K.

GENRES:

Soul/Funk/Jazz

RELEASE DATE:

15th February, 2019

__________

THIS time around...

I get to look at some new themes and subjects to bring into this review. I wanted to start by speaking about Stealth himself but, then, look at collaborations and how the best ones stand aside. I will then talk about genres like Funk, Blues and Jazz and how they are under-used in music; artists embarking on a new chapter and able to be flexible with their material; supporting other artists and how online success can aid and boost a career – I will then look at Stealth and where he might head this year. It has been a busy last few years for the artist. In 2015, Stealth started carving his path into music with the E.P., Intro (he produced other work before then but Intro was the greater realisation of his vision and talent). That initial cut was influenced by artists such as Howlin’ Wolf and Hozier. I would not, as some have done, compare him with James Bay as that does him a disservice and I find Bay’s music incredibly boring and generic. The reason why his early work captivated was not because he was trying to be someone like James Bay; rather it was about the way he could project this powerful vocal and match things with edge and a forceful heartbeat. After the success of his early work, he started to turn heads and really got onto the live trail. People were talking about his shows in impassioned tones and he was receiving incredible reviews. There are artists today who have that deeper tone and style – such as Rag ‘n’ Bone Man and Hozier – but Stealth is a much more credible and talented artist. I often have a reason with people comparing newcomers to mainstream stars in order to give them some sort of credibility and boost. I find, if you listen to Stealth closely, he (I hope) is not trying to follow those artists and is looking at a much more original and less chart-based path. I think there is a lot of emphasis on support artists who are quite bland and uninteresting and, after Tom Walker won at the BRIT Awards recently, I do worry the industry is not looking hard enough for the next big thing.

Stealth has the ammunition and variety to stand well aside from the rather limited and mundane artists who seem to get a lot of focus. We often look at a slightly brooding male artist with a bit of cool and get this impression of who they should be and what they are like. Stealth is not someone who is going to fall into traps and you can lump in with the mainstream newcomers. Stealth is, as he will say, an insomniac with a flair for music. He takes inspiration from Jazz and Blues legends and funnels that influence into a big vocal performance and arresting style of music. There are dark tones in the music and a powerful voice but there is light and relief that can be found. I do feel there is a tendency, for modern artists, to go for something a bit personal and unsettled. I can understand why it is important to talk about your life but so much modern music pretty downbeat and lacks energy. I look for artists who can be personal and open but have a bit more power and flair. This is what you get with Stealth. He has built this promising career penning songs that have a real potency and power but there is a certain grace to be found. That might sound odd but I listen to his music and can hear so many different strands and colours. Rather than follow the lead of some of the less interesting artists currently playing, Stealth is a more eclectic, original and interesting artist. I do sometimes get worried regarding collaborations and, after some solo success, whether artists are making the right choice. I say this because I hear collaborations that are stuffed with people and things can get rather cluttered. There is a tendency for big artists to work with each other and it seldom leads to anything worthwhile or needed. It is a risk stepping alongside someone else but, when the chemistry is right, it sounds brilliant.

The reason I say this is because, on his Black Heart single, Stealth has united with The Dap-Kings. Many might associate The Dap-kings with the late Sharon Jones. Together, they created some of the finest music of the past few decades and we still mourn her loss. I think it is rare for popular artists to have a sort of backing band. It seems like a very odd thing where icons used to have extra vocalists and musicians. Smokey Robinson has his Miracles and, if you look back through music, there are examples of these big artists having this crew behind them. Now, we have Florence + the Machine but, like so many artists who hint at support, it is just a name and something intangible. I miss the days when you did get bigger vocal groups and the nature of being a solo artist was not literally performing on your own without any vocal support. Maybe it is me but a lot of the finer elements from music’s past have escaped. I do worry the solo realm is becoming less interesting and it is tougher for artists to make an impression. I am wandering off the course a bit because I wanted to talk about collaborations. Stealth has worked with other artists before but this is quite a big move. Performing with such a well-known and making it work is a hard thing to realise. Stealth has previously worked with Netsky and Metrik and this is very different for Stealth. I think this is the most appealing and striking collaboration from Stealth and it is great to see these two worlds come together. I hear a lot of collaborations in music and some of them work quite well and it is a good union. If the voices mesh well and you can get that rhythm clicking then it is great to hear. I feel so many of today’s collaborations are there to boost Spotify playlists and to stuff as many major artists together as possible. I cannot really think of a collaboration from the past few years that has truly struck my mind.

That might sound grim but, when it comes to Stealth and The Dap-Kings coming together, this is what I am talking about. They are a natural union and an interesting brew. Stealth has a more varied background regarding sounds and genres but you have the professionalism, history and assuredness of The Dap-Kings. It is hard to follow someone like Sharon Jones but Stealth is a different artist and someone who has his own voice. What we have is a great coming-together that has that distinct sound of The Dap-Kings with the powerful voice of Stealth. He recorded with them in New York and, in many ways, it must have been a dream come true. Even though Black Heart is not the most original song you’ll hear in terms of lyrical themes – the anticipation before a break-up – cliché is avoided with terrific vocal performances and great production. A lot of Sharon Jones & The Dap-Kings’ music was about heartache but I am finding so many artists talking about the same thing – maybe writing a song that is less about heartbreak and embraces happiness and something more joyous? That is a minor bug but it is no shock to hear an artist inspired by Jazz and Blues to open the heart and reveal a painful experience. The Dap-Kings worked with Amy Winehouse and Charles Bradley and have this experience working with these fantastic, if departed, artists. It can be hard making things click and having this sort of harmony. As I said, there have been some wasteful and average collaborations but it seems like Stealth and The Dap-Kings are in-step and perfect together. Let’s hope they work together again because their combined sounds are fantastic, rich and memorable. Black Heart is the sound of experienced artists aiming to create something wonderful and evocative and, for the most part, it is a big success. I wanted to move on and talk about genres that do not get enough exposure these days.

There are great Funk, Jazz and Blues radio shows where we can find the best of the genres but, listening to modern music, how often do we hear this sort of music? I feel like there is a tendency to promote Pop and we only often hear Funk and Jazz in the context of big hits – integrated rather than fully standing out on their own. By that, I mean we do not have the same Funk and Jazz legends as we did and I think these genres still fight for recognition. I am especially interested in Funk and Soul and wonder why more artists do not perform in these genres. The funkiness and uplift you can get is exhilarating and the mainstream could do well to bring more Funk to the fore. It can be hard predicting what people want to hear but I do feel like there is too much of the same thing being produced and, when you hear the mainstream best, it all sort of blends into one. Maybe Jazz will take a while to bed into the public consciousness and it will struggle to grab everyone – it is still a type of music that many turn their noses up at. I love a good bit of Funk and Jazz blended together and feel it can really lift the senses! I wonder whether artists are ignoring these genres because they are not steeped in its history and unsure how to pull it off. The Dap-Kings and Sharon Jones amazed the world with their insatiable and gripping music and, as we lose icons like Jones and Charles Bradley, music is becoming weaker and less interesting. I am not certain whether Stealth will remain in this territory but it is a style of music he excels in. Do we follow playlists and what tastemakers say too much and neglect music? I feel we do not really go deep enough and brilliant genres are overlooked.

Look through the back catalogue of Stealth and he has tackled many different styles and sounds. His potent and impactful voice is the common key but he is someone who is always experimenting and keen to try different things. I do hope we get to see a resurgence of Funk and Jazz because they are side-lined too much. We need to bring the fun and positivity back into music and, whilst Stealth’s latest single has some woes and pains, the general mood is more positive and fresh than you’d imagine. I often look at music for some sort of enrichment and lift and, largely, I am left disappointed. I do feel we are becoming more negative and less energised as people and music is reflecting that. We still have mainstream Pop and some sprite songs but I tend to find many of them lack soul and any sort of nuance. The reason why I want us to become more adventurous is because we can look back and see the artists who helped change music. How many people know about Sharon Jones & The Dap-Kings and their contemporaries? There is so much room to provide a modern interpretation of their music and add something thrilling to the mainstream. The core is so homogenised and is not stretching its imagination. I wonder why there is this sort of reluctance to revitalise genres fully and be more adventurous. I know there are artists who can get funky and utilise Jazz but it is a lot rarer than you’d think. Maybe Stealth will lead this charge and get other artists to follow his lead. I will move on but the most appealing songs I am discovering right now are those that break away from convention and have that beautiful, vintage edge. Listen to Stealth and The Dap-Kings getting together on Black Heart and you will definitely want more. Before I move onto the song itself, I shall talk a bit about Stealth and his rise to success.

He has been releasing music since about 2015 but I feel last year was when he really exploded and took a big step. The fact he has worked in different genres means his music is much broader and interesting. He has worked with Jamie Woon, Zella Day and Tigga Da Author during their U.K. tours and has performed overseas. Opportunities are coming and, the more he puts himself out there, the more accolades come his way. His music has been used on T.V. and he has done well on the iTunes charts. His songs have received support from the likes of BBC Radio 1, 2 and 6 (Music) and there is no stopping it. It is impressive when your music can reach a wide audience and make its way onto such broad stations. The flexibility he shows and the diverse nature of his music means he has this broad fanbase and popularity. Last year was a great one for him this year and, as I shall end on, it seems like this year could be bigger! I think many solo artists do get into a rut of performing on their own and do not really play alongside anyone else. They might be quite rigid regarding sounds and what they are speaking about and this can only lead to a slightly limited and predictable progression. If you have a sound that is solid and honed then that is fine but taking risks and being eclectic is a great thing. I love most types of music but I have found that there are few artists crossing genres and able to get their music to a range of demographics. Stealth is somebody who has always operated in a way that means his music gets out to the people and has no barriers. He is one of these rising artists that will keep on succeeding because he hooks up with other artists and writes songs that are genuinely interesting and new. I do wonder why more artists are not following his lead because, as he has shown, success can come your way and your music can get out to a huge amount of people. I am not one who features artists because of their streaming figures and all of that but, in the case of Stealth, you see the numbers and it is very impressive.

Black Heart begins with a strut and cool that is led by some funky-ass bass and great intention. I like how there is a bit of a fuzz and we get this very catchy and physical opening. Before a word comes in, we have this lovely introduction that adds its own weight and ground. I was excited to see where the composition led but, before I could get to that, Stealth came in and asked what is on the mind of the girl. This seems to be the beginning of the end for a relationship and one feels something has happened to cause this friction. Maybe things have run their course but this bond is going sour and the hero is asking for answers. You get a load of songs that talk about the same thing but very few have the blend of Funk background and quite testing, serious lyrics. It is a nice brew that works well and, with his voice firm and sensitive, Stealth lets his words out. With some cooing and backing from The Dap-Kings (and some incredible Jazz blasts) we have this song that rolls and strides with intention. Stealth, inspired by the composition and energy from The Dap-Kings, lets his voice strike and swagger. It is raw and exciting and definitely sucks you in. As things reach the end of the line and things are falling apart, the hero is seeing that black heart emerge and knows things are almost over. The background is great and we get nice horn blasts and rousing percussion. Vocal input is fairly sparse but adds a beautiful contrast to the deeper sound of Stealth. It is rare to hear a song that deals with a failing relationship have such energy and boldness. Even if the lyrics are tense and there is a bit of stress, you never sense that in the composition and performance. The chorus has this great mix of The Dap-Kings’ past work and Jazz-Rock bands like Steely Dan.

Our hero talks about a heart beating for someone new and one wonders whether it is him or the girl who is focusing on someone else. I get the impression his sweetheart has let him down but the hero is looking ahead. He wants to know why things have broken down but I get the sense this has been coming for some time and the break-up is no surprise. There is great catchiness and delight when you hear The Dap-Kings play and add to the mood. The darker words are elevated by this stunning and rousing coda. I love the composition and how it makes you feel. I do not hear many songs that incorporate horns and Jazz elements and, together with a Funk mandate, you get this deep and rousing song that brings a smile – even though the foreground is getting more tense and anxious. He compares himself to a cannibal being eaten alive and the girl being like this dirty waterfall. At one point, Stealth delivers a line and there is this call-and-response aspect. It is great to hear the song take this turn and it provides Black Heart with this extra level. At one point, when the music rises and the vocal gets bigger – as Stealth searches for clarity and tries to make sense of things – we get a glimpse of Stevie Wonder in the mix! The sheer force of Black Heart is impressive and I love how much is packed in. Our man is asking what has happened and he can see this once-loving heart is empty. Even if the central story and theme is nothing new, the images and wordplay gives new light to the trodden path of heartbreak and deceit. The song builds and then goes low to allow the bass to come in; the brass brings it back up and the percussion gives the songs its spine and discipline. The merry and dizzy blend gets into the head and you do wonder how the relationship worked out. It seems like this girl is a poisoned chalice and it would be foolish to go back to her. She seems to have her eye on someone else and Stealth was not given much of a chance. It might have been scary joining with The Dap-Kings and being able to make it work but the collaboration is wonderful. Stealth’s strong voice is given new potential and life by the band and they bring a lot of party and hope to a song that has a dark heart. It is amazing, in 2019, there are not more songs like Black Heart because the effect and reaction is amazing – after one listen you are stunned and want to go back! I shall end things here but urge everyone to check out the song and let it put you in a better mood. I hope things worked out with Stealth in the end but, having listened to a seriously funky song, you sort of know he will move on and find some peace.

He has already won hearts and minds and had his music shared on some of this country’s biggest radio stations. Having supported artists like Nothing But Thieves and Jamie Woon, that gig experience and new world has bled into his music. Stealth takes a little bit of everything and stirs it into this boiling pot. Stealth has a brand-new E.P. out later this year and big gigs. He is headed to SXSW and will play Parker Jazz Club, in Austin, on 14th March. It is an exciting year for Stealth and one where he can win the American audience. Black Heart is the latest step from him and one that will get him into new markets. Stealth is always looking to broaden his appeal and he has previously worked with Dance and Electronic names. Now, in Funk and Jazz, he can spike new minds and it makes for an interesting E.P. I wonder whether it will be this free-for-all in terms of sounds or whether there will be more focus. I welcome the possibility of having this work that ventures into different genres and takes in a lot. There is not enough of this happening in modern music and it needs to change. I feel like Stealth can go even further and add even more spark into the music. Black Heart has some wistfulness alongside the energy but I can detect an artist who has so much energy that is waiting to come out. Many have compared his voice to artists like Hozier but I think we need to start thinking about Stealth in more promising and better terms. Not that there is much wrong with the likes of Hozier and James Bay but, to me, they are quite boring and write songs that seem to be aimed at those who do not like to be challenged and want something really simple.

Stealth’s deeper voice might put one in mind of those acts but his music is much more interesting and he has greater promise. It is a hard time for male solo artists: female lone stars are providing more stunning music and they have an edge right now. The best male artists are those who break away from the mainstream sound and provide something much fresher and unique. Even though Stealth’s lyrical themes do not stray too far from love and relationships, he has a lot in his locker and should not be easily predicted. I will wrap things up now but keep an eye on the social media feeds of Stealth and see what he has coming up. I love the fact he has worked with The Dap-Kings and hope it is not this one-off thing. They fuse beautifully and there is a real sense of mutual respect there. Looking forward, there is a busy gig schedule for Stealth and he will be preparing for his E.P. later in the year. If you are a bit wary of embracing a song that seems a bit unusual and not like anything out there – as Black Heart has its own beat – then give it some time and let it do its work. If all collaborations can be this accomplished and fine then I will drop my reservations and welcome them in. These artists who cram loads of random names together and produce something pretty weak will do well to listen to Black Heart how how a collaboration should sound! Keep your eyes on Stealth as he is someone who will go a long way and continues to evolve. If people can shake off the easy comparisons – he might like them but I definitely do not – then he can genuinely appeal to a much broader sect and gain greater critical acclaim than those names. There is no denying his talent and the fact he is an artist with great potential. It is still fairly early on in his career but there are clear signs Stealth is about to drop a bomb. His beginnings were impressive and promising but, the more he produces, the more I feel the young man...

CAN go a very long way.

___________

Follow Stealth

Official:

http://www.stealthmusicuk.com/

Twitter:

https://twitter.com/stealthmusicUK

Facebook:

https://www.facebook.com/stealthmusicUK

Spotify:

https://open.spotify.com/album/1EctmhyIb6003mVg77wgUb?si=K4sHjj1JRDSEuifS6ETzjA

YouTube:

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

Instagram:

https://www.instagram.com/stealthmusicuk/

SoundCloud:

https://soundcloud.com/stealthofficialmusic

FEATURE: The Great Escape 2019: Ones to Watch: Part One of Three

FEATURE:

 

 

The Great Escape 2019

IN THIS PHOTO: Ferris & Sylvester 

Ones to Watch: Part One of Three

__________

THE names who will play at this year’s The Great Escape in Brighton...

 IMAGE CREDIT: @thegreatescape

are being announced and it is another busy and quality-stocked year! There are more names coming and, from all over the world, we will see artists converge to Brighton and entertain the people. From 9th-11th May (my birthday is on the 9th!), we will get to see some fantastic rising artists mingle and perform at this fantastic festival. If you have not been to The Great Escape festival then you owe yourself a trip down there. The weather will be (one hopes) fantastic and there are few better places to discover new music than Brighton – with such a wonderful backdrop and great people. There are so many wonderful artists heading to The Great Escape and, whilst it can be hard deciding which to go and see, there are some that stand away from the pack. I shall put together a few parts but, in this first edition, here are the first batch of acts that you need to go and see when heading to The Great Escape. Have a look, investigate their music and, when it is festival time, make sure you go and...

 IN THIS PHOTO: Big Joanie/PHOTO CREDIT: Helen Messenger Photography

SEE them in the flesh.

___________

Aaliyah Esprit

Bio:

“Aaliyah Esprit has had an incredible 12 months. Originally from Nottingham, she has since planted foundations in Manchester; splitting her time between both cities. In 2017, she put together a full live band with which she has supported both Denai Moore and Ash Walker., Aaliyah was announced last year as a pupil of the highly sought-after Future Bubblers programme, which has given us the likes of Yazmin Lacey and Skinny Pelembe amongst others in recent times”.

Twitter: https://twitter.com/aaliyahesprit

Facebook: https://www.facebook.com/AaliyahEspritMusic/

Spotify: https://open.spotify.com/artist/73JRJE3o5cLbEOIoksppmG?si=wGOV_e0FQluAf1UC65dl5w

Key Cut: Energy

Alfie Templeman

Bio:

“15 year-old Bedfordshire songwriter and multi-instrumentalist Alfie Templeman releases music written, played, produced & mixed by him entirely in his bedroom out of school hours. Compared to a young Mac Demarco, MGMT, Tame Impala, Harry Nilsson and Boy Pablo and tipped by Radio 1, The Sunday Times, The Observer, Vogue, NME, Clash, Dork and DIY amongst others, Alfie’s future is looking very bright”.

Twitter: https://twitter.com/atemplemanmusic

Facebook: https://www.facebook.com/atemplemanmusic/

Spotify: https://open.spotify.com/artist/6QzMY3tnu0m56eKUnr4uCF?si=cpD_49IIS6-CVTN_6ZJOKw

Key Cut: Yellow Flowers

Anna Calvi

Bio:

“Calvi has been revered in the British music industry since she emerged in 2011, a soulful songwriter, virtuosic guitarist and captivating performer. Both her self-titled debut album and the 2013 follow-up One Breath were nominated for the Mercury Music Prize, with her debut also receiving a Brit nomination for ‘Best Breakthrough Artist’. She’s collaborated with Brian Eno, Marianne Faithful and, on the 2014 covers EP Strange Weather, David Byrne. In 2017, she composed the music for The Sandman, an opera directed by Robert Wilson”.

Twitter: https://twitter.com/annacalvi

Facebook: https://www.facebook.com/annacalvi/

Spotify: https://open.spotify.com/artist/50sSN9E5i4DJzYDclAXlSo?si=CDtVrfwbSeOqq2amAszShA

Key Cut: Eliza

Another Sky

Bio:

“When you listen to Another Sky, it’s probably Catrin Vincent’s voice that’ll catch your attention first. It is a weapon – peculiar, androgynous, lurching and defiant – that she wields to beautiful, evocative effect.
Channelling the brooding atmospherics of Radiohead and The xx, but with a little more bite and political charge, Another Sky’s music is dark, cinematic and richly textured. Layering ambient guitars with penetrating bass lines and anxious beats, there is a thrillingly haunting quality to it”.

Twitter: https://twitter.com/anotherskymusic

Facebook: https://www.facebook.com/UnderneathAnotherSky/

Spotify: https://open.spotify.com/artist/08p5D6BYuwPqGsFuIDLNFr?si=8BqF2wLUS9iDI69kES8D1g

Key Cut: Chillers

Bang Bang Romeo

Bio:

“Fronted by vocal powerhouse Stars Walker and featuring Ross Cameron (guitars) and Richard Gartland (drums) Bang Bang Romeo are a young propelling force for female fronted bands and a strong and open voice for the LGBTQ+ community. Stars is being hailed by many prominent industry names as having a ‘once in 20 years voice’ and the band’s unrivalled larger-than-life performances are driving audiences wild up and down the country.

2018 saw Bang Bang Romeo play over 150 shows – their main stage-opening set at this year’s Isle Of Wight Festival drew the biggest audience for a first-on act in the festival’s history (according to John Giddings – festival owner). Their other main stage appearances included Tramlines, Victorious, second stage at Kendal Calling, headline slots at Y-Not & Truck and main stage at Doncaster, Cardiff and Leeds Pride”.

Twitter: https://twitter.com/bangbangromeo

Facebook: https://www.facebook.com/bbromeo/

Spotify: https://open.spotify.com/artist/0pYrJEBQD23sHMvxsBM3fO?si=SxiMia71Rp6NoVEy5uVEKg

Key Cut: Bag of Bones

Bess Atwell

Bio:

“Two years on from her debut album, the former solo project has evolved into a full band sound soaked in four-part vocal harmony fulfilling Atwell’s desire to create a more dynamic live show, with traces of traditional folk music. Atwell’s latest single ‘Grace’ is the more restrained, intimate successor of her August offering ‘Swimming Pool’, both of which have been playlisted by BBC Radio 6 Music. For fans of Sharon Van Etten, Fleet Foxes, and The National”.

Twitter: https://twitter.com/bessatwell

Facebook: https://www.facebook.com/bessatwellmusic

Spotify: https://open.spotify.com/artist/6Pim5E5Lm03COsjHj2aEiK?si=uwi8iLHpStSoOyWj-nECGw

Key Cut: Cobbled Streets

Big Joanie

Bio:

“Eva Prinz & Thurston Moore’s art publishing house Ecstatic Peace Library are thrilled to announce the new record label entity THE DAYDREAM LIBRARY SERIES

In this series curated by Eva Prinz, Thurston Moore & Abby Banks a limited edition number of vinyl or cassette albums will be released in a pristine “collector’s edition” package with the highest quality recordings, impeccable design and will include handmade fanzines with the album’s liner notes, interviews with the bans.

The first year of releases will offer genre-crossing musics including opera, classical, punk rock and sound-healing. Each album in THE DAYDREAM LIBRARY SERIES will include a limited edition fanzine edited by Eva and Thurston with the musicians”.

Twitter: https://twitter.com/Big_Joanie/

Facebook: https://www.facebook.com/bigjoanie/

Spotify: https://open.spotify.com/artist/39cxr26gqrCiUgIkz4lA8j?si=weNOr7ITT_yAkg8eg7MxPg

Key Cut: New Year

Big Wild

Bio:

“As Big Wild, producer & composer Jackson Stell crafts lush soundscapes and sweeping melodies that challenge the status quo of electronic music. A former hip-hop producer, previously going by J Beatz in his native Massachusetts, Stell launched the Big Wild project in 2012 following a life-altering trip to Big Sur, California. His musical muse and spiritual home at the time of its inception, California was the ultimate inspiration that fueled the Big Wild sound: atmospheric electronic music powered by a wide-spanning emotional range. The Big Wild moniker itself is a direct reflection of the state’s natural glory and open spaces. Stell now takes his journey to the next chapter via his debut album, Superdream, released February 1 st , 2019 on Counter Records”.

Twitter: https://twitter.com/bigwildmusic

Facebook: https://www.facebook.com/bigwildmusic/

Spotify: https://open.spotify.com/artist/0PxzGnCYBpSuaI49OR94cA?si=31OOSPHASEekMi1vrz4ocA

Key Cut: When I Get There

Biig Piig

Bio:

“Biig Piig is 19-year-old songwriter Jess Smyth – who found her way to music via Spain, Ireland and a previous life as a London poker dealer”.

Twitter: https://twitter.com/BiigPiigMusic

Facebook: https://www.facebook.com/biiggpiigg/

Spotify: https://open.spotify.com/artist/4GoD5FJCgC0lbzde7ly44M?si=0l84-aCnTjWjttDjJwhltw

Key Cut: Flirt

Bitch Falcon

Bio:

“Four years on from an initial explosive emergence, the Dublin-based three-piece haven’t so much discovered their voice as relentlessly refined it. If anything, they relish in sharp declarations, their signature sound always moving forward even when throwing a nod to the past. The aesthetic is raw, even a touch frenzied, yet the chaos is controlled in a ferocious through line that harnesses the strongest elements of rock, grunge, metal, hardcore and melodic electro-pop. Through it all, Bitch Falcon make this busy mix sing in a distinctive, once-heard-not-forgotten voice”.

Twitter: https://twitter.com/bitchfalcon

Facebook: https://www.facebook.com/b.tchfalcon/

Spotify: https://open.spotify.com/artist/6NsNTjFVfNwUfLpKbsmt4x?si=a1ym1_LzQfu9FzYKvltcig

Key Cut: TMJ

Body Type

Bio:

“Do you believe in karma? Do ya? Do ya?”

The first words we heard from Body Type were accusatory, playful, coy. They dared you to look them in the eye. To pay attention.

The song those words came from, ‘Ludlow’, seemed too good to be true. It made a racket while staying astonishingly controlled; the vocals sounded more like a sample from fifties cinema than anything recorded in this century, so deliberate and devastating in their delivery. Follow-up single ‘264’ exists in a completely different realm to ‘Ludlow’, but it’s equally as astonishing, just as clever and wry and beautiful as its predecessor.
Live, Body Type exceed the expectations set by their singles. All four members – Sophie & Annabel on vocals and guitar, Cecil on drums, Georgia on vocals & bass – are vital. They are, on a musical and emotional level, inexorably linked, each member’s importance going beyond musical skill or personality”.

Twitter: https://twitter.com/bodytypeband

Facebook: https://www.facebook.com/bodytypeband/

Spotify: https://open.spotify.com/artist/2gOqvEhTe5TjetSBfivC4D?si=xciZdCshSzKNAM9V-cxodQ

Key Cut: Palms

Charly Bliss

Bio:

“By 2014 Charly Bliss was a fully formed band, living in New York, working the standard barista/bartender circuit by day, rehearsing by night. They recorded and released their debut EP, Soft Serve, and played lots and lots (and lots) of shows. There was a purity to those years.
After they released Guppy through Barsuk Records in 2017, time spent out on the road increased, as did the Charly Bliss fanbase. But the essence of the band’s sound, two and a half minute torrents of blissfully tight chaos that blew the roof off the place, (not to mention the bandmembers’ lifestyles) didn’t change much.

When it came time to record a follow up, that’s when things shifted. They all quit their jobs to focus full time on music and challenged each other to write as many scongs as possible”.

Twitter: https://twitter.com/charlybliss

Facebook: https://www.facebook.com/CharlyBliss/

Spotify: https://open.spotify.com/artist/7axA2bNeZsae6t2mgxoSFh?si=b8pqBnF2SR6bSduErNOW6w

Key Cut: Ruby

 

Confidence Man

Bio:

“Confidence Man, arguably one of the hottest acts in the world right now, released their debut LP Confident Music for Confident People in April 2018. It followed a whirlwind 18 months which saw two sold out headline Australian East Coast tours and three trips to UK/Europe for headline shows, and a string of festival sets. Theirs was one of the most talked about sets at Splendour in the Grass, they had performances at Glastonbury, set punters abuzz at The Great Escape, completed a run with Falls Festival and took home the prized act of the festival from Golden Plains festival. Things didn’t slow down post release, with another massive sold out Australian headline tour, sold out club shows in Berlin, New York, Moscow, Manchester, Paris and London, plus a string of prime Northern Summer festival spots including Rock en Seine (Paris), and Parklife (Manchester)”.

Twitter: https://twitter.com/confidencemantm

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

Spotify: https://open.spotify.com/artist/0RwXnFrEoI8tltFvYpJgP6?si=mjijU_bPRU-jbPbXin4UWQ

Key Cut: Boyfriend

Dead Posey

Bio:

“WHILE FORMING DEAD POSEY, THE TWO TAPPED INTO AN INTENSE CREATIVE CHEMISTRY AND A NEWFOUND VISION FOR A ROUGH, BLUES-Y YET MODERN SOUND. THEY QUIETLY WORKED IN THE STUDIO FOR NEARLY A YEAR AND HONED THEIR SONGWRITING SKILLS, RATHER THAN DIVING INTO LIVE SHOWS AND THE CLUB CIRCUIT. THROUGH 2017 DEAD POSEY (JOINED BY ONE-TIME MEMBER KYLE FOSTER) RELEASED ONE SONG AT A TIME ONLINE, CULMINATING IN THE “FREAK SHOW” EP AND STIRRING UP A PALPABLE BUZZ”.

Twitter: https://twitter.com/Dead_posey

Facebook: https://www.facebook.com/deadposey

Spotify: https://open.spotify.com/artist/7qTUKYzO77RvL1Kxie0xUO?si=a2yrlhrvT8WOALLdzcYywg

Key Cut: Don’t Stop the Devil

Donna Missal

Bio:

“On her debut album This Time, L.A.-based singer/songwriter Donna Missal shows the elegant collision of elements at play in her music: a poet’s command of tone, a soul singer’s boundless intensity, a bedroom musician’s willful embracing of intimacy and experimentation. Along with channeling the raw passion she first ignited by playing in rock bands in her homeland of New Jersey, This Time expands on the melodic ingenuity displayed in recent singles like “Driving” and “Thrills.” Above all the album is a testament to the sheer force of Missal’s voice”.

Twitter: https://twitter.com/DonnaMissal

Facebook: https://www.facebook.com/donnamissalmusic/

Spotify: https://open.spotify.com/artist/4QFHHdZkeqmneDQqKIjAN8?si=dDCTtT-ZQm2nNw36FgtOYg

Key Cut: Driving

Elder Island

Bio:

“Beware before entering Elder Island’s world because once you’re in you won’t want to leave. Be prepared to be led down paths from which you can’t come back, to be captivated by sensual, soulful, shapeshifting songs, to encounter lyrics littered with clues.

There is magic in Elder Island’s music and perhaps a little witchcraft. Trying to pin the Bristol trio’s sound down is pointless because the usual pop rules don’t apply. Textures matter as much as melodies. Genres bend and blend. Electronics rub shoulders with odd instruments. Katy Sargent sings as though casting a spell”.

Twitter: https://twitter.com/elderisland

Facebook: https://www.facebook.com/elderisland/

Spotify: https://open.spotify.com/artist/3EnbnmqrrvApHJs6FMvYik?si=HJ23SnGXRrG4MtQre4sZMg

Key Cut: Bamboo

Ellis

Bio:

“Ellis is the musical project of Linnea Siggelkow. In November 2018 she released her anticipated debut EP, The Fuzz. The EP arrived following several months of excitement building behind Ellis, who, after generating buzz in her local scene on the back of opening stints with the likes of Soccer Mommy, Gabby’s World, Chastity, and Palehound, garnered international acclaim with the release of a series of singles, earning comparisons to Mazzy Star, Alvvays and Slowdive from outlets like Pitchfork, Noisey and Stereogum, who marked her out as one of “a new generation of exciting songwriters.” In early 2019 she announced she signed to Fat Possum Records who are reissuing The Fuzz on vinyl and will be releasing new material”.

Twitter: https://twitter.com/thisthatperson

Facebook: https://www.facebook.com/Ellissongsofficial/

Spotify: https://open.spotify.com/artist/7EQmY1hAAeuJLa0GUNpKNN?si=YMYXBcATSn2sBo_BRiOgmg

Key Cut: The Drain

Ferris & Sylvester

Bio:

“Ellis is the musical project of Linnea Siggelkow. In November 2018 she released her anticipated debut EP, The Fuzz. The EP arrived following several months of excitement building behind Ellis, who, after generating buzz in her local scene on the back of opening stints with the likes of Soccer Mommy, Gabby’s World, Chastity, and Palehound, garnered international acclaim with the release of a series of singles, earning comparisons to Mazzy Star, Alvvays and Slowdive from outlets like Pitchfork, Noisey and Stereogum, who marked her out as one of “a new generation of exciting songwriters.” In early 2019 she announced she signed to Fat Possum Records who are reissuing The Fuzz on vinyl and will be releasing new material”.

Twitter: https://twitter.com/FerrisSylvester

Facebook: https://www.facebook.com/FerrisandSylvester

Spotify: https://open.spotify.com/artist/1LnhhjMNydIGawXsnfNhCf?si=CZQKiPuNRD6ItBcOne4z0Q

Key Cut: (I Think That You Look) Better in Yellow

Fuzzy Sun

Bio:

“A journey through melodic, psychedelic pop is what’s to be expected from Stockport five-piece, Fuzzy Sun. The freshly formed line-up, fronted by the lulling vocals of Kyle Ross, sees a distinct and original take on chorus-heavy reveries. Daisy Valentines bold and melancholic synth, coupled with sweet and seductive harmonies is equally complemented by Lewis Jobson & Mitch Bancroft’s strong soothing groove through the rhythm section. Fuzzy Sun bring you contemporary pop, infused with psychedelia, dipped in naughties R’n’B nostalgia, with just a hint of disco flare”.

Twitter: https://twitter.com/FuzzySunBand

Facebook: https://www.facebook.com/FuzzySun/

Spotify: https://open.spotify.com/artist/40uK7RAJlyEALdLWZ1qNmb?si=3PRMUMMjQ9qtW6YSEh9DUg

Key Cut: Want Love

Gender Roles

Bio:

“Formed over a combined love of the early UK math rock scene and garage rock in America, Brighton based trio Gender Roles have been making waves in the DIY/Punk scene for the last year.

In 2017, Gender Roles embarked on playing relentless shows in the UK and across the pond in the US in support of the release: dishing out a brutal blend of fuzz laden guitars, racing cymbals from Jordan Lilford and Jared Tomkins’ droning bass, that melds together to form a hazy blend of slacker rock vs. gritty punk”.

Twitter: https://twitter.com/genderrolesuk

Facebook: https://www.facebook.com/genderrolesuk

Spotify: https://open.spotify.com/artist/62Qr6xBUFiFSOyhR4UKCKf?si=91BHSRkARIaqnK2dsPUFlw

Key Cut: About Her

_____________

ALL PHOTOS (unless credited otherwise):

Artists/Getty Images

BIOGRAPHICAL INFORMATION:

https://greatescapefestival.com/

TICKETS:

https://greatescapefestival.com/buy-festival-tickets/

FEATURE: Deep Cuts: The Unexpected Fate of De La Soul’s Music Online

FEATURE:

 

 

Deep Cuts

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

The Unexpected Fate of De La Soul’s Music Online

__________

ONE of the most pleasing announcements of recent weeks...

IMAGE CREDIT: Abraham Jay Torres  

was the fact De La Soul were putting their music online. There are two albums – 2004’s The Grind Date and 2016’s and the Anonymous Nobody... – but nothing else from them. The reason behind the lack of De La Soul music online is because of issues arriving around clearing royalties. Their 1989 debut, 3 Feet High and Rising, was built on a foundation of eclectic and fantastic samples but the band did not get clearance for all of them. They faced reaction and legal threats when the album was released and a contract was signed that stated their music would not exist in any other format bar physical release. It is a shame sampling issues got in the way but, if an album like 3 Feet High and Rising existed online, there would be legal challenges and artists demanding money – it would be a complex situation and it could mean Spotify having to remove the album from their site. The landmark debut celebrates its thirtieth anniversary tomorrow and it would have been great to have the album online for new listeners to enjoy. The fact it one would struggle to buy the album on vinyl and it is expensive trying to hunt down a copy. I think there are C.D. versions but what happens when one wants to listen on the go or experience 3 Feet High and Rising in its vinyl goodness?!

 IMAGE CREDIT: Getty Images

Yesterday, the BBC looked at the ongoing problems and whether there is going to be any resolve. It was announced the back catalogue would go online but, as I shall explore, the financial deal was not great. Things have been delayed and I do wonder whether we will see De La Soul online soon:

“For years, it has been shunted between record labels, none of whom could sort out the complex licensing issues around the record's numerous samples.

That was set to change on Friday, with the album primed to debut on Spotify, marking its 30th anniversary.

But it was pulled at the 11th hour, as the band said the deal was unfair.

On Instagram, the group alleged that record label Tommy Boy would get 90% of the profits from 3 Feet High (and several other classic De La albums that were primed for release) while they would see roughly 10%.

The deal is particularly complicated because of what the band describe as a "phantom $2m debt"; which Tommy Boy boss Tom Silverman claims he is owed.

"The actual offer was 30% to De La," David 'Trugoy' Jolicoeur told Rolling Stone.

"But with this phantom debt that's in the air - this $2m dollar debt - what he proposes is, 'Since you guys are getting 30, I'm going to take 20 of that 30 and kick it back to your debt'".

It is unfortunate De La Soul failed to predict the rise of digital music and how the landscape would change but one could forgive them back in the late-1980s/early-1990s. There is this dispute and rankle between De La Soul and Tommy Boy that is delaying so much fantastic music reaching the world. It is a tense situation that has reached services like Tidal:

“Upon learning of this deal, Jay-Z refused to put De La Soul's music on his Tidal streaming service; while A Tribe Called Quest star Q-Tip called for a boycott of Tommy Boy.

Noticing the bad publicity, the label decided to "postpone" its release of De La Soul's back catalogue until the dispute was resolved.

"Because Tommy Boy has not had the opportunity to sit down together with De La Soul and finalise our negotiations - something we've wanted to do for months - we have decided to postpone the digital release of their catalogue scheduled for tomorrow," said the label in a statement on Thursday night”.

I always feel it a shame when money gets in the way but, whatever angle you look at things from, it seems De La Soul are not getting their cut. It may not be easy to offer a fifty-fifty split given the fact that rarely happens in music but De La Soul created the music and they need their fair share. A raw deal would not be a good compromise and it would be wrong to force De La Soul into the digital marketplace on bad terms.

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

Speaking with Billboard, Posdnuos reacted to the news of delays and a new compromise:

"It's a victory," Pos, of De La Soul, tells Billboard. "It's great that people who supported and understood what we mean to the culture, whether it's someone who's so dear and close to us like a Q-Tip, or someone who could admire the moves we've made creatively, but we ain't necessarily been in the room with each other nothing but maybe three times together, like a Jay-Z. You can have people just feel like, 'Culturally, I support and understand where they are coming from'".

De La Soul are recording their tenth album this year and one feels there might not be a deal brokered before then. A.O.I. and Kobalt released and the Anonymous Nobody... so a new album will go online and there will be no issues. I feel the first few albums from De La Soul, especially 3 Feet High and Rising, are essential and they are being kept away from a whole new marketplace. There are other acts who are not on streaming sites and they have their reasons for it but, in the case of De La Soul, one sees this barrier that can be broken down. Tommy Boy are being unreasonable and I feel there needs to be a deal where De La Soul are not short-changed.

There are reasons why things are so sticky and the delay of the digital releases might suggest Tommy Boy and De La Soul are conferring and trying to reach a compromise. As 3 Feet High and Rising turns thirty tomorrow, it will not be available online. One can purchase the record but even that is a difficult experience. So many people adore the record and there are countless fans-in-waiting who have not yet heard the kaleidoscopic majesty of this Hip-Hop masterpiece. So long as all the samples can be cleared and both sides can realise a deal that is fair and sustainable. De La Soul are heartbroken their music is not available online and there is so little there. They cannot be blamed for some of the problems of the past – regarding sampling and not seeing the rise of the Internet – but I know getting their early albums online will be a longer process than we all hoped. Even though one cannot hear 3 Feet High and Rising online and stream it in full, there are the odd few songs on YouTube that you can discover. It is not the full experience but it is better than nothing. I wonder how people will mark thirty years of 3 Feet High and Rising tomorrow – whether we will see a lot of the songs played or whether the lack of online availability will stifle what can be done. Let’s hope De La Soul, Tommy Boy and anyone else involved in the compromise can find some resolution and we can get De La Soul’s brilliant music online and reaching new ears. Although De La Soul are losing out and they want a fair outcome the ones who are suffering the most are the fans who desperately want to hear...

DE La Soul’s genius online.

INTERVIEW: ELVIN

INTERVIEW:

ELVIN

___________

THE fantastic ELVIN has been telling me about...

the video for her track, Wonder, and what it was like filming it. I ask what we can expect from her upcoming E.P., The Garden, and what sort of themes inspired the songs – she reveals whether there is a standout track/personal favourite from the E.P.

I ask whether there will be tour dates coming and which rising artists we need to follow; what sort of music she loves and the albums that mean the most to her – she ends the interview by selecting a great track I have not heard.

____________

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

I am so great! Earlier this week, I was on Resonance FM with The Lallas and, last week, Hoxton Radio with Jodie Bryant. I am so encouraged by the fact I am suddenly getting so much support from independent radio.  

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

I am a singer/songwriter-producer. I write and produce ornate, epic ‘popera,’ set in Electronic, Classical soundscapes.

 

Wonder is your new track. What is the inspiration behind it? What was it like filming the video?

Wonder is about the re-awakening and freeing of my child-like imagination. It marks the beginning of my creativity as an artist. This video is the second stage of the development of this idea as a special visual project. The characters in the video are all styled by me as toys from a toy-box - and it’s a live and acoustic version of the song.

Filming was quite the nightmare. I arrived on set to a gas leak and everyone standing outside. I had to stand on tables, flapping a dusty weird pollutant out of the room before I could even convince everyone it was safe to film. I had one shot at this - because equipment was provided for by Yamaha - so I had to demonstrate I was a worthwhile artist for them to support. Thank God we did the entire thing in one take and Raja Virdi, who has literally shot for Rihanna, London Grammar etc. etc. – and was a dream to work with.  

Once we got filming it flowed like magic under his guardianship.   

 

Your E.P., The Garden, is out soon. Can you reveal the sort of themes and songs that will appear?

The Garden is a magical world I’ve created to hold my stories and experiences. We travel via my ‘conscious stream’ by rowboat, which weaves in and out of the E.P. at different points. We start down The Garden Path at the beginning where I describe starting out on my musical journey and how that feels. We then end in a field of Lavender, where I lose my friend, Jessie.

Throughout, I use the garden as a metaphor. For example, Sweet Sensations is a blue/purple delphinium. So, in this song, I am describing the sensations I am being given in this time of my life as somebody giving me this flower and relating them in the context of a playground in the garden and riding my bicycle through the garden with this person.

Do you have a standout track from the set at all?

I am pretty excited about Valley of Roses. I love Latin and I am so thrilled to be getting away with dropping some Latin in the chorus. It’s my Valentine’s gift to all my fans as one rose is not enough! In this song, I get called back to love by a voice I can hear in the distance; the place I imagine to be a valley of roses where love exists in its purest form.

When did music come into your life? Did your parents play a big role?

Yes!  My mum is a flautist and a composer too. She taught me a great deal of what I know. My entire family is musical and actually that is my sister playing the glock and singing in the video for Wonder. She had to step in at the last minute because my glock player was sick - that’s just what the best sisters do! I am so grateful to her.

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

The Beatles, Queen; Bowie...these guys were pretty creatively free and completely themselves. In adulthood, it’s been Marina and the Diamonds, Florence and the Machine. I love Laurel Halo too. It’s hard to pick just one idol: they’ve all been important to me in different ways.

How important and influential is London as a base in terms of creativity? 

It’s unbelievable how much where you live inspires and influences your music. My music has definitely changed since moving back to Shoreditch. I feel it’s is so much edgier and ahead of the curve because of the fact I live in the centre of the creative universe! I meet so many interesting people in London every single day. It’s not just the music they chose to share with me but their stories and keeping me knee deep in challenging, forward-thinking conversation.  

I love it here, but it’s also important to travel too. I am missing New York at the moment. Last year, I was making music for a label in Berlin that was entirely Techno. I spent a lot of time in the incredible parks of Berlin and this, plus their Wanderlust exhibition at The National Gallery, hugely inspired The Garden.

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

I think this past year has been one of the most incredible of my musical life and it just keeps getting better. I broke into the opening of The Ned (a hotel in bank) and it basically kick-started everything because it was there I met the marketing director of Yamaha and he gave me so much support in the early stages. But, honestly, I could write a book of my insane experiences of the music industry.

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

Usher - 8701

This album is most-closely correlated to my teenage emotional experiences. It was the backdrop to my breakups and parties.

The Beatles – Sgt. Pepper’s Lonely Hearts Club Band

Because their songs are so classic; they unite people with huge and profound statements in tandem with musical magic.

Disney Compilation Albums

Secretly, I love Disney. Please don’t tell anyone.

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

Haha. Ok. I would chose Nothing but Thieves. Besides loving their music, Dominic is a friend and he promised me he would teach me how to solve a Rubik Cube. I would ask for an infinite number of Rubik’s Cubes to be provided, because I am certain it would take that many!

Might we see you on tour in 2019?

Yes, please! Hopefully, if everything goes amazingly. If not, I will certainly do some special performances and I will make sure I let everyone on Instagram, Facebook and Twitter know and that they are invited.  

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

It’s a shame I can’t perform more because all of this was born out of simply how much I love singing. It’s basically quite expensive for me to do so, because I don’t believe in my musicians not being paid and my sound is quite epic. I did a performance once where I needed so many performers on stage with me, the stage wasn’t big enough...so I had to put two trumpeters in the crowd, which ended up being amazing!  

I’ve also had a full orchestra play my music (the London City Orchestra) which, again, was completely incredible. Because I have a big sound, it might be a while before enough people are streaming or buying my music that I can feed that back into playing for a live audience. I have so many artistic ideas I am yet to make a reality! But, I’ll need to generate some support to make this happen.

For starters, I want to bring The Garden to life! One way I could do so is with brand partnerships, so I am looking into this at the moment. Plus, I am starting to generate interest from publishers and labels now which may be able to help.  

 IN THIS PHOTO: Rhi

Are there any new artists you recommend we check out?

I love the fresh, new Electronic happenings in Berlin and Britain: Rhi and Laurel Halo, incredible female producers who, of course, I naturally want to support the most. Then comes my friends Titas and the Fox, who make lo-fi Electronic-Jazz.

 IN THIS PHOTO: Laurel Halo/PHOTO CREDIT: Sylvie Weber

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

No. I have very little downtime and that’s just the truth. If you want a career in music, you have to work exceptionally hard because it won’t financially sustain you, immediately (if ever). So, I work extremely hard. I make absolutely sure I make time for my friends, because nothing surpasses the importance of being a good friend. Other than this, sometimes, if I have time to unwind then you’ll find me in the steam room or on the tennis court!

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 would love it if you played my friend’s music, Titas and the Fox. His E.P. is called Coffee and Eggs; he’s one of my best friends and I’m super-proud of him releasing his first pieces of music too!

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Follow ELVIN

Twitter:

https://twitter.com/LauraElvin

Facebook:

https://www.facebook.com/ELVINinthegarden/

Spotify:

https://open.spotify.com/artist/0Tg0zOdLeliVohClo9RYDD?si=egEwsokSSkee_XtqAuEW7A

YouTube:

https://www.youtube.com/channel/UCvsNMnP1782egQNPzztFvAA