FEATURE: Albums of the Decade: Part III: 2016-2018

FEATURE:

 

Albums of the Decade

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IN THIS PHOTO: IDLES/PHOTO CREDIT: Pooneh Ghana for DIY 

Part III: 2016-2018

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

 IN THIS PHOTO: Kendrick Lamar/PHOTO CREDIT: Frazer Harrison/Getty Images

and I am pretty sure there will not be many contenders that will challenge this list. Speculated albums from Madonna and The 1975 might be in with a shout of being the albums of the decade but I am carrying on the rundown with a look at the best albums from the three-year period that covered 2016 to 2018 (inclusive). Every decade boasts terrific records but this decade has been really strong and seen some truly unexpected revelations. Here are the fifteen albums that made the years 2016 through to 2018 wonderful. Future parts will bring us right up-to-date but here, in this third part, we can see albums that helped make this decade...

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 IN THIS PHOTO: Lorde/PHOTO CREDIT: Dean Chalkley/NME

SUCH a winner.

ALL ALBUM COVERS: Spotify/Getty Images

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2016:

David Bowie - Blackstar

Release Date: 8th January, 2016

Labels: ISO/RCA/Columbia/Sony

Producers: David Bowie/Tony Visconti

Key Cuts: Blackstar/Girl Loves Me/I Can’t Give Everything Away

Standout Track: Lazarus

Review:

“Only seven tracks and 42 minutes long, Blackstar is impressively hard to place in his back catalogue and feels completely self-contained. It has some of the off-kilter character of his late Seventies Berlin trilogy (Low, Heroes and Lodger) but little of their electronic flavour.

It is shot through with a late-life melancholy that sits intriguingly with the jazzy modulations. Beneath the swooning cinematic rush of Dollar Days beats a gorgeous, bittersweet piano ballad on which Bowie proclaims himself “dying to... fool them all again and again” but the phrase breaks apart until he sounds like he might be singing “I’m dying too” – The Daily Telegraph

Beyoncé - Lemonade

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Release Date: 23rd April, 2016

Labels: Parkwood/Columbia

Producers: Various

Key Cuts: Hold Up/Don’t Hurt Yourself/Freedom

Standout Track: Formation

Review:

“Her voice though, in its rawness of emotion and tear duct-filling emotion, pushes at the boundaries of what is considered acceptable. Likewise, 6 Inch where her voice starts to crack and falter, sounding oddly vulnerable.

In a week where we have has to come to terms with the loss of one more explosive and unpredictable and talented and genius pop star, it is so reassuring to know that Beyoncé is still among us – and from the sounds of this – has still yet to reach her peak. Both Prince and Nina Simone (whose voice also features here) passed away on April 21. Sometimes it feels like Beyoncé is determined to pick up the mantles of both” – The Independent

Buy Album (Lemonade is not available on Spotify): https://www.beyonce.com/album/lemonade-visual-album/songs/

Radiohead – A Moon Shaped Pool

Release Date: 8th May, 2016

Labels: XL/LLLP/LLP

Producer: Nigel Godrich

Key Cuts: Daydreaming/Decks Dark/Ful Stop

Standout Track: Burn the Witch

Review:

“And then there’s “True Love Waits.” It’s an old song, one that has been around in various forms for over two decades, but unlike “Burn the Witch” or the other teased sketches and scraps that Radiohead diehards pick apart on forums, it’s long been a part of their canon. It appeared on the 2001 live album I Might Be Wrong and, dragged into 2016, feels like a relic from a different geological era. “I’ll drown my beliefs,” Yorke sings, “just don’t leave.” It is the message they leave us with, this very open-hearted song that has always felt like an open wound in their discography, a geyser of feeling erupting out of scorched earth. Its very inclusion is a striking moment of transparency” – Pitchfork   

Solange – A Seat at the Table

Release Date: 30th September, 2016

Labels: Saint/Columbia

Producers: Various

Key Cuts: Rise/Don’t Touch My Hair/Scales

Standout Track: Cranes in the Sky

Review:

“In "Borderline," a chugging machine beat and a lilting piano line form the backdrop of a scene where Knowles and her partner tune out the world for the sake of their sanity. Then, after Nia Andrews and Kelly Rowland's half minute of proud harmonic affirmation, along comes "Junie," a squiggling jam on which André 3000 makes like the track's namesake (Ohio Players and Parliament legend Junie Morrison), where Knowles delivers a sharp metaphorical smackdown of a cultural interloper like it's merely an improvised postscript. All of the guests, from Lil Wayne to Kelela, make necessary appearances. The same goes for Knowles' parents and Master P, who are present in the form of short interludes in which they discuss segregation, self-reliance, cultural theft, and black pride. These segues shrewdly fasten a cathartic yet poised album, one that weighs a ton and levitates” – AllMusic   

A Tribe Called Quest – We Got It from Here... Thank You 4 Your Service

Release Date: 11th November, 2016

Label: Epic

Producers: A Tribe Called Quest/Q-Tip/Blair Wells

Key Cuts: Solid Wall of Sound/Dis Generation/The Killing Season

Standout Track: We the People....

Review:

“Q-Tip, the group’s leader and politically conscious straight man to Phife’s ribald sports fan, takes on subjects from gentrification to the mis-sold dreams of African American youth. He calls out to those he sees as his heirs – from Kendrick Lamar to Earl Sweatshirt – to keep the Tribe flame alive. The album closes on The Donald, a tribute to Phife (not the new president), and there is a real sense of this being the group’s final testament. At times the album can seem tired and mid-paced, and some of the collaborators (Andre 3000, Anderson Paak) are more effective than others (Talib Kweli, Jack White). But for those who value Tribe’s contribution to music, this is a record to be grateful for” – The Guardian    

2017:

Kendrick Lamar – DAMN.

Release Date: 14th April, 2017

Labels: Aftermath/Interscope/Top Dawg

Producers: Various

Key Cuts: DNA./LOYALTY./GOD.

Standout Track: HUMBLE.

Review:

“Lamar’s gift is not just that he can say why he’s the best (“I got power, poison, pain and joy inside my DNA”), but also that he articulate how this responsibility feels (“I feel like the whole world want me to pray for ’em/But who the fuck prayin’ for me?”). He can paint pride and agony with the same brush, and it’s that ability that makes “Fear” probably the most emotionally rich song in his entire discography. Like Sigmund Freud meets Scarface, Lamar connects the dots from the seven-year-old terrified of catching a beating from his mother to the 17-year-old terrified of being murdered by police to the 27-year-old terrified of fame. “I practiced runnin’ from fear, guess I had some good luck,” he raps with ease. “At 27 years old, my biggest fear was bein’ judged.”

Much like the recent A Tribe Called Quest record, Damn. is a brilliant combination of the timeless and the modern, the old school and the next-level. The most gifted rapper of a generation stomps into the Nineties and continues to blaze a trail forward. Don’t be confused if he can’t stay humble” – Rolling Stone

Lorde – Melodrama

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Release Date: 16th June, 2017

Labels: Universal/Lava/Republic

Producers: Various

Key Cuts: The Louvre/Liability/Writer in the Dark

Standout Track: Green Light

Review:

“It’s a rudely excellent album, introspective without ever being indulgent, OTT in all the right ways, honest and brave, full of brilliant songs with lyrics to chew over for months. The message might be that Lorde considers herself wild and flawed and bruised (“I’ll love you till you call the cops on me,” she sings, on the deliciously bitter ‘Writer In The Dark’), but we all do sometimes. That’s the neatest trick the album pulls off – universal connection, in spite of the squad and the praise and the superstardom and the pressure. Humanity intact. Artistry assured. Brilliance confirmed” – NME

St. Vincent – MASSEDUCTION

Release Date: 13th October, 2017

Label: Loma Vista

Producers: Jack Antonoff/St. Vincent/Lars Stalfors/John Congleton  

Key Cuts: Sugarboy/Slow Disco/Smoking Section

Standout Track: Pills

Review:

“Clark recently told Buzzfeed that Masseduction asks, “What does power look like, who wields it, how do they wield it—emotionally, sexually, financially?” Exploring those balances of power gives Masseduction its inherent tension and anxiety. But it also doesn’t let instability win. The final song, “Smoking Section,” talks about going to the edge, nearly giving in to violent and dark tendencies, then deliberately taking a step back. “It’s not the end,” Clark repeats, in a weary and increasingly faded-sounding voice, as ghostly pedal steel smoke rings curl up around her.

Defeated as she sounds, it’s an unmistakable declaration of power—an emotional cliffhanger that leaves the door cracked for new beginnings. Masseduction is a manual on how to go through hell and back, then emerge stronger than ever. It’s a record that wrests control from turmoil and believes that a different, better future is possible. It’s the best encapsulation of her vision to date, here fully under her control” – The AV Club

Thundercat – Drunk

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Release Date: 24th February, 2017

Label: Brainfeed

Producers: Flying Lotus/Sounwave/Thundercat  

Key Cuts: Show You the Way/Day & Night/Walk on By

Standout Track: Friend Zone

Review:

“The presence of yacht rock kingpins McDonald and Loggins may indicate at first glance that Bruner is taking the current vogue for cheesy soft rock to new heights. Yet there’s considerable merit to how the supple and hugely earwormy Show You the Way works in relation of the rest of the Thundercat universe.

Changes shares a title with a Buddy Miller album and a sample from the Isley Brothers’ Footsteps In the Dark as its enticing R&B pounce and prowl builds and develops with added elevation from a slippery Washington sax line. The Turn Down has Pharrell showing he can do art-pop as well as pop-pop, while Friend Zone is a Valentine’s Day card for all the jilted would-be lovers pining for those who just want to be friends.

The only soundtrack you’ll need for the year of the ’Cat” – The Irish Times

Laura Marling – Semper Femina

Release Date: 10th March, 2017

Label: More Alarming Records

Producer: Blake Mills  

Key Cuts: Wild Fire/Don’t Pass Me By/Nouel

Standout Track: Soothing

Review:

“Some things have changed, though. Marling has a new producer in Blake Mills (Conor Oberst, Sky Ferreira) and together they create a motley set of textures. ‘Always This Way’ delivers its rueful tale with a muted acoustic thrum; ‘Don’t Pass Me By’ ripples with glum reverberation; ‘Next Time’ hints at inner conflict with some somersaulting fretwork straight out of a bizarro Joanna Newsom composition. It all adds up to the most serene, stylistically varied album Marling has ever created – and that’s surely the point. “Fickle and changeable are you,” she smiles to a dear girlfriend on ‘Nouel’, “and long may that continue”. Hear that, Virgil?” – NME

2018: 

Christine and the Queens – Chris

Release Date: 21st September, 2018

Label: Because

Producers: Christine and the Queens/Cole M.G.N.

Key Cuts: Doesn’t matter/5 dollars/Feel so good

Standout Track: Girlfriend

Review:

“Crucially, Chris' purposeful sound doesn't come at the cost of Christine's vulnerability -- in fact, her newfound strength lets her dig deeper and reveal more. On "Whats-Her-Face," she brilliantly captures how teenage bullying can still feel like it happened yesterday. "The Walker" is an unbowed ballad that compares bruises to violets and wears them like badges of honor, while "Doesn't Matter" is a crisis of faith that's impossible not to dance to; even though she questions everything, Christine urges her listeners to find a ray of hope and run with it. As she examines what masculinity, femininity, strength, and vulnerability mean to her, Christine has never sounded more exposed -- or in control. A triumph, Chris reaffirms just how masterfully she engages minds, hearts, and bodies” – AllMusic  

Mitski – Be the Cowboy

Release Date: 17th August, 2018

Label: Dead Oceans

Producer: Patrick Hyland

Key Cuts: Geyser/A Pearl/A Horse Named Cold Air

Standout Track: Nobody

Review:

“Right from the overshot volume on the album's opening organ attack, abrasive sounds also put cracks in the surface. Stomping, clapping, and relentless keyboard bleeps permeate the brutal, danceable "Washing Machine Heart," evoking the appliance as well as the wife's frustration ("I'm not wearing my usual lipstick/I thought maybe we would kiss tonight"). Elsewhere, "Me and My Husband" opens unambiguously with a heavy sigh. After passing moments of more raucous rock, atmospheric synths, dance rhythms, irregular percussion, melodic sweetness, and dissonance, Be the Cowboy closes on the tender "Two Slow Dancers," the album longest track at four minutes. Wistful, string-like keyboard tones accompany sentimental lyrics that conclude that the couple has grown apart. In the end, rather than being a disappointment, Be the Cowboy's point of view provides a brilliant twist, one that channels all the unease, unpredictability, and intuitiveness of Mitski's previous work -- even for those who don't take in the lyrics” – AllMusic   

Noname – 25

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Release Date: 14th September, 2018

Producers: Phoelix/Noname

Key Cuts: Window/Regal/Part of Me

Standout Track: Blaxploitation

Review:

“Once again favouring the live instrumentation that intricately underpins her languorous delivery, the glacial elegance of ‘Regal’ and infectious funk strut of ‘Part Of Me’ finds Warner effortlessly flitting between two changes of pace, the latter buoyed by turns from Benjamin Earl Turner and collaborator Phoelix.

Even if the delivery is often delicate, the record’s deft lyricism is arresting and unflinching, exploring themes of police brutality on ‘Prayer Song’ and terminal illness on the impeccable ‘Don’t Forget About Me’, while firing the haters a stinging retort on ‘Self’: “Y’all still thought a bitch couldn’t rap, huh?”

‘Room 25’ should find few protesting” – CLASH

IDLES – Joy as an Act of Resistance

Release Date: 31st August, 2018

Label: Partisan

Producers: Space/Adam Greenspan/Nick Launay

Key Cuts: Colossus/Danny Nedelko/Television

Standout Track: Samaritans

Review:

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

Arctic Monkeys – Tranquility Base Hotel & Casino

Release Date: 11th May, 2018

Label: Domino

Producers: James Ford/Alex Turner

Key Cuts: American Sports/Tranquility Base Hotel & Casino/Science Fiction

Standout Track: Four Out of Five

Review:

“Perhaps the great mystery of Tranquility Base Hotel & Casino is not its knotty themes or cryptic lyrics but what’s motivating Turner. With the keys to the most lucrative and well-oiled indie-rock band around, he’s regenerated Arctic Monkeys in service of a delirious and artful satire directed at the foundations of modern society. This is not an act of protest: Implicated in its sprawl are gentrification, consumerism, and media consumption, but rather than address these meaty topics, he strafes around them, admiring their transformation in the laboratory of his word tricks. In the end, his helpless struggle for meaning is what makes him relatable. For all this record’s hubris, the long-touted “generational voice” that is Alex Turner has never sounded more real, or more himself” – Pitchfork     

FEATURE: Spotlight: Stella Donnelly

FEATURE:

 

Spotlight

IN THIS PHOTO: Stella Donnelly/PHOTO CREDIT: Pooneh Ghana

Stella Donnelly

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THERE are a lot of great artists out there at the...

 PHOTO CREDIT: Emily Mackay

moment but I am struck by Stella Donnelly. I am not hearing a lot of great Australian music being promoted in the mainstream but with Julia Jacklin, Confidence Man and Perth’s Stella Donnelly, there is definitely a case to be made for featuring more Australian music. Whereas Confidence Man have a distinct Pop and their lyrics are more concerned with something a bit lighter, Jacklin and Donnelly are songwriters who deal more with the serious – not that this is a bad thing. If Jacklin’s latest album, Crushing, looks at repairing after a relationship, Stella Donnelly is looking to the outside world and tackling some big themes that she feels compelled by. The young songwriter released her debut E.P., Thrush Metal, in 2017 and her debut album, Beware of the Dogs, came out last Friday. She is being covered quite impressively in the media here and it is all justified. Her music has a sense of breeziness and the light and, whilst some numbers do concern big themes, there is plenty of personal hope and relief. It is a nice balance of emotions and themes and the abiding sense (when listening to Beware of the Dogs) is one of fulfilment. Her voice has a potency and calm; there is a nice mixture of textures but we have this very beautiful and nuanced sound that makes all the songs come to life.

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 IMAGE CREDIT: Spotify

On the albums best moments, there are glorious backing vocals and a Pop sound that takes one back to the 1960s; this rushing mood and sensation that takes you away. As she told NME earlier in the year, her debut album does address some pretty provocative and controversial themes:

““No story is ever a simple story in itself. Now, I guess that ‘My Old Man, for example, is a reflection on the taste in everyone’s mouths post-#MeToo and how we’re dealing with it now, and whether enough has happened,” she says. “For example, Harvey Weinstein has only just been charged and on trial. There are people out there who are still suffering and particularly in Australia, as our defamation laws are very strict. So it is really hard for any victim to speak out in the way that those living in the US have done”.

She spoke about Australia and nationalism; the accusations of sexual assault made against Geoffrey Rush and how it was a turning point for her. It is rare to hear an album from an Australian artist that references their country specifically – maybe I have not been listening hard enough. It almost reminds me of Midnight Oil’s Diesel and Dust and how they talked about aborigines being displaced and the way their government operate (this was back in the 1980s).

“When I was writing the album, there was a conversation about nationalism, and the pride that we, as Australians, have at the expense of other people’s freedom and rights,” she says. “We break a lot of Human Rights laws in terms of how we treat our First Nations people. At the time, I was writing about the fact that I’ve got a lot of friends who have suffered at the hands of the Catholic protocol system that we have in our country. I say ‘harmless’ with inverted commas here, but there’s a lot of ‘harmless racism’ that happens in Australia”

One of the most important things to Donnelly is being able to join the conversations and talk about harder subjects through her music. She was born in Wales and moved to Australia when she was eleven. She spent her teenage years busking and joined various bands; she performed various gigs and her confidence gradually grew. There are many reasons why you need to seek out Stella Donnelly but, as I hinted, she can balance the personal and universal. She is not one who walks away from meaty topics: her songs are keen to uncover those who do wrong and put them in the spotlight. Beware of the Dogs can be quite a hard listen but it is often funny and brilliantly sharp. I think, in 2019, it is important to reflect the harder truths and talk about subjects beyond mere heartache and personal doubts. Another thing Donnelly addresses is marriage equality. Here, when speaking with The Guardian, she talks about marriage equality and abortion repeal in the Republic of Ireland:

“Donnelly was relieved when marriage equality passed in 2017, particularly since the referendum followed Brexit and Trump’s election, “so I had no idea what was gonna happen”. She was equally overjoyed to play in Dublin on the night of the abortion referendum and still has her “Tá!” (yes) badge on her guitar. It made her investigate Australian abortion laws (“Ours are based on state, which I didn’t realise, and very unprogressive in many ways”) and prompted another idea: the uneasy lounge pop of Watching Telly is a characteristically conversational song that frames her abortion at 21 in the context of society’s control over women’s bodies. “It’s not an easy thing to get, and it is tough and it hurts and you have to sit there bleeding for two weeks, and it’s fucked,” she says. “But at the same time, it’s our choice. We’ve fucking chosen to do that”.

Stella Donnelly can write from the heart about herself but it is the way she can make slightly edgier aspects of societal ill seem accessible and educational. Never preaching and too angered, the way she integrates natural tones and humour does not detract from the seriousness of everything – instead, it makes for a more rounded and memorable experience. She is, as she continues in the interview, keen to change perspectives and minds:

“Too sharp to have written an album of blunt-edged protest songs, Donnelly knows that such conversational, unexpected approaches have a stronger impact than lectures. She recalls her dad collecting an award for Boys Will Be Boys on her behalf. “He said something like, ‘I hope this song helps to change the attitudes we have, even if it’s one dickhead at a time.’ Having my dad – a 50-year-old, privileged white man – do that probably made more difference than me getting up and saying it.” She has “blind confidence” that society has to change. “I know it’s gonna go there because everyone’s voice is too loud for it to stop.” She stops, laughs and mocks her utopian ideals: “I just want world peace!”

With her giant eyes and gregarious attitude, Donnelly is charismatic enough to carry the sentiment. Plus, she knows first-hand how transformative the relationship between art and the public can be. “When my dad first heard Boys Will Be Boys, he told me, ‘It won’t be yours any more and that’s OK.’ It allowed me to let go. My friend who it was about had the same attitude. That’s how I dealt with it,” she says. “Letting it be everybody else’s song”.

These are still early days for Stella Donnelly but she has progressed as an artist and, as debut albums go, Beware of the Dogs is one of the best you’ll hear all year! Indeed, she has a busy time ahead so keep an eye on her socials regarding tour dates and general movements. Her album is getting a lot of love and, in this review from The Student Playlist, they drill down to its heart:

“Many aspects of Beware Of The Dogs are autobiographical, but Stella Donnelly also acts and sings like a vessel for the hurt and rage of others. Time and again, she observes on behalf of friends who have experienced abuse and unfairness. There’s rarely any hint of optimism about proceedings, but the manner in which she delivers her messages makes the whole package positive and graceful. And, just to show the breadth of her talent, Donnelly is also capable of turning the microscope on herself – on the slow, sparse ‘Mosquito’, she compares her lust to a blood-sucking parasite, and the forlorn ‘Allergies’ is played with a much straighter bat with none of the hint of irony of the rest of the album.

Truly, Beware Of The Dogs is a remarkable and deeply affecting album, memorable on all possible measurements of how anyone would rate a debut LP, and Stella Donnelly is a ferocious, funny and highly empathetic songwriter whose future is incredibly bright”.

It may take a while for her music to affect changes and truly open eyes but, as she says, she is content to open...

 IMAGE CREDIT: Stella Donnelly

ONE eye at a time.

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Follow Stella Donnelly:

INTERVIEW: Munky

INTERVIEW:

PHOTO CREDIT: Zak Milofsky 

Munky

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THE lads of Munky...

 PHOTO CREDIT: Gary Morrisroe

have been talking about their new track, One in Five, and what it is all concerned with. I ask them what the scene is like where they are in Dublin; how they all found one another and if there is more material coming along later in the year.

They reveal their favourite albums and musicians; which rising act we should keep our eyes out for; if we can see them perform soon; how they chill away from music – they choose a couple of great tracks to end things with.

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

Sam: We're all good; how are you? It's been a good week getting everything ready for the new release (smiles).

Conor: Not so bad. Been working my other life: a peddler of leprechaun memorabilia. But I'm def keeping well.

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

Sam: Hello, newcomers! Lovely to make your acquaintance. We are Zach, Conor; Niall and Sam and our music is kind of like the core of a pineapple when you throw it off a ten-storey building. It's raw, gritty; funky explosions and full of 100 M.P.H. punky drive with pieces of weird sweetness filling the space around impact. Easily describable, right?

One in Five is your new single. Can you talk about its background and story?

Zac: It was written in response to some highly-covered sexual assault cases in Ireland last year, and the messages sent out by the verdicts of those cases. I saw the effect that those messages had on the women close to me in my life; one of “don’t seek justice because no one will believe you, and it will be dragged out for too long and you’ll be ripped apart for all to see”.

The song is meant to challenge victim-blaming by showing how ridiculous it is to blame the victim when there are so many victims. Statistically speaking, you’re most likely to know someone who has been sexually assaulted.

Might there be more material from Munky?

Zac: Oh, hell yea. Alongside our debut E.P. - out on 12th April -, we’re working on an eight-minute ode to Bootsy Collins; a song about a refrigerator and an emotional investigation into the struggles of trying to live up to the high expectations a parent can have on you. These are all real songs: you can have the premiere for Refrigerator if you like

How did the band find one another?

Sam: Zac tracked us down with the marauders map after he solemnly swore that he was up to no good. 

Is there a good scene in Dublin right now in terms of music?

Zac: Dear lord, yes. There are so many incredible bands and musicians in the city right now. Bicurious, Pillow Queens; Kojaque, Brass Phantoms; Thumper, Murder Capital and, of course, the Fontaines D.C. boys to name just a few

Conor: Dublin is hopping at the moment, in no small part thanks to BIMM. There was a real lull in the scene for a few years but things have really come back with a vengeance. And what I find amazing is the amount of variety that we have genre-wise at the moment in the city.

What sort of music did you all grow up on?

Zac: Started on Robbie Williams and Eminem. Then I listened to AC/DC for two years straight when I was nine, emerging as an Emo on the other side. Now it’s mostly Psychedelic-Rock, Funk/Soul and Hip-Hop

Conor: Well. I grew up listening to Blues artists like Stevie Ray Vaughan thanks to my dad but also Deep Purple and Pink Floyd But, thanks to my mam, I listen to ABBA and Disco music - my true love in music. 

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

Sam: I won £20 in the Stena Line ferry arcade. Like, that just never happens. 

Conor: Probably getting to sell out Whelan's two nights in a row. I will never forget that first night. That room was hopping and I was blown away with the response that we got. 

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

Conor: For me, it’s The Dark Side of the Moon by Pink Floyd. When I started in BIMM, that album was just on-repeat. I dunno. I just really connected with it at the time but I do think it is a bit timeless, thematically as, no matter what era you grow up in, people will always experience an Us and Them environment at some stage.

Zac: I mean, I don’t know that it’s my favourite album but the Black Parade by My Chemical Romance will forever mean a lot to me. It deals with themes of death and illness and it came out like two weeks before my father died of heart failure. I still remember, clear as day, the first time I saw the video of the title track. It was on the first day I was home after he died.

Sam: I don't overly connect with any particular album but Wasting Light (Foo Fighters) if I had to choose. If ever I need a small mental retreat or an inspiration boost, I usually go back to that album because it reminds of when I knew that I wanted to pursue music as a career. It brings me back to the mindset I had back then and that is comforting at times. 

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

Zac: Hozier and a bowl full of his toe nail clippings. Not in a creepy stalker way but in a ‘We’re soulmates but you don’t know it yet’-sorta way. But, in all seriousness, I adore Hozier’s music. He’s a massive influence in my songwriting.

What advice would you give to new artists coming through?

Sam: 1. You have to like the people you play and, more importantly, what you play otherwise nothing will get done. 2. Be able to take what you deal regarding criticism and suggestions. 3. Don't quit your job because pursuing music is very expensive. 4. Persistence, Persistence, Persistence. 5 Persistence, Persistence, Persistence, Persistence, Persistence... 

Conor: Not to get discouraged if things don't work out at first: we have all played in loads of bands and sometimes they don't work out. But, if you keep at it, you will definitely find some sort of success. 

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

We’ve got some dates in Ireland. Warrenpoint on 30th March with our brothers, New Valley Wolves; Belfast on 4th April with ROE and our E.P. launch in the Grand Social on 12th April. Also, Waterford on 29th June. We’ll be playing a good few U.K. shows (and some other spots) but they haven’t been announced yet.

We may have already said too much...

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

Zac: Painted nails, dancing; moshing, kissing and music to justify all these social expressions

Conor: Mega guitar face...10% melt.

As your new single is One in Five, which member of a famous five (either a band or fictional) would you choose to take on a roadtrip?

Zac: Iggy Pop. Hands-down. Man seems like craic incarnate. Although, I don’t know if The Stooges were ever a five-piece, so I guess I’ll go with Harry Styles from One Direction. He seems lovely.

Conor: Probably Louis Theroux...who wouldn't want him to document their tour.

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Are there any new artists you recommend we check out?

Zac: Post Punk Podge & the Techno Hippies are these lads based in Limerick who kinda do an array of styles and proudly sing in a lovely, thick Limerick accent. They we’re one of my favourite experiences at KnockanStockan last year.

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

Sam: Honestly, we don't deserve chill time away from music just yet. After a tour, we might take two weeks of no rehearsal and chat. But, as we are up-and-coming, there is nothing but work to do. 

Conor: I either chill with my mates/girlfriend or play video games. I love video games. For me, there is nothing better than escaping in to a fantastical world fill with whimsy (smiles).

Zac: I love fantasy novels. And the cooking show, Chopped, which you can easily find full episodes of on YouTube.

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).

Khruangabin - White Gloves. It’s the self-care you need, Sam.

Betty Wright - Clean Up Woman. Purse your lips and move your hips. 

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Follow Munky

FEATURE: On the Flip Side: Kate Bush: The Other Sides

FEATURE:

 

On the Flip Side

IMAGE CREDIT: Getty Images/Fish People 

Kate Bush: The Other Sides

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HOW often do we get to hear unreleased...

Kate Bush material at all?! She has been remastering her back catalogue recently and, last year, committed everything to these box-sets of vinyl. I am a massive fan of hers and have already got quite a few of her records. You check the details out from the Fish People website but there is this treasure chest of Bush material that is essential for any music lover! It is worth investing in as many box-sets as possible because they are sought-after and I feel like these sets are really valuable. Among the collection were these B-sides and rarities; remixes and unheard songs that have not been released so far – now they are out into the world. You can buy is swiftly here - and there is a bounty of these rare tracks. Videos have been coming out and the most-recent one is Kate Bush performing The Man I Love – originally by George Gershwin. It features Larry Adler and is a sumptuous, charged and gorgeous performance that shows some of her non-album tracks are as powerful as those that are standalone. A few of the covers we find are not that essential. There are takes of Elton John’s Rocket Man and Candle in the Wind and, whilst she does not quite hit the right notes on the latter, the former is interesting if inessential.

The first disc/quarter of the collection are remixes of existing songs. We get to hear a Meteorological Mix of The Big Sky (from Hounds of Love) and an extended mix of Experiment IV – a non-album track that was included on her sort-of-greatest-hits, The Whole Story, in 1986. It is interesting hearing this already-extraordinary songs being given these new elements and seeing them take on new forms. I am not always a fan of remixes and find they can be a little bit weary and hit-and-miss. In this case, I would recommend any Kate Bush fans to seek them out and have a listen. Lesser-heard songs like Walk Straight Down the Middle (included as an extra track on some releases of The Red Shoes) and Lyra are beautiful and, whilst not her strongest songs, it is fantastic to hear them together. I already mentioned Experiment IV and it is almost like The Beatles releasing Strawberry Fields or Penny Lane: not tracks you find on any studio albums of their but just as mighty as their best work. The track (with the video directed by Bush herself) has this sort of chilling sound but it is one of her most complete and nuanced tracks. I keep listening to and trying to unravel its secrets! Under the Ivy (a B-side of Hounds of Love’s Running Up That Hill (A Deal with God) is often cited as one of her best tracks; worthy of album inclusion and a truly remarkable piece. It is indeed and deserves to be heard in full.

Be Kind to My Mistakes and Un Baiser D’Enfant are great tracks but not as strong as a lot of stuff on The Other Sides. I have already mentioned the cover versions – comprising the final disc/quarter – and there is a mixed-bag regarding interpretation and quality. The Elton John songs mean a lot to her but I think Candle in the Wind better suites John’s voice. One would not expect a song famed by Marvin Gaye, Sexual Healing, would sound as sweaty and electric coming out of Kate Bush but it does indeed! Some have given her version a bit of a bashing but I really like it and she brings a new perspective to the song. As you’d expect from Kate Bush, the choice of cover versions are not obvious and there is not a lot of mainstream stuff in there. This is good because it allows listeners the chance almost to discover these songs fresh. Mná na hÉireann is an Irish poem written by Peadar Ó Doirnín  - Kate Bush is half-Irish – and it sound perfect and natural coming out of her mouth. In terms of other slightly odd choices, My Lagan Love and The Handsome Cabin Boy can be discovered. It is a beautiful mix of the lesser-known and some bigger songs. She brings her own voice and spirit to them all and, for many, these recordings are fresh. It is the third disc/quarter of the collection that is really interesting.

IN THIS PHOTO: Kate Bush/PHOTO CREDIT: Trinity Mirror/Mirrorpix/Alamy

Included are some Christmas numbers. Home for Christmas and December Will Be Magic Again are wonderfully evocative and delightful and there is the feeling you can play these songs at any time of the year and they would work. Elsewhere, there is a remix of Wuthering Heights and the incredible Passing Through Air (a B-side on Army Dreamers). Ran Tan Waltz (a B-side on her single, Babooshka) is, perhaps, not an essential inclusion but still a curious track. I love the fact that artists like Kate Bush can bring out B-sides and, given the quality of her A-sides, you know there are some treats in there. The Other Sides is a fabulous collection of rarer cuts and some remixes that should be in everyone’s collections. There have been some hearty reviews but Rolling Stone, here, drill down to the essence of the multi-disc album:

“There’s plenty more to (re-) discover. The French version of Never For Ever’s “The Infant Kiss” (“Un Baiser D’Enfant”), based on the 1961 film The Innocents, and the French original “Ne T’Enfuis Pas,” make a diptych suggesting Bush might’ve had a nifty collaboration with Serge Gainsbourg. With its hollered declaration “it’s you and me babe, against the world!,” “Burning Bridge” is one of her most dizzying vocals; at point she sounds like she’s making herself seasick. “You Want Alchemy” is a fairly jaw-dropping Prince channeling with strings, r&b brass, feral orgasmic squealing and gospel-infused backing vocals...

The 12” versions, more extensions than reinventions, include the unhinged “meterological mix” of the Hounds Of Love single “Big Sky,” pumped up with machine-gun handclaps and didgeridoo drones. Completists will notice some omissions, like the 1979 live EP On Stage, which documents the only tour of her career, and her sole live shows before the Hammersmith Apollo residency 35 years later (check the glam-tastically proggy, partly shrieked 6-minute version of “James & The Cold Gun”).

Nevertheless, the motherlode is here. Bush’s oeuvre is singular, and has stood alone for decades. But lately its brilliance feels especially prescient, reflected variously in the sound and approach of (among others) Robyn, Florence Welch, and Annie St. Vincent Clark, whose confession of tipsy karaoke-ing “Wuthering Heights” is one of the highlights of that delicious 2014 Bush documentary. So the timing of this deep-cuts set couldn’t be better. Most of the tracks feel as contemporary as they ever did; maybe more so”.

Kate Bush still inspires artists around the world, over forty years on from her debut album, The Kick inside (1978). Even though nobody can match her incredible heights, you can aspects of various songs in some of the artists we hear at the moment. I advise everyone to get hold of the latest release from Kate Bush: a wonderful combination of her lesser-exposed material through the years shows how varied her music was and how special she is. I would keep writing but I need to play Bush’s version of The Man I Love...

ONE more time.

FEATURE: The Big Sky: A New Music Platform Where Everything Is in One Place

FEATURE:

 

The Big Sky

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PHOTO CREDIT: @dchuck/Unsplash 

A New Music Platform Where Everything Is in One Place

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THIS morning, I wrote about...

 PHOTO CREDIT: @johnschno/Unsplash

the thirtieth anniversary of the World Wide Web and whether we have used it for good or bad. There are many great aspects of the Internet and social media. In terms of music, we are all able to connect with each other and discover the hottest new releases without searching too much. It is great we can follow artists and be part of their world. I do wonder whether, on a daily basis, social media is providing the content we want to see. I know there are filters and ways of cutting out stuff we do not want to see but, of a day, so much stuff comes through and I wonder what the cumulative effect is. I do like to follow a few celebrities and news sites but, largely, I am on social media for music and music-related news. Look away from social media and what we all look at regularly and is it easy to get a handle on everything?! I look at music news sites and blogs; I also check a range of different sites as well as streaming services. It is hard to get a grip on it and I feel there should be a way of having everything in one place. The Big Sky is a preliminary name for the site but, as a massive Kate Bush fan, I think she symbolises what I want to see from the site.

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 IN THIS PHOTO: Kate Bush/PHOTO CREDIT: Getty Images

I have written pieces before regarding similar websites but I think it is feasible to deliver a site that has imagination and not too complex. The home page would be this entrance into a studio. There would be drop-down menus and where you could go to any part of the site. There would be rolling animation and features where we would see musical figures, past and present, interacting and moving around the screen. When one goes in, there would be this cutting-edge and cool design where you can sort of navigate around a studio setting and various different locations. At each point there would be options to click and it would provide a more interactive option than social media. The main aspect is the features and they would be the reason to join. Many might say that adding a new sites would make people spend more time on social media but, for those who love their music, it would allow people to get all they need under one roof. There would be options to see rolling music news and find a list of online sites and blogs that fit your tastes; all the latest happenings in the world of music and links regarding journalism and how to get started. In this section, say, you would have everything you could need regarding music journalism and how to get involved; archives and bespoke articles to your personal site – so you do not have to wade through a lot of stuff you do not need.

 PHOTO CREDIT: @rani33/Getty Images

There would be a similar tact when it comes to archived music and bringing streaming services together. We have Spotify and YouTube but I wonder how easy it is to look for songs from the past and have that organisation. I know where to look but there are songs and artists I stumble upon that I sort of find by luck. You can have an integrated sort of platform that brings together Spotify, YouTube and existing sites and adds a special engine/feature. You can easily search for music from a particular period/genre and it would be easy to discover fantastic old music and the best new release suitable for you. This would also involve bringing in existing apps that make it easy to find the songs you love but broaden the mind. As I say, there is a lot of bringing existing sites and apps together but making everything tied together and united. I am keen to do a lot with the music/streaming side of things so that a lot of newer artists are not overlooked but we allow listeners an equal amount of time to look back and listen to music they might have forgotten or are not aware of. There would be a social side to things but, in terms of social media, one need know have another option. It would, instead, incorporate and customise your view so you can bring in all your usual feeds but personalise it so you do not get stuff you do not want to see – including people’s retweets and random stuff.

 PHOTO CREDIT: @rani33/Unsplash

There would also be another option where you can integrate music news feeds into social media so you only get music stuff and do not have to keep scanning all your usual sites! Not only am I keen to get streaming sorted and make sure everyone is as rounded as possible, there is that archive aspect where you can see documentaries, look at album covers and take a tour of musical history from the one page. This, again, would bring in existing sites like YouTube but there would be special reference libraries and articles; a look back at music from specific years and, indeed, everything you could possible want to know. The website, The Big Sky, would offer an album of the day suggestion; there would be options to loom at music venues and spaces in any town/city; a way of searching for something specific. Say you wanted to find all new Rock bands from Austin, Texas, there would be search functions where you could hone down; taking you to their websites and social media feeds. Education and awareness would be big aspects so there would be chances for contributors – musicians and people in the industry – to post videos covering anything from gender-inequality to the history of Hip-Hop. There would be a special side of the site and would include a discussion board, articles and way for people to communicate with one another and create this safe forum. The user would have access to libraries of archives and information and they would be able to have their mind opened regarding various aspects of music – from education and charity through to burning issues.

PHOTO CREDIT: @priscilladupreez/Getty Images

One would be able to access any International radio station so, essentially, it is this site where you can personalise and ensure you do not need to hunt too much. If one is curious regarding music attraction and museums then that is in there; you can learn how to set up your own record label or venue. There would be this whole site for managers and bookers and, again, bring in existing platforms to make it a more interactive and complete experience. I am also interested in having areas that discuss things like mental-health and sexual abuse. This is not often promoted by social media platforms and I feel it is vital to include. If a musician or anyone in the industry (or a listener) needed help or wanted to discuss their problems there is a list of all numbers, videos and ways we can interact and support one another. The same goes for anyone in the industry who has been the victim of abuse and assault. Nobody should be made to feel alone and, not only can one share their stories on social media, there will be this huge resource of support and interaction. Another thing that intrigues me – and I have not seen a lot of – is being able to pitch music video ideas and collaborate. There are websites where you can see video treatments but I want to make that more interactive and have programmes where you can submit a rough pitch or part of the video; links where one could learn how to become a director and anyone can submit a treatment and, if an artist thinks it fits their song, get in touch.

 IN THIS PHOTO: The Beatles/PHOTO CREDIT: David McEnery/Rex/Shutterstock

I like the idea of one being able to collaborate online; whether it is a remix or a sampling album. I want a part of the site where artists pitch to have their track remixed and there are opportunities for creators to communicate more easily. If one wanted to create a samples album – very hard these days – there are links and information where you could find out about a song and who owns it and get in touch. You could then piece together your own album and see it come to life. In the same spirit, tools where you can design an album cover and then send that to photographers and see if they can realise it – there will be links to different photographers in various areas near you. I am very eager for there to be lots of creative options; from learning to play an instrument or starting your own band – where one could post old-school ads to recruit people. I have just touched the tip of the iceberg but there would be so many different corners of the site/interactive studio that would be everything anyone could need. I am always open to suggestions but I want to invent tools where musicians can get their music heard by more people and earn more money; people who want to get into various aspects of music find adverts, chances and sites where they can further those ambitions.

 PHOTO CREDIT: @mbgrfk/Unsplash

From the cool homepage – where one can customise things – to the album suggestions and endless options, there is this mix of unique and specially-designed sites/tools and bringing the best of the web together. I want to make sure The Big Sky is a safe space and there is no abuse and trolling. You can customise your social media feeds but there would be tough penalties for anyone sharing anything offensive on discussion boards or discussion sides. Making sure everything is fair, equitable and peaceful is vital; providing so many different resources and options to those who adore music and connecting people in a very quick and stress-free way is paramount. I have always wanted to launch this idea but have been told it is too ambitious or expensive. On the money side, I think there could be crowd-funding where pledgers would get rewards and gifts for their donations. I want to bring big labels, tech companies and organisations in to help with the technical side and donate and, in exchange, allow them to advertise. Another aim is to get a contract from tech companies where they would be a fairly big sum each year but get extra revenue and business from the site – no annoying adverts but bespoke and tailored adverts for people. I want that money to go into investment and making this as good as possible.

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 PHOTO CREDIT: @mbgrfk/Getty Images

Feedback is important and I would like people to have their say regarding new elements and improving other ones. I get frustrated by how vast the Internet is and how it is hard to find everything you want. So many people like me lose a lot of music information and great new sounds because it is hard to get a handle on it all. There is also this feeling that there are things missing and not enough resources out there. Regardless, The Big Sky would not entail any extra time online and, instead, it would be more economical for those interested in music. I feel social media does not have enough filters and you get a lot of stuff in front of you that is irrelevant or asinine. This would be a way of combating common issues but discovering so much more. It might take a long time to get it going but I feel, if there is a consensus it is a good idea, then that is a start. As more and more artists coming onto the market, it can be mind-boggling and exhausting keeping up! I am excited and do feel that, if something can be designed that is this one-stop area for everyone who is interested in music then this is a really good thing. I definitely would like to see it and I know there are many out there...

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PHOTO CREDIT: @aaronpaulos/Unsplash

WHO feel the same way.

FEATURE: The World Wide Web at Thirty: Creating a More Positive Internet and Social Media for Musicians…and the Entire World

FEATURE:

 

The World Wide Web at Thirty

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PHOTO CREDIT: @brookelark/Unsplash 

Creating a More Positive Internet and Social Media for Musicians…and the Entire World

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IT seems amazing that the World Wide Web...

 IN THIS PHOTO: Tim Berners-Lee, the inventor of the World Wide Web/PHOTO CREDIT: Olef Blecker

is a mighty thirty. There is a difference between the World Wide Web and Internet but, as we are sort of celebrating this big technological breakthrough, it is worth looking back to 1989 and a very special time. I was in primary school then and still can recall having these enormous discs we put in primitive computers; playing this – as they appear now – ancient and very basic video games. They thrilled us and anything as radical as being able to connect with people around the world by computer seemed such a strange and impossible thing. Look at where we are now and anyone, anywhere can pretty much find out anything they want; they can look at God knows what and there is this entire universe available from the comfort of home. Yesterday, to mark thirty years of the World Wide Web, the BBC published this article that charts the beginnings and what we experienced in the earliest days:

“Thirty years ago today, Sir Tim Berners-Lee submitted his proposal for the world wide web. To celebrate its anniversary, tech firms, early web users and retired politicians are flooding #Web30 on Twitter with nostalgic posts remembering their first interactions with the world wide web.

The earliest computing technology was conceptualised in the mid-19th century by British mathematician Charles Babbage. The first computer wasn't built, however, until 1939. Soon after, the first computer company was founded...

In the 1960s, two MIT Graduate students theorised and then created a technology that was able to transfer small packets of information from one computer to another. This interconnectivity, first called the Arpanet, marked the first traces of the internet.

PHOTO CREDIT: @kylejglenn/Unsplash 

The technology was primarily used for US defence strategy throughout the Cold War. This was until two decades later when Tim Berners-Lee sought to streamline a connection between a larger network of computers. Thus, the internet browser and the world wide web was created.

Today, we think of the internet as millions of links networked on a variety of browser options like Google Chrome, Mozilla Firefox or Internet Explorer. We can thank Berners-Lee for it because a "browser" was first coined in his 1989 information management proposal.

The first ever web address that started it all was http://info.cern.ch/ and it still exists today”.

Look at that report and one can see some of the earliest websites. By today’s standards they look almost alien and we can all remember the experience of connecting to the Internet: that screeching dial-up tone that would last forever and you’d have to wait until something cranked up. Photos and information would almost form on screen as though somebody was designing it on-the-fly and it was a very slow, yet exciting, experience. We have come a long way but it seems like, in every aspect, there is dangerous and anti-social behaviour. The fact that yesterday’s Brexit vote was rejected means that many of us are unsure what happens next. It is worth alluding to Brexit and the issues musicians will face but I wanted to see whether the Internet as we know it is a good force for artists.

It is definitely handy being able to connect with anyone and get your music out there. For everyone in the industry, it is quick and seamless when you need to communicate and share some news. The flow of information means that we can all keep informed and educated but, in many ways, the ease in which we can all have our opinions read is a negative. Before speculating as to how we can change the Internet and make it a safer space, this article from The Guardian celebrated the World Wide Web at thirty and spoke with Tim Berners-Lee:

 “It’s understandable that many people feel afraid and unsure if the web is really a force for good. But given how much the web has changed in the past 30 years, it would be defeatist and unimaginative to assume that the web as we know it can’t be changed for the better in the next 30. If we give up on building a better web now, then the web will not have failed us. We will have failed the web.”

Berners-Lee breaks down the problems the web now faces into three categories. The first is what occupies most of the column inches in the press, but is the least intrinsic to the technology itself: “deliberate, malicious intent, such as state-sponsored hacking and attacks, criminal behaviour and online harassment”.

He believes this makes the system fragile. “It’s amazing how clever people can be, but when you build a new system it is very, very hard to imagine the ways in which it can be attacked.”...

Berners-Lee’s solution is radical: a sort of refoundation of the web, creating a fresh set of rules, both legal and technical, to unite the world behind a process that can avoid some of the missteps of the past 30 years.

Calling it the “contract for the web”, he first suggested it last November at the Web Summit in Lisbon. “At pivotal moments,” he says, “generations before us have stepped up to work together for a better future. With the Universal Declaration of Human Rights, diverse groups of people have been able to agree on essential principles. With the Law of Sea and the Outer Space Treaty, we have preserved new frontiers for the common good. Now too, as the web reshapes our world, we have a responsibility to make sure it is recognised as a human right and built for the public good”.

I do love that musicians can get credit and praise when they put their songs online. There is this feeling that anyone can achieve anything and we can instantly hear some of the best new music within an instant. There are loads of positives but I think there are a lot of bad sides that are affecting musicians’ mental-health and well-being. The tensions we are all feeling right now seem to spill out into some rather negative communications and a sense of negativity.

Many people are venting and lashing out; I am hearing of so many people in music who are recipients of hatred and vile. From attacks on female musicians regarding weight and looks to racism and sexism, there is this platform where everyone can get away with what they like. I do feel there are benefits of the Internet - and how it has developed over the years – but I wonder whether we are using this technology for good and genuine positivity? Many of us are fearful regarding the future of the U.K. and we all must come together. Music is an industry that has its problems and, for many, it is not safe space. Rather than ban everyone who posts something hateful and toxic, I think there needs to be more education; channels that can allow artists and those in the music industry to talk about big issues and creating this dialogue. I feel the sheer size of the Internet and social media platforms makes it hard to control the volume of communications and a lot can get lost. Whether an artist is being body-shamed or there is something negative written about an album, all of this is having a big impact on people.  It is no coincidence that the rise and proliferation of the Internet can be linked to greater anxiety and depression. It is worth noting there are a lot of good people out there but there is too much negative energy and argument.

 PHOTO CREDIT: @clemhlrdt/Unsplash

I have been thinking about it for a while but I do wonder whether there should be a unique website for those in music. Rather than rely on the normal social media channels, having a website that is safe, monitored and can better control hatred would be a bonus. I think people can still use Twitter and Facebook but having this bespoke site that not only filters out negative comments and the worst elements but creates this educational and constructive forum would be great. It would be a one-stop space for the passionate music-lover and you’d have so much information and networks. It would not be overwhelming and, one hopes, addictive in a good way – more in terms of benefit and education rather than idly sitting at a screen for no reason. There are big threats regarding the Internet but I think ensuring there is less hate and angry interaction is vital. Making this secure website is important and there needs to be a more open-minded and positive area. It may sound utopian but I do think social media, as it is now, is this big and messy thing that is impossible to safeguard. Every day, I see so many tweets shared that propagate such awful notions. Many artists are talking about the comments they receive and how that makes them feel. The World Wide Web was created as this exciting and hopeful innovation and, to a certain point in history, it has been massively positive and a force for good.

PHOTO CREDIT: @infectedluna/Unsplash

I am not saying social media is the worst element of the modern-day Internet but I do think there are so many people feeling buried and unsafe. From women receiving disturbing images and messages through to hopeful bands being hammered and having their self-esteem destroyed, things can only get worse. I think Tim Berners-Lee is right when he prophesises this rather dystopian future and a world where there are scammers and we feel unsure about our privacy. I think a lot of people have too much choice and are spending too much time relying on the Internet; many people in music cannot get out of the lure of social media and others are revealing how they are having their details shared and being scammed for money. It is a big dream to revolutionise the Internet and the way we all feel. There is so much power and technology at our feet and I do think we can all come together, as Berners-Lee hopes, and make these changes. In a musical realm, either creating this website/social media platform that erases the worst of the current options and adds so much more; maybe looking at why there is so much tension and hatred and trying to incorporate new elements into Twitter and Facebook. Rather than penalise and ban those who offend and go too far, creating videos and links that create awareness and give them information.

I am not sure but I do have a feeling that, the more divided we are become, the more we see poison and anger replace anything genuinely warm and together. That is not a good thing to realise. Music is a wonderful medium and there are so many positive aspects that, I feel, are getting swamped under a lot of tension. Thirty years down the line, we can experience music like never before and have access to pretty much anything recorded. We can send messages to our favourite acts and the networking opportunities are incredible indeed. All of this is brilliant but I feel more time should be invested regarding repair and monitoring as opposed seeing how advanced and fancy the Internet can be. Social media channels are vital for people in music – and everyone in general – and most of what I see on a daily basis is either quite negative or inane. Making it constructive and purposeful is as important as creating a less hostile and depressive platform. If, looking at the next decade-or-so, we can help ease anxieties and fears and improve the Internet/social media as we know, that will lead to something truly remarkable. It is within our grasp and I think we can all get behind a dream where our lives are a lot richer and more secure when we go online.

PHOTO CREDIT: @akshar_dave/Unsplash

That is not to discredit all the good that we have seen over the decades and how the music industry has been transformed. I do not think any of us would be where we are without the Internet and we can all owe it to the modest and curious World Wide Web that arrived thirty years ago. It would have been unbelievable if someone had claimed in 1989 that, in only a few decades, there would be this incredible highway and world where we could all reach one another. It would have been scary to hear but also very heart-warming and wondrous. I think this rather ideal and inspiring desire is within reach but it down to those in power (regarding social media) to...

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PHOTO CREDIT: @linkedinsalesnavigator/Unsplash

HELP make that change.

INTERVIEW: Austin Jenckes

INTERVIEW:

Austin Jenckes

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THANKS very much to Austin Jenckes...

for discussing his new track, Fat Kid (with Lori McKenna), and what it concerns; what he can reveal about his upcoming album, If You Grew Up Like I Did, and what sort of artists were important when growing up – he recommends a couple of approaching artists to look out for.

I ask him, being based in Nashville, what the scene is like there and what he thinks of modern Country; how he feels about coming to the U.K. to perform soon – Jenckes selects a cool song to end the interview with.

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

I am great; thank you so much for asking! It’s been a beautiful week. Weather-wise, not so much but musically and also just life at home has been awesome.

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

Hello, friends. My name is Austin Jenckes and I am from Duvall, Washington originally. I moved to Nashville to make music a few years ago. I love riding unicycles, flying kites and singing really loud.

Fat Kid is your new single. What inspired its creation?

My old roommate wrote this song when we were living together. He went on a writing trip to Boston to meet up with Lori Mckenna and Andrew Dorff. I was already a fan of all three of them. So, when Neil texted me the work tape, I immediately started listening and found so much of myself in every lyric. I started learning it in the living room that day and then played it at a handful of shows.

The first time I played it back home in Washington there was a moment at the end of the first chorus where people started hollering and clapping, almost like I was playing Eric Clapton or something…so that’s when I knew I had to record it (laughs).

If You Grew Up Like I Did, your album, is out in May. It sounds like it might be a very personal record. Would that be fair to say?

This album dives into my life in ways I can’t even explain. I used to use songwriting and performing like a crutch and now, being thirty-years-old, I am somehow confident enough to say I am standing on solid ground. The album talks about growing up in rural America; from drinking beer to the music that I loved and also the people that helped me become who I am.

These are songs for my wife and my daughter and my friends back home...and every person that has ever listened to a note I’ve sang. It’s inspired by my life story, but my hope is that everyone can find a part of themselves in it somewhere along the way.

Were there moments when recorded when you were affected by the songs and felt that emotion?

Emotions are a funny thing - and I think way too much about them every day. Haha. Over the course of creating this record, I found myself being overwhelmed by the smallest things such as guitar parts or vocal harmonies. Lyrically, the one song that I have felt most emotional about is called If You’d Been Around. I sang the demo about vocal at my house about twelve times in an hour before I could actually get through it.  

How good is it being based in Nashville?

Music City has been very good to me. As you probably have heard, there are some monster musicians here in all ways and shapes. I have learned more than I can probably ever comprehend but that challenge is what keeps me moving forward and, ultimately, I think better. All seriousness aside, it is also just a great place to live. My wife wouldn’t trade it (except for maybe a house by the ocean) which, with global warming, you never know...we might just be able to stay here forever.

What do you think of the modern Country scene? Do you feel it is stronger than it has ever been?

I have always dreaded these kinds of questions because I don’t feel like I am qualified to speak for everyone. Haha. But, I think the family of Country music is alive and well. I think the music drives the scene just as much as the business does. This is the beauty of the industry: it’s up to the artists and songwriters to decide what’s most important for the music and it’s up to the fans (whether they know it or not) to decide if they like it. I feel lucky to have made some friends that are better than me and, at the same time, have let me search for myself as an artist.

To me, that’s what the Country scene is all about.

Can you tell me what sort of music you grew up around as a child?

I grew up around Classic-Rock bands and songwriters. Tom Petty, Steve Miller; Lynyrd Skynyrd, Stephen Stills; Joe Walsh, the Eagles; Bob Seger, Pink Floyd; Led Zeppelin etc. I also listened to a lot of Alice in Chains and Pearl Jam; Candle Box and pretty much every Rock band ever known to man. Haha. Layne Staley and Chris Cornell are probably a tie for my favorite singers.

BUT, I also grew up playing in a church band and trying to make everything sound like U2. SO, I would say this…I grew up listening to everything except Rap and Country music, except for Garth Brooks because he’s omnipotent.

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

This past November, I got to sing The Star-Spangled Banner at a Seattle Seahawks game. I would love to send you a video if you want to see it - just let me or Neil know and we would be glad to share. It was the craziest thing. They did a fly-by with a plane and I had to time it to exactly ninety seconds, which is kinda hard when 65,000 people are looking at you. Hahaha.

I have always dreamed of doing something like that and, honestly, it was nerve-racking and a bit of a blur because it went by so fast. I have only watched the video three times but I am sure one day my daughter get a kick out of it.

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

John Moreland - In the Throes

For Emma, Forever Ago - Bon Iver

Foy Vance - Joy of Nothing

These three records have been religious listens for me and cathartic in ways that I will never fully realize. I love them because they make me feel new emotions every time I listen to them.

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

Foo Fighters - I would ask for nothing

You are coming to Britain to perform. What can you reveal about that?

May 29th! I am so excited. My wife is extremely jealous - and I plan on playing every song I know until people don’t want to listen anymore. I have always wanted to play in Britain. I can’t wait.

Might we see you on tour in other parts during 2019?

Yes! I will be at The Long Road Festival in September and we are working on some more dates in and around the U.K. during that time.

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

Performing is my favorite part of music. I love writing and woodshedding in the studio, but there is something about being in front of a crowd that I can’t ever seem to find elsewhere.

 IN THIS PHOTO: Zack Logan

Are there any new artists you recommend we check out?

Zack Logan and Patrick Droney.

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 IN THIS PHOTO: Patrick Droney

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

I don’t, honestly. But, whenever I am not thinking, doing or playing music I hang with my family. My daughter is two-and-a-half and she can be chill…sometimes not so chill, too. Haha. But, it’s the best. My wife and I like to drive around aimlessly and look at rich people’s houses. I also have started playing chess with my father-in-law and he has beat me thirty-two out of the thirty-four times we have played...but I am getting better!

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).

Black Queen - Stephen Stills

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Follow Austin Jenckes

FEATURE: What Kind of Name Is That, Anyway?! The Storm Gareth Playlist

FEATURE:

 

What Kind of Name Is That, Anyway?!

PHOTO CREDIT: @falconart/Unsplash 

The Storm Gareth Playlist

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THERE is a storm brewing and the weather...

 PHOTO CREDIT: Mitya Ku/Flickr

has been pretty shocking the past day or so! We are going to get a lot of bad weather tonight and tomorrow and, by Thursday, things should start to calm down a little bit. The approaching Storm Gareth – stupid name…but there have been worse – will bring extreme gales to parts of the U.K. tonight and cause power cuts and structural damage. That is all pretty bad but, as we prepare for some pretty hellacious conditions, it is best to stay inside and wait for the worst of it to blow past. In honour (if that is the right word) of the upcoming Storm Gareth, is an appropriate playlist of wind, rain; storm and Gareth-related songs that will provide good distraction against the pretty crappy weather that is coming across the country right now. Take care in the storm and do not go out unless you absolutely have to. Keep safe and, instead of braving the outdoors, stay inside and...

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PHOTO CREDIT: @elijahsad/Unsplash

LET these tunes distract you.

FEATURE: Role Models: The Artists Who Are Inspiring Change - and Why We All Need Their Voices in These Hard Times

FEATURE:

 

Role Models

IN THIS PHOTO: Beyoncé and JAY-Z in 2018/PHOTO CREDIT: Courtesy of The Cut 

The Artists Who Are Inspiring Change - and Why We All Need Their Voices in These Hard Times

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I wanted to tie this in with a piece I am going to write...

 PHOTO CREDIT: @carlheyerdahl/Unsplash

concerning the thirtieth anniversary of the Internet. I will cover that tomorrow but, in that spirit, I wonder whether we have come forward or backwards when it comes to using the Internet for good. It is interesting to see all the developments: how we can all communication with one another and share the latest news at the click of a button. On the other side, there is the toxic side: people being inflammatory and attacking others; the swell and wave of abuse people suffer on a daily basis. It is a delicate balance but, more often than not, we are seeing negativity reign and something quite depressing emerge – the good-news stories are rare and where do we go when we want a positive blast?! Although it is not directly linked to the Internet, I am always gladdened when I hear about something positive in the music industry. I read this article that shone the spotlight on Beyoncé and Jay-Z: the pair are to be honoured because of their work supporting the L.G.B.T.Q.+ community:

“According to Deadline, GLAAD has announced that it will be presenting the Vanguard Award at the upcoming GLAAD Media Awards to certified vanguards Beyoncé and JAY-Z. Deadline says the award is for “allies who have made a significant difference in promoting acceptance of LGBTQ people,” with previous winners including Britney Spears, Cher, Kerry Washington, Patricia Arquette, Janet Jackson, Charlize Theron, and Jennifer Aniston....

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IN THIS PHOTO: Britney Spears (a previous winner of the Vanguard Award, presented by GLAAD)/PHOTO CREDIT: Getty Images 

As for JAY-Z and Beyoncé, a statement from GLAAD president and CEO Sarah Kate Ellis notes that they’re “global icons and passionate defenders of human rights and acceptance for all people,” adding that “the world becomes inspired” when they speak and that their “voices of acceptance have been heard loud and clear” by the LGBTQ community.

Beyoncé has been a longtime advocate for LGBTQ issues, but this will actually be JAY-Z’s second year in a row getting award by the GLAAD Media Awards. Last year, he received a Special Recognition Award for the song “Smile” from his album 4:44, which was based around the revelation that his mother is a lesbian. The GLAAD Media Awards will be handed out a pair of ceremonies, starting on March 28 in Los Angeles and then May 4 in New York”.

It is no surprise that Beyoncé is being honoured and acknowledged. She has, through her career, always spoken for the L.G.B.T.Q.A.+ community and has been fierce when it comes to having her voice heard regarding politics, sexism and injustices. This is a piece of good news that, in a hard couple of weeks, provides a bit of relief and positivity. It has been a bit of a busy time for Jay-Z too. This Guardian article explains how Jay-Z has become this civil rights activist of note. A rather shocking case that has come up in America moved Jay-Z to take action:

“On an early Monday morning in February, 11-year-old Jabari Talbot, who is African American, decided not to stand for the pledge of allegiance in his classroom at Lawton Chiles Middle Academy. Another classmate, who is not African American, joined him, a civil rights complaint obtained by the Guardian claims, but the child was not questioned by the substitute teacher...

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IN THIS PHOTO: Jay-Z and Meek Mill attend the launch of The Reform Alliance at John Jay College on 23rd January, 2019 in New York City/PHOTO CREDIT: Kevin Mazur/Getty Images for The Reform Alliance 

“Equality in this country is not fair ... black people are not treated fairly,” he answered the teacher when asked why he would not stand, adding, “[and] police don’t treat black people fairly”.

Within a month, the sixth-grader has had the help of not only his local legal counsel in Florida, the attorney Roderick Ford, but also the rapper Jay-Z; Team Roc, the philanthropic arm of Jay-Z’s organization Roc Nation; and one of his famed attorneys, Alex Spiro, who has worked on dozens of civil rights and social justice-related cases at the request of the hip-hop mogul.

“I do think there is a common thread to [Jay-Z’s] work and to ensure that all people are treated equally,” said Spiro, the 36-year-old New York-based attorney for a number of celebrities, who, at the request of Team Roc, stepped in to assist the sixth grader. “If we can get involved in a young person’s life early before someone is convicted, before they are sidetracked by the criminal justice system or detained, you have a better chance to affect change or create progress,” Spiro added.

Many of the cases Jay-Z has been involved with, with the help of Spiro, have mirrored the issues plaguing America in recent years: the debate around the former NFL quarterback Colin Kaepernick refusing to stand for the pledge of allegiance – and as a result, no longer playing professionally; the absence of accountability for police actions; and the ever-expanding, albeit inherited, system of immigrant detention under the Trump administration...

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IN THIS PHOTO: U.S. attorney Alex Spiro/PHOTO CREDIT: An Rong Xu  

“You always want to be on the right side of the issue,” Spiro explained, discussing why he has worked with Jay-Z on many of these cases in recent years. For example, right before Jay-Z rushed in to help Jabari, he was advocating for the release of the Atlanta-based rapper 21 Savage after he was detained by US Immigration and Customs Enforcement (Ice) and threatened with deportation back to the UK on Super Bowl Sunday this year”.

I am always pleased when musicians make a stand and we see something good coming out. Jay-Z and Beyoncé are just examples of musicians backing a cause and not standing for injustice; making sure those without a voice have one and standing against intolerance. Jay-Z and Beyoncé are role models, not only for the black and L.G.B.T.Q.+ communities, but the world as a whole. You do not have to be a mega-famous musician to get people interested and make people take notice. I feel like, at a time when there is so much anxiety and negativity, it is hard to see a light and find those who are striking out. I have always said music and musicians have the power to change things and make the world better. Maybe it is not drastic in the case of Beyoncé and Jay-Z but it is news I wanted to share. I do feel that a lot of artists either do not have time to get involved with other organisations and areas outside of music or they are a bit nervous about commercial ramifications.

 PHOTO CREDIT: @andrewleu/Unsplash

What are the consequences of a big artist talking about something like race and the L.G.B.T.Q.+ community? What happens if they are political and take a stance? I feel it is important that artists, mainstream or not, are as active as possible fighting for causes and getting involved. There is a feeling that, gradually, artists are getting more involved with politics. A lot of Folk and Bluegrass acts are speaking up and putting politics into their music. Maybe it is easier to be a role model and inspiring when it comes to areas like sexism, racism and sexuality. Politics, in many ways, can be more divisive and it is hard to take a stand and keep all your fans happy. Taylor Swift is an example of a Pop artist who has spoken about politics before but, with such a huge fanbase and reputation, it can be damaging talking about politics – even if everything you are saying is right and morally-just. Now, with the 2020 elections in the U.S. not a million miles away, she has vowed to get more involved:

“Taylor Swift has vowed to become more active in politics ahead of the 2020 US presidential election, saying she feels it is her responsibility to speak out against “disgusting rhetoric”.

“Invoking racism and provoking fear through thinly veiled messaging is not what I want from our leaders, and I realized that it actually is my responsibility to use my influence against that disgusting rhetoric,” the pop singer wrote in an essay in Elle magazine in which she lays out 30 things she learned before turning 30 years old...

IN THIS PHOTO: Taylor Swift photoed in 2016/PHOTO CREDIT: Danny Moloshok/Reuters  

“I’m going to do more to help. We have a big race coming up next year,” she added.

Swift broke a years-long silence on political issues in 2018, when she endorsed two Tennessee Democrats in November’s midterm elections. A spike in voter registrations followed her Instagram post encouraging fans to register”.

There are more musicians making their voices heard regarding politics and not be silenced. I mentioned how grassroots Folk bands of the moment are particularly keen. This article featured a few great examples and showed that how tackling difficult subjects, if done right, can be very powerful and effective. It is an illuminating piece but among the most vociferous of the Folk troupes taking on big issues is Lankum:

“That subject has particular resonance for Lankum, a band who weave politics subtly through their bible-black, poetic songs. An original song of theirs, The Granite Gaze, references the women who had to “sneak away across the foam” to Britain for terminations before the referendum in the Irish Republic last year; they played it at a protest when the pope visited Dublin in August 2018. They also did so outside the city’s last Magdalene Laundry, one of Ireland’s notorious houses of confinement for “fallen women”. “It only closed in 1996,” Peat points out, her eyes looking cold at the thought. “It felt very special singing it there. And after the referendum…” She smiles. “I love singing that line now.”...

Of all modern folk bands, Lankum are the most full-throttle, jaw-dropping bunch. Signed to indie titans Rough Trade in 2017, where they are the favourite band of label-mates Sleaford Mods, they mix stunning versions of traditional songs with modern originals about poverty and injustice – as well as more raucous jigs about drunkenness and strange old men.

I do feel like politicians are letting us down and, when it comes to doing good and making positive steps, I wonder whether they are doing as much as they should. There are artists all over the spectrum that are becoming active regarding the political debate and creating hugely moving and wonderful work. From Post-Punk bands to Folk groups; to Pop artists discussing racism and discrimination in the world through to those who have spent their careers championing those who get overlooked. I feel that, the more we become anxious and unsure of what is happening around us, the bigger opportunity music has to lead and heal. Not only can the music itself help balm and give us all guidance but those who use their voice and platform to affect change and discussion deserve praise. It can be risky taking political sides and changing your lyrical narrative. I do think more musicians should use what they perform to talk about big topics and, where possible, use their voice to help make the world better.

 IN THIS PHOTO: Lisa O’Neill (an Irish musician who tackles difficult subjects through her songs)PHOTO CREDIT: Katherine Anne Rose/The Observer

Maybe the examples I have shown are not radical in any sense but it shows that many artists are passionate about change. There are essays that suggests musicians should act as role models to our youth and, at a time when there is so much need for inspiration, I can agree with that. I understand that it might be harder for established acts to use their voice to help bring about movement because there is that commercial aspect and whether they risk offending or dividing their fans. It almost comes down to this battle as to whether you want to take that risk or remain quiet. I do think it is always worth taking a chance and, if you are passionate about a cause, not being afraid to do something – easy enough for me to say! I do truly believe musicians are more influential than politicians and they hold so much power. Whether they are inspiring, like many political acts, through their music or getting out into communities and using their platform to do good it is always wonderful to see. I think we can all do with some wins and good news so I was keen to share the report concerning Beyoncé and Jay-Z’s acknowledgement. They will surely compel others to follow in their lead and I know there are artists all around the world who are shaping up to be terrific role models. So many people look to artists for wisdom and inspiration and, if they can open our minds and hearts through their music or conversations then it can compel us all to...

PHOTO CREDIT: @nicholaskampouris/Unsplash

FIGHT for what we believe in.

FEATURE: Erasing History: Is Banning Michael Jackson’s Music from the Airwaves a Bad Decision?

FEATURE:

 

Erasing History

IMAGE CREDIT: Spotify 

Is Banning Michael Jackson’s Music from the Airwaves a Bad Decision?

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EVEN though there is not the same amount of talk...

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 IN THIS PHOTO: Michael Jackson in 2005/PHOTO CREDIT: Carlo Allegri/Getty Images

regarding Michael Jackson and the allegations made against him over the past day or two, there is still a lot of development and ‘progress’. By that, people seem to be on the side of Jackson’s accusers, Wade Robson and James Safechuck. In fact, by the day, it seems Jackson’s work is disappearing from the world. Drake has dropped a Michael Jackson song from his setlist amidst the controversy. Whilst there is a lot of talk regarding the Leaving Neverland documentary – where Robson and Safechuck have told their story – it is only these two guys who, nearly a decade after Jackson’s death, are now coming out. It makes me wonder whether their motive is money or justice. Certainty, even if there was concentrate proof regarding Jackson’s guilt, he could not be taken to task and imprisoned. This article looks at what was missing from the recent documentary:

“But while the documentary recounts both men’s damning claims against the singer, Leaving Neverland doesn’t include every aspect of the decades-long allegations against Jackson, who died in 2009 of a drug overdose.

Some parts, such as testimony from the singer’s staff and his own family, have been purposely omitted by director Dan Reed, who argued they needed to be left out in favour of focusing on the victims’ voices.

However, those omissions and others, like the long-running Federal Bureau of Investigation probe into Jackson that never resulted in conviction, have been seized on by the singer’s supporters who have claimed the film is one-sided as a result...

Mr Robson and Mr Safechuck’s failed legal action against the late singer and previous claims they were never sexually abused by the singer have been highlighted again and again by Jackson “truthers” in the wake of Leaving Neverland’s release.

In 2004, the FBI again provided police with assistance in investigating claims against the singer, forensically analysing 16 computers from Jackson’s home and finding nothing of note, according to Billboard.

In September that year the FBI was asked to look at possible sex charges against the singer after the discovery of an unnamed alleged victim living in New York, CNNreports.

However, the case was closed after the alleged victim told the FBI he would “legally fight” any attempts to try and make him testify against Jackson”.

I would never make light of any situation like this but, as Michael Jackson has been accused of being a pederast, people have to take it seriously. No matter what side of the debate you are on, the man himself can never have his say or have his moment in court. All of those who accuse him are doing so based on no evidence and assumptions – because he has shared a bed with children does not automatically equate to abuse. It is clear the words of Jackson’s accusers are shocking but there are a lot of holes. They have changed their story a few times and one wonders why if – as it is claimed they were abused hundreds of times – they kept going to Jackson’s home.

Why would their parents allow that and why would the children, knowing it was not right what was happening, continue to go rather than staying at their homes? Maybe there is fear and the sense they want to be near their idol but there is a lot more to the case than meets the eye. The sheer complexity of this matter means that we might never know for sure what happened and whether there is truth in anything that has been said. At any rate, many people seem to have Michael Jackson pinned and figured. This BBC article explains the fallout:

“Paul Blanchard, founder of the PR company Right Angles, says it's too early to tell what lasting impact the revelations will have on Michael Jackson's legacy.

"This is the Brexit of pop music. People will be more divided than ever. The longer it goes on the more alienated and divided people are.

"As we've got nearer to Brexit people have become even more polarised and even more opposed to each other and not come together.

"I think this will happen with Jackson's legacy. For those who are starting to turn off him they will become more entrenched in that view.

"For those that think he's a victim of blackmail and these people are trying to get money out of him - they will continue to think that ever more strongly".

It is not only the fans that are divided – with some turning off – but one must wonder what affect this is having on Jackson’s family. These allegations affect them and his nearest and dearest, including his daughter Paris Jackson, will carry this with them forever:

“Michael Jackson's family has strongly denied the claims made against him and says the allegations are about getting money from the singer's estate.

His nephew Taj Jackson spoke to Newsbeat on Wednesday to defend his uncle and said the singer would be "crying" over the allegations.

But other high profile family members - such as his mother, and sister Janet Jackson - haven't addressed the claims.

His daughter Paris has kept a low profile since the documentary was shown and hasn't spoken about it directly.

But on Thursday she sent a tweet in which she told her followers to keep calm, saying: "Y'all take my life more seriously than I do".

Nobody wants to overlook what has been said in the Leaving Neverland documentary but it seems that a lot of the media’s perceptions and reactions have been one-sided: finding Jackson guilty and appalled at what has come out. I know that music is a personal thing so, if someone feels they cannot listen to Michael Jackson again, then that is up to them to decide. One of the most shocking decisions to come out of all of this is radio stations turning off Jackson’s music.

The BBC article explains what is happening so far:

“Some radio stations across the world - including in Australia, New Zealand and Canada - have stopped playing Michael Jackson's music.

Leon Wratt, the boss of MediaWorks - which owns nine radio stations across New Zealand - said the company is guided by the audience and wanted to "err on the side of caution".

But radio stations in the UK haven't taken such a public stand.

The BBC says it doesn't ban artists and Michael Jackson could be played on its radio stations.

A spokeswoman said: "We consider each piece of music on its merits, and decisions on what we play on different networks are always made with relevant audiences and context in mind."

While Global, which owns stations including Heart, Capital, Classic FM, Smooth and Capital XTRA, says it "never comments on editorial (playlist) decisions".

The fact that the stations not playing his music are doing this because they want to be cautious is ridiculous. How can you ever disprove what is being said about Jackson? Because there will never be an absolute truth, does this cautious approach means his music will be banned forever?! This statute of limitations might extend for decades and one wonders, if it is a temporary ban, then why bother at all. I can understand there might be some discomfort playing songs so close to the documentary coming out but, now that it is out in the world and there are two sides to the debate, why keep this ban in place?!

 IN THIS PHOTO: Jackson and a young Wade Robson/PHOTO CREDIT: HBO

Radio is a medium for everyone and should not be dictated by station bosses. There are people in Australia and Canada who are Michael Jackson fans and I feel it is wrong to have this blanket-ban and deny those who want to hear him. Even though the U.K. has not taken such an extreme stance, I feel like they are holding back. Consider stations that, until a few weeks ago, played his music fairly regularly. Everyone from Heart to BBC Radio 6 Music played his material and I do not think I have heard a Michael Jackson song played on any station here since the controversy. Even if they have not banned his music then, by not playing it, they are effectively doing the same thing. I received comments on Twitter when I announced I was going to do a piece on Michael Jackson; I asked whether it was a bit unwise writing a piece about him given the news coming out. Some said that, because he was a bigger star than people like Rolf Harris (who has put music out there and is not as famous) then does that mean he should be given a pass? Do we overlook the nature of a crime if the music is really good and popular?

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 IMAGE CREDIT: Spotify

In the case of artists who have been accused and arrested – including Rolf Harris and R. Kelly – the situations are different and, in both cases, the men are alive to face justice – Harris has already been to prison. It does bring up an interesting debate regarding the music and the man. I have talked about this before but, until anything conclusive is revealed and we know Jackson is guilty, everything is hearsay and up for scrutiny. Everything is hanging on this documentary and the words of two men – if it were dozens then we might have to take action regarding Jackson and his music. Even if more people do come through, how does banning his music get rid of the problem? The argument we should be having is how to protect young fans and women in the modern times. There is, fortunately, nobody like Jackson around today who invites children into his home but there are men in music who are abusing women. We need to look more at protection and avoiding any ghastly situation rather than scrapping back catalogues. If Michael Jackson were to be found guilty and there was concrete evidence, what would be the use in banning his music? Jackson cannot benefit from any sales and he is not alive to record anything new. People were still buying his music and stations were playing his music when allegations were made back in the 1990s and early part of this century. Why, then, has another revelation pushed some stations to the edge?!

I do hope the radio stations that have banned his music relent soon enough because, when the attention regarding Leaving Neverland dies away, what is going to happen? Listen to any Michael Jackson song and he is not referring to children being in his bed and having a thing for them. It would be commercial suicide if he did say that but his love songs all refer to women and are fairly safe. Even when Jackson is edgy and at his angriest, that is aimed at those doing him wrong. I do think anything in his catalogue has alluded to being in bed with young boys or anything to that affect. It is sad that we should tarnish an icon whose personality and music are different things. One can say the artist and man are one of the same thing but I disagree. Music is a personal choice and one can see why someone like Rolf Harris’ music would be maligned – the fact he actually sung a song called Two Little Boys would leave a sour taste in the mouths of many! Jackson has been dogged by accusations through his career and, whether there is substance in any of the allegations, why deny people his music? The weight of his legacy is shifting and many are seeing this iconic musician who transformed Pop and affected real change as a reviled and awful human.

In homes and in lives all around the world, the music of Michael Jackson will always exist. If the U.K. radio brands are being too cowardly to commit either way – they have not banned his music but are definitely not playing it like they did – then we can rest assured that Jackson will be played by his fans. Music is a personal choice and should not be dictated by radio stations and broadcasters. His music is available on Spotify and they have not committed; one can see his music videos on YouTube and there has not been this embargo. T.V. shows such as The Simpsons are not taking any chances – as the BBC article from before explains:

“An episode of The Simpsons featuring the voice of Michael Jackson is being pulled from streaming services and streaming channels.

The singer voiced a character called Leon Kompowsky, who meets Homer in a psychiatric hospital, in an episode which originally aired in 1991.

"It feels clearly the only choice to make," executive producer James L Brooks told The Wall Street Journal.

He added: "I'm against book burning of any kind. But this is our book, and we're allowed to take out a chapter".

We are already seeing fallout and damage that might never be repaired. By playing his music on radio, you are not sending out a message that says the man is brilliant as a human: you are promoting his music that, throughout the decades, has brought countless joy to millions – including the men who have accused him.

 IN THIS PHOTO: A shot from the West End Musical, Thriller Live/PHOTO CREDIT: Getty Images

If Jackson stood to profit then there might be cause to suspend his music for a while but the man has been dead for almost a decade. There is a musical in the West End, Thriller Live that has been running since Jackson’s death and people are still queuing to see that. Maybe the musical will not attract those who are not already fans of Jackson but neither too have the doors been closed. A lot of Jackson’s family have been quiet regarding the situation and that, again, says more about Jackson as the man than the artist. It seems many cannot or will not distinguish between the two and have already made their decision. From a moral standpoint, Jackson was not completely clean and few can deny he was a rather unusual human. One will never know what happened at his Neverland ranch but where do we draw the line? Look back the Rock bands who would often bed under-age girls back in the 1960s and 1970s. Even if it was consensual then why should they be idolised and their music flourish? The situations are different but it is clear that, through the decades, musicians have broken the law and, yet, they are still popular and not being tarnished. I think an artist should be judged on what the law says and whether they are adjudged to be guilty or not. Whilst there is still a difference between the musician and the human, we need that absolute proof and conviction of wrongdoing – right now, a legendary artist is being tarnished based on people’s assumptions and perceptions.

I do not feel Jackson’s music should be banned on radio or played any less than it would have been years ago. It continues to delight many and, in these hard and tense times, his music provides joy and energy. He inspired multiple musicians and, to the best of my knowledge, none of them have been accused of being pederasts. What do people think will happen if the music is played on the radio? The artists who have been influenced by Jackson have taken his music to heart and the way he performed – not how he behaved as a human away from the spotlight. Many might not be able to separate the performer and man but, in musical terms, one cannot merely erase and overlook a legacy because they feel a little uncomfortable or icky. If someone does not like a Jackson song being played then that is their call. The size of his impact on music is larger than the hit from the Leaving Neverland documentary and it makes me wonder whether he will still have a brand in the future. We have never seen a Popstar as big as him have to go through this so I wonder, in a decade or so, will anyone play Jackson’s music at all?! It would be a shame to think the die has been cast and this is the sign of the future. The pacificity from the U.K., I feel, will continue and I do not think they will play Jackson a lot. The U.S., largely, is not banning him but neither are they playing him as frequently as they might otherwise do. The final nail seems to have been added by Wade Robson and James Safechuck and it makes me concerned two human beings can influence radio stations around the world. Michael Jackson’s music is phenomenal and could inspire generations to come but, if we continue to take such rash and unwise action based on no proof whatsoever, then that can have a hugely damaging effect on Pop music and the industry...             

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 IMAGE CREDIT: Getty Images

FOR decades to come.

INTERVIEW: Rhys Lewis

INTERVIEW:

Rhys Lewis

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I think I have spoken with Rhys Lewis in the past...

but this is the first time for a little while. He tells me about his latest single, Hold on to Happiness, and what its story is; whether we might see more material from him soon and what sort of music he grew up around – he highlights some great new talent to look out for.

I ask Lewis whether he gets time to unwind and if we can catch him on the road; if there is a standout memory from his career so far; which artist he would support on the road if he could choose anyone – he selects a cool song to wrap thing up with.

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

Hello! I’m good, thanks. My week has been great; I’ve been hiding in the studio recording some songs for my album. 

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

I’m a singer-songwriter from Oxfordshire, currently living in London. And I would say if you’re a fan of Paolo Nutini and Hozier then you might find my music bearable and, dare I say, enjoyable. Haha. 

Hold on to Happiness is your latest single. What is its background?

That song came to my mind after the breakdown of my last relationship (don’t they all?!). But, it’s more of a song about life than love. I realised how much of my life I’d been ignoring. It’s easy to have tunnel-vision sometimes and only have eyes for the big dreams and grand plans; but I felt like focusing too much on all of that meant I was missing out on all the small things that, when embraced, make big things feel insignificant or less important. 

How do you think it differs to your previous songs?

I suppose it’s slightly more reflective and philosophical in a sense. I felt like I’d written all the love songs I could write honestly about from experience. And I suppose what makes songwriting interesting and exciting for me is having an outlet for my emotions and thoughts, so it’s much more rewarding to write about things you’re feeling and trying to figure out in your own head.

This song feels a little deeper as, in my mind, it’s slightly more dimensional. It’s also the first time I’ve taken on the role of producer fully - so great to say I made the recording too. 

Do you foresee 2019 being busy in terms of plans and material?

Some more recording. I’ve just started working from a studio. I share it with my piano player and we’ve been recording some things for my E.P. and album. So, more of that and hopefully lots of touring! You can go a bit crazy in the studio so it’s nice to have the balance of playing and recording. Keeps you slightly saner. 

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

Led Zeppelin were the band for me - and still are. I got obsessed with them when I started playing guitar. And, as I started to get more into songwriting, Alex Turner became a bit of a hero as a teenager - and the classic songwriting of the likes of Carole King and Bill Withers have continued to inspire me. 

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

Probably playing my first-ever sold-out show abroad, in Amsterdam. It felt very strange but affirming to know I’d filled a room of five-hundred people with my music. It made it feel like my music was a real thing, not just a hobby I’ve had since I was thirteen. It made me stand a little taller and have more confidence in what I was doing because it wasn’t just a dream I was chasing: it was there and in front of me for a moment.

So, that was a special and lasting memory, for sure. 

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

Led Zeppelin - Led Zeppelin II

It’s the album that made me want to write music. 

Arctic Monkeys – Whatever People Say I Am, That’s What I’m Not

I was mesmerised by the art of writing lyrics and Alex Turner was this teenager weaving his experiences into poetry over this no-f*cks-given music. So it made a huge impact on me as a young bedroom guitarist.

Aaaaaand a third...Graceland oooor Rumours...

Don’t make me choose cos both of them made me want to make a great record... 

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

Bill Withers. No rider necessary. 

What advice would you give to new artists coming through?

Don’t be distracted by social media or views; numbers or anything like that. Make great music and spend all the time you can writing and writing...and rewriting and practicing. If you’re excited by what you’re making then people will be excited to follow what you’re doing. 

You have a headline show coming up. What can you reveal about it?

Lots of new songs...and a laser show! I lied about the lasers but there will be new songs. I promise. 

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

Yes! More dates announced soon.

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

They are equally important and, the more I perform and record, the more I realise how much they help each other. 

I improve so much in the studio as it’s a more accurate and considered kind of discipline. So, my singing gets better and my guitar playing more nuanced, I suppose. But live is all about the energy of the song and the feeling in the room which is important to remember and capture some of that in a recording. I love trying out new songs on stage in front of a crowd before recording them. It always changes the way you think about the song. 

 IN THIS PHOTO: Sam Fender

Are there any new artists you recommend we check out?

Sam Fender, Palace; XamVolo, Swan Levitt and Iris. 

 IN THIS PHOTO: XamVolo/PHOTO CREDIT: Robin Clewley

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

I like a good walk, cycle out of London; read lots, play online chess and tennis when it’s warm enough. 

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).

Escape (The Pina Colada Song) - Rupert Holmes

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Follow Rhys Lewis

FEATURE: King of the Crate Diggers: Twelve Awesome, Sample-Rich Records

FEATURE:

 

King of the Crate Diggers

PHOTO CREDIT: @lensinkmitchel  

Twelve Awesome, Sample-Rich Records

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ANYONE who knows my work will realise...

IN THIS PHOTO: Beastie Boys/PHOTO CREDIT: Getty Images

I am a bit obsessed when it comes to sampling in music. I will not go into this now because there is a lot to unpick regarding sampling and how it has changed through the years. I think there is a problem regarding permissions and how hard it is for artists to get clearance. Can we see a sample-packed classic in this decade? I think there is potential to have a few samples in a record but, compare them to the greats, and there is a definite division. I do think that, by restricting access and making it harder to use samples, we are depriving future generations of discovering music that they might not otherwise hear. I think there is a lot of potential to take music to new horizons and rival the best sample-heavy albums ever. Maybe we do need to address samples and whether publishers/labels are too strict giving permission to ambitious artists. This year has already seen one sample-rich album turn thirty: the majestic and epic 3 Feet High and Rising. That is De La Soul’s debut and, later this year, we mark thirty years of the Beastie Boys’ Paul’s Boutique. To mark the brilliance of sample-based records, here are a dozen brilliant albums that every curious mind...

IN THIS PHOTO: Public Enemy/PHOTO CREDIT: Getty Images

NEEDS to own.

ALBUM COVERS: Getty Images/Spotify

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Afrika Bambaataa & Soulsonic Force - Planet Rock: The Album

Release Date: 1st December, 1986

Labels: Tommy Boy/Warner Bros. Records 01007

Producers: Various

Key Cuts: Looking for the Perfect Beat/Renegades of Funk/Who You Funkin’ With?

Standout Track: Planet Rock

Review:

“Planet Rock: The Album, a collection of singles that came out four years later, captures Bambaataa's energy and innovation. This is his work with Soulsonic Force, which means his collaborations with James Brown ("Unity") and John Lydon ("World Destruction") are missing, but it's a good collection, the equally interesting "Renegades of Funk" (in remix form) and "Searching for the Perfect Beat" also present. There are also three previously unreleased tracks, which although not quite having the impact of the first half of the record, are much more than filler, and include guest appearances from famed Furious Five rapper Melle Mel on "Who You Funkin' With?" and D.C.'s Trouble Funk, appropriately, on "Go Go Pop." The original 12" version of the title track is enough to make Planet Rock: The Album a worthwhile purchase, but the inclusion of the other material pushes that to necessary” – AllMusic

J Dilla - Donuts

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Release Date: 7th February, 2006

Label: Stones Throw

Producer: J Dilla

Key Cuts: People/Artworks/Don’t Cry

Standout Track: Gobstopper

Review:

“‘Donuts’ is a joy, from start to finish – amazing given the circumstances of its creation, with the vast majority of tracks laid down from Dilla’s hospital bed. It’s entirely instrumental, sampled snatches of vocals aside, and yet feels like a really personal statement, a beyond-satisfying epilogue of sorts coming after the great production work Dilla had put into tracks by The Roots, De La Soul, A Tribe Called Quest, D’Angelo and so many more. Those relationships, between producer and vocalists, helped to shape Dilla’s career – but it’s ‘Donuts’ that caps it, and exploring every one of its details is as magnificent as scaling the tallest peak.

Its legacy is undeniable, too. Listen to a host of producers today and you can hear elements informed by the work of Dilla, from Clams Casino through to Hudson Mohawke. And beats from ‘Donuts’ continue to be sampled for fresh use amongst contemporary rappers: members of Wu-Tang Clan, Drake and Big Pooh have turned to these 31 cuts for still-fresh sounds to contextualise anew. Pitchfork deemed ‘Donuts’ worthy of a 10/10 on its 2013 reissue, while Clash has previously celebrated its brilliance in our Essential 50 of 2009 (here). And we see no reason to not continue our love affair with such a remarkable record” – CLASH

Beck - Odelay

Release Date: 18th June, 1996

Label: DGC

Producers: Beck Hansen/The Dust Brothers/Mario Caldato Jr./Brian Paulson/Tom Rothcock/Rob Schnapf

Key Cuts: Devil’s Haircut/The New Pollution/Sissyneck

Standout Track: Where It’s At

Review:

“”I got a stolen wife and a rhinestone life, and some good old boys/I’m writing my will on a three-dollar bill,” he sings in ”Sissyneck,” the finest of his many country-funk inventions. Ultimately, what holds all Beck’s work together is his arch, whacked-out street poetry. Whether reminiscing about a rough-hewn club (”A place we saw, the lights turned low/With the jigsaw jazz and the get-fresh flow”) or philosophizing about settling down (”I dropped my anchor in the dead of night/Unpacked my suitcase and threw it away”), Beck maintains a perfect balance of hip disaffectedness and depth of feeling. And that’s why he’s no loser, baby” – Entertainment Weekly

Beastie Boys – Paul’s Boutique

Release Date: 25th July, 1989

Label: Capitol

Producers: Beastie Boys/Dust Brothers/Mario Caltado Jr.

Key Cuts: Hey Ladies/Looking Down the Barrel of the Gun/Shadrach

Standout Track: Shake Your Rump

Review:

“It’s impossible to hear the vast majority of this album as anything other than a locked-tight group effort, with its overlapping lyrics and shouted three-man one-liners, and it’s maybe best displayed in the classic single “Shadrach.” After years of post-Def Jam limbo and attempts to escape out from under the weight of a fratboy parody that got out of hand, they put together a defiant, iconographic statement of purpose that combined giddy braggadocio with weeded-out soul-searching. It’s the tightest highlight on an album full of them, a quick-volleying, line-swapping 100-yard dash capped off with the most confident possible delivery of the line “They tell us what to do? Hell no!” – Pitchfork

N.W.A. – Straight Outta Compton

Release Date: 8th August, 1988

Labels: Ruthless/Priority

Producers: Dr. Dre/DJ Yella/Eazy E

Key Cuts: Fuck the Police/Express Yourself/Quiet on the Set

Standout Track: Straight Outta Compton

Review:

“Although they were as much a reaction against pop-friendly rap, Straight Outta Compton's insistent claims of reality ring a little hollow today, since it hardly ever depicts consequences. But despite all the romanticized invincibility, the force and detail of Ice Cube's writing makes the exaggerations resonate. Although Cube wrote some of his bandmates' raps, including nearly all of Eazy-E's, each member has a distinct delivery and character, and the energy of their individual personalities puts their generic imitators to shame. But although Straight Outta Compton has its own share of posturing, it still sounds refreshingly uncalculated because of its irreverent, gonzo sense of humor, still unfortunately rare in hardcore rap. There are several undistinguished misfires during the second half, but they aren't nearly enough to detract from the overall magnitude. It's impossible to overstate the enduring impact of Straight Outta Compton; as polarizing as its outlook may be, it remains an essential landmark, one of hip-hop's all-time greatest” – AllMusic

Public Enemy – It Takes a Nation of Millions to Hold Us Back

Release Date: 28th June, 1988

Labels: Def Jam/Columbia

Producers: Chuck D/Rick Rubin/Hank Shocklee

Key Cuts: Bring the Noise/She Watch Channel Zero?!/Black Steel in the Hour of Chaos

Standout Track: Don’t Believe the Hype

Review:

“The strife that birthed Nation of Millions and Black Planet is mirrored in some of the upheaval of 2014. The business of hip-hop has changed, as free mixtapes have supplanted retail albums as the chief method of kicking off a rap career. Artistic freedom can evaporate at the drop of a gavel. (see: Lord Finesse’s pursuit of Mac Miller for borrowing a beat on a free release.) Hip-hop has again had its political mettle tested by social injustices too systemic to deny. Returning to It Takes a Nation of Millions to Hold Us Back and Fear of a Black Planet for these just-released reissues is an encouraging reminder of what a hip-hop album can be to the world, a peek back at that one time a rap act pissed square into the mouth of adversity and came away unscathed. Hear the drummer get wicked” – Pitchfork

De La Soul – 3 Feet High and Rising

Release Date: 3rd March, 1989

Labels: Tommy Boy/Warner Bros.

Producers: Prince Paul/De La Soul

Key Cuts: The Magic Number/Say No Go/Me Myself and I

Standout Track: Buddy

Review:

“Together, the sampled sounds of the Jarmels, the Blackbyrds, the New Birth, and even white artists like Led Zeppelin, Bob Dorough, and Billy Joel, make a strong case that all of American pop is African-American pop, from which everyone has been borrowing. Sampling—De La Soul sampling Parliament, Obama sampling Lincoln, Melania sampling Michelle—is nothing less than the American pastime, the creative reuse of history amid the tension between erasure and emergence that is central to the struggle for the republic. No one can ever do it as big as De La Soul did” – Pitchfork

The Avalanches – Since I Left You

Release Date: 27th November, 2000

Label: Modular

Producers: Robbie Charter/Darren Seltmann

Key Cuts: Flight Tonight/Electricity/Frontier Psychiatrist

Standout Track: Since I Left You

Review:

“Now it's Australia's turn: the debut of Melbourne sextet the Avalanches is the freshest dance album in years. Despite a painstaking construction process - it's essentially hundreds of samples stitched together, the crackle of ancient records audible throughout - Since I Left You's breakbeat funk sounds deliciously breezy and sunkissed. Tracks come laden with pop hooks, dancefloor nous and a cheery disinterest in borrowing from fashionable sources. Stay Another Season pinches its bassline from Madonna's Holiday, but Close to You is powered by steals from 1980s monstrosities Kid Creole and the Coconuts. Both work perfectly, as does the rest of this glorious, varied album. British producers should take notes” – The Guardian

DJ Shadow – Entroducing.....

Release Date: 16th September, 1996

Label: Mo’ Wax

Producer: DJ Shadow

Key Cuts: The Number Song/Mutual Slump/Midnight in a Perfect World

Standout Track: Building Steam with a Grain of Salt

Review:

“Using hip-hop, not only its rhythms but its cut-and-paste techniques, as a foundation, Shadow created a deep, endlessly intriguing world on Endtroducing....., one where there are no musical genres, only shifting sonic textures and styles. Shadow created the entire album from samples, almost all pulled from obscure, forgotten vinyl, and the effect is that of a hazy, half-familiar dream -- parts of the record sound familiar, yet it's clear that it only suggests music you've heard before, and that the multi-layered samples and genres create something new. And that's one of the keys to the success of Endtroducing.....: it's innovative, but it builds on a solid historical foundation, giving it a rich, multifaceted sound. It's not only a major breakthrough for hip-hop and electronica, but for pop music” – AllMusic

Tricky – Maxinquaye

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Release Date: 20th February, 1995

Label: 4th & B’way

Producers: Howie B/Kevin Petrie/mark Saunders/Tricky

Key Cuts: Overcome/Ponderosa/Brand New You’re Retro

Standout Track: Black Steel

Review:

“Other references and samples register subconsciously -- while Isaac Hayes' "Ike's Rap II" flows through "Hell Is Around the Corner" and the Smashing Pumpkins are even referenced in the title of "Pumpkin," Shakespear's Sister and the Chantels slip by, while Michael Jackson's "Bad" thrillingly bleeds into "Expressway to Your Heart" on "Brand New You're Retro." Lyrics flow in and out of consciousness, with lingering, whispered promises suddenly undercut by veiled threats and bursts of violence. Then, there's how music that initially may seem like mood pieces slowly reveal their ingenious structure and arrangement and register as full-blown songs, or how the alternately languid and chaotic rhythms finally compliment each other, turning this into a bracing sonic adventure that gains richness and resonance with each listen. After all, there's so much going on here -- within the production, the songs, the words -- it remains fascinating even after all of its many paths have been explored (which certainly can't be said of the trip-hop that followed, including records by Tricky). And that air of mystery that can be impenetrable upon the first listen certainly is something that keeps Maxinquaye tantalizing after it's become familiar, particularly because, like all good mysteries, there's no getting to the bottom of it, no matter how hard you try” – AllMusic

Eric B. & Rakim – Paid in Full

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Release Date: 7th July, 1987

Labels: 4th & B’way/Island

Producers: Eric B. & Rakim

Key Cuts: I Ain’t No Joke/I Know You Got Soul/Eric B. Is President

Standout Track: Paid in Full

Review:

“In one swoop, the 1987 LP Paid in Full ended rap’s status as novelty music, announced hip-hop’s new school and set the stage for its eventual chart dominance. DJ Eric B.’s taste in samples was impeccable — yep, he introduced James Brown loops to hip-hop — and the lithe interplay of beat and bass line on “Eric B. Is President” flaunts his virtuosic gifts for crafting minimal funk. Rapper Rakim’s stern tone and jazzy flow were revolutionary: One of hip-hop’s first Muslim converts, he rhymes with the authority of Malcolm X and an attention to rhythmic complexity that turned MC’ing on its head. Foreshadowing contemporary hip-hop’s money fetish, the title track boasts not only one of pop’s most sampled beats, but this bit of personal-empowerment-via-bling-bling: “Now I learned to earn ’cause I’m righteous/I feel great!” – Blender

A Tribe Called Quest – The Low End Theory

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Release Date: 24th September, 1991

Label: Jive

Producers: A Tribe Called Quest/Skeff Anselm

Key Cuts: Excursions/Show Business/Jazz (We’ve Got)

Standout Track: Buggin’ Out

Review:

“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” – AllMusic

FEATURE: Playing It Safe: Are Musicians Too Cautious When It Comes to Sex?

FEATURE:

 

Playing It Safe

PHOTO CREDIT: @emilianovittoriosi/Unsplash 

Are Musicians Too Cautious When It Comes to Sex?

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THESE are tough times in many ways...

and one cannot talk about sex in music without addressing something dark and unsettling. I will put aside Michael Jackson – as nothing has been proved and I am not comfortable mentioning him in this context – but there have been high-profile musicians, including Ryan Adams, who have been accused of sexual assault and inappropriate behaviour. One cannot talk about sexual content in music and ignore the fact that, in the case of a couple of artists, it is rather unnerving listening to their music now and realising what a lot of their content was about – the women they are accused of abusing. That is fine and I accept that but I do wonder, in many ways, the industry has become too soft. I am definitely a supporter of the #MeToo movement and do not feel like we should ignore the drive for equality. One does need to be cautious of the current climate and how sex is portrayed in music. I look back at heroines I often mention on these pages. From Kate Bush’s provocative descriptions of sex right from her debut album, The Kick Inside, to Madonna’s Erotica (or her entire career); Prince leaving little to the imagination, and moving into modern times everyone from Destiny’s Child and Britney Spears pushing boundaries and creating these very sweaty and physical songs. Part of the reason why these songs resonated was not for salacious reasons: the women were expressing themselves and showing that confidence.

Men have never shied away from sex in music and, from the Rock bands of the 1970s through to 1990s Popstars, they have had their say. In many ways, women have been judged when they show that confidence, reveal some flesh or talk about sex in the same way. I look at music now and there is that lack of spark; very few artists are actually talking about sex: instead, love and broken hearts are replacing that. I am not suggesting talking about relationships and passion – in a very safe way – is wrong but I do worry, in order to be seen as respectful or not cause controversy in bleak times, many artists are ignoring primal urges and taking the torch from their predecessors and discussing sex. I think music has the power and influence to talk about sex in a very positive way. Salt-N-Peppa wanted us to talk about sex in 1990 (Let’s Talk About Sex was released on Blacks’ Magic). It was rare for a group to talk about safe sex and put that message out there. Look back from the 1980s and 1990s and it seems like there was much more bravery and liberation happening. Maybe it is the shadow and smell of disrepute and controversy that means, at this moment in time, we are ignoring sex altogether. I know there are artists still talking about it but look at the mainstream and some of the big artists – when was the last time there was a real moment of release?!

Sexuality is a topic, too, that can be discussed and the sexual spectrum itself is broader than ever. L.G.B.T.Q.+ artists are a powerful force but, again, maybe their voice is not being encouraged at the top of music. I realise talking about sex in a very bold way can be quite unwise when you consider young listeners could be impressionable but using music to promote safe sex and, in fact, discuss the rainbow of sex itself is vital – and reaching further and stretching the conversation to include every aspect of sex and relationships. As I said, we had Pop artists like Britney Spears and Christina Aguilera who would create these eye-opening and honest songs in the 1990s and 2000s but there are fewer cases of this happening today.

PHOTO CREDIT: @joshrobbie/Unsplash

I know Hip-Hop and Rap is still producing plenty of salaciousness and steam but, even so, there has been a decline there. I think about those genres and feel the men still portray women in a very diminished and disrespectful manner; talking about sex in a very casual way. Maybe that is a stereotype but I do wonder where the flame has gone. You can live in a time where we are fighting against tarnished artists and promoting gender equality and still talk about sex in a very human and, yes, extreme way. It is funny to think that the industry has become stricter and more nervy since the 1990s.

I remember growing up and watching these very alluring and envelope-pushing videos where male and female artists were frankly discussing sex and desire. As a teenager, that sort of thing was quite powerful and it did not send the wrong message to me at all. Even if you are a youngster, I do not feel music is going to lead you astray and be any worse an influence than T.V. and film. An artist, if they are bold about sex, is not causing issues and controversy when it comes to the allegations against artists like R. Kelly. I am not sure that is what is holding people back. I feel, in many ways, with fun and energy (in music) disappearing more and more that is taking away some of the braver and more engaging artists. I feel it is important to discuss relations and relatable topics in your songs but why should that come at the expense of the other side of things? I mentioned how artists can use their voice to talk about the sexual spectrum and, in a heteronormative scene, that would be vital. You can have songs about motherhood and family and, the more I think about, the more I realise how narrow the lyrical spectrum is – if one can call it that! Aside from a few mainstream artists producing these exciting moments where they are revealing and to-the-point, I am seeing more who are showing confidence in other ways. Maybe that is an aggression against bad lovers or a declaration of independence and strength. The conversation has switched slightly so that we still have strong artists who are unafraid to be open but I feel it is more to do with the before and after, rather than sex itself.

 IN THIS PHOTO: Led Zeppelin (like many of their peers, the band were not afraid to bring sex into their music)/PHOTO CREDIT: Rex

This feature is not based on me desperately needing to hear about it in music and needing that outlet for myself. I have been studying different artists for articles I am writing and, in a lot of cases, they have mixed conventional subjects but never been afraid to talk about their physical side. One must tread carefully in these times but I do not feel artists being expressive about sex is muddying the waters or steering the discussion in the wrong direction. There is no huge evidence to say music has become more complex regarding sex and, in terms of talking about love in general, I am finding more artists talking about it in a very passive, resigned and defeated manner. Many say that sex is still alive in music but I think it is still very genre-specific. One might not expect to hear anything too explicit in Folk or Jazz but, with the mainstream changing, so too has the nature of sex. There are far fewer Rock bands at the forefront than once was and, unlike 1960s and 1970s pioneers, sex is not necessarily as big a part of the agenda. The fact that a lot of the Pop icons of the 1980s and 1990s have either stopped recording or matured means that it should fall to the new breed to take their place – they do not need to be too overt when it comes to sex but I have seen a definite dip.

One of the reasons why I am so cold when it comes to a lot of the mainstream is because the colour has drained and there is so much sameness. I am not judging everyone at the top but Pop and bigger genres have become more introverted in a way and we hear a lot of heartache and regret – where is the more pleasurable side? Maybe Hip-Hop and Rap is still in rude health but, listening to a lot of music from the past year or so, and there is a change there. Perhaps there has been a change in dialogue and a fear that, if artists are quite unflinching regarding sex, they are stepping into dangerous territory. Love, as always, is still more powerful and influential than sex when it comes to subject matter but I think music is too straight-laced and sanitised. I do not feel artists talking about sex is vulgar and, so long as you are sensible and responsible, then what is the harm?! Perhaps music has lost an edge in general. I am hearing very few artists that catch my off-guard with their lyrics or are showing swagger; very few who have that really potent image and can stand in the mind. Perhaps the industry is too crowded and, in order to succeed, artists need to be wary about what they are talking about. What happened to the legends like Elvis Presley and Madonna; the girl groups who were able to show strength in the bedroom and on the streets and the last thrilling throes of Pop?!

 

Whatever genre one looks at – whether it is Rap, Rock or Pop – I think there was a definite period (maybe it ended about five years ago) when there was a lot more sex in music. The concern regarding music losing an edge extends to more than sex. Look at the rush one gets when listen to Punk or someone like Jimi Hendrix shredding it. We have some bold artists now but things have become a lot safer and less explosive. One can tread carefully and be decent but still open their top shirt button once in a while! There is still too much misery in music and songs have become slower and more repetitive. Pop in general has really lost so much spark and I do feel like we need to put some passion and punch back into the mix! People will always accuse artists of being too lewd or reckless if they dare bring sex into the fold but, so long as you are not sexist or irresponsible, then I do not see a problem. I do appreciate that sex has not disappeared from music but you can definitely see a change; it being confined more to specific genres and not being as common. One can talk about sex responsibility and broadly and actually help to educate and instruct. What we have now is a mix of the odd moment of fire but, largely, things are very safe and downbeat. There is nothing wrong with being compassionate and talking about love but, against this rather gentle and moody wave, you do wonder where...

PHOTO CREDIT: @mrwong/Unsplash

THE fire has gone.

INTERVIEW: Velvet & Stone

INTERVIEW:

PHOTO CREDIT: Matt Austin 

Velvet & Stone

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IT has been great speaking with Velvet & Stone...

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PHOTO CREDIT: Matt Austin 

about the latest track, Oh Boy. Lara Snowdon takes on the questions and tells me about the band’s start and what is coming up; which album means the most to her and whether there will be any gigs coming along – she recommends a rising artist that is worth checking out.

I ask how their sound came together and what sort of music Lara/the band are inspired by; whether there is more material from Velvet & Stone later this year and how Lara relaxes away from music – she selects a great song (or three!) to end the interview with.

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

Hey! Great, thanks! (Smiles).

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

We’re Velvet & Stone – an Alternative/Indie-Folk band based in Devon, U.K. The band is led by myself, Lara Snowdon, (I’m the writer, vocalist and guitarist) and Kat Tremlett, who plays some sensational violin and sings B.V.s. We also have Paddy Blight on double bass and Kev Jackson who plays guitar. For the bigger gigs and on the album, we’re also joined by Garry Kroll on drums. 

Is there a story behind your new single, Oh Boy?

Oh Boy is about moving on when you’ve given away too much in love. It’s an honest and intense track. It’s really fun to play live!

It has already picked up acclaim and attention. How does that make you feel?

The support for the single has been fantastic! The first time we were played on Tom Robinson’s show on BBC Radio 6 Music I couldn’t sleep I was so excited. Haha! He described Oh Boy as “sheer sonic bliss” and has really supported the track. We’ve also had airtime on BBC Radio Scotland and BBC Radio Wales; many of the specialist BBC regional shows such as Johnny Coppin’s Acoustic Show on BBC Radio Gloucestershire and Genevieve Tudor’s show on BBC Radio Shropshire.

I feel very proud that it’s been picked up like this. We all put an incredible amount of work into the band and feel that we’ve evolved and developed our sound to a place that we love. So, for other people to enjoy listening to and sharing our tracks is just the best feeling in the world!

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IN THIS PHOTO: Kat Tremlett/PHOTO CREDIT: Richard Bolwell

Is there more material coming from Velvet & Stone later this year?

Yes. This is the first single from our debut album - which we’re aiming to release in June 2019. There will be a second single out in a few weeks’ time called By the Water...

How did you both meet one another? What bonded you together?

Kat and I are both from a small village in mid-Devon called Silverton. I grew up there and Kat moved there with her husband after she studied at Exeter University. We had some friends in common and everyone kept telling me what a fantastic violinist she was. After that, we met one night in the local pub and it all started over a glass of vino or two! 

I love your blend of Folk and Pop. Did it take a while to get the point where you had this rounded and satisfying sound?

Yes. It’s definitely fair to say our sound has evolved. The core songwriting has always been the same – with the Folk-Pop vibe, but the musicians and production have changed. This past year, we’ve got to a place that we’re really happy with. The songs we’ve recorded on the album are true to how we perform them live and the recording and production are raw and authentic in that sense.

We now perform both as a duo (Lara and Kat) and with the full band. The full band sound is Folk-Rock, but we also play in some beautiful soundscapes and ballads. You can check out our upcoming gig dates at www.velvetstonemusic.com/gigs.

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PHOTO CREDIT: Matt Austin

What sort of music are you compelled by? Did you all grow up around the same sort of music?

No. We have very different influences, which is brilliant and brings a lot to our music. I grew up being inspired by Bob Dylan, Joan Baez; Joni Mitchell, Emmylou Harris and Crosby Stills and Nash. More recently, I’m influenced by the resurgent Folk/Americana scene, both more traditional such as Seth Lakeman and Kate Rusby and the Indie/Pop end of the spectrum – Ben Howard, Laura Marling; Mumford & Sons, Bear’s Den and First Aid Kit.

Kat is classically-trained and grew up undertaking music scholarships, playing in orchestras and various fancy things! She’s really knowledgeable about Classical music but she also has a rebellious Dance/Trance streak!

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PHOTO CREDIT: Matt Austin

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

So many memories! We’ve had some great times (and some weird, hilarious ones as well)!

The one that really stands out was performing in front of thousands of people at the Cambridge Folk Festival doing a last-minute collaboration with Sam Kelly. We didn’t realise how many people were watching until we walked on the stage. No time for stage fright!

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

Blue – Joni Mitchell

I think I can recite it off by heart from start to finish. It’s personal and honest and intimate, beautiful; metaphorical and bold all at once. It’s got to be one of the all-time greats.

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PHOTO CREDIT: Matt Austin

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

Fleetwood Mac! Tour bus, world tour…possibly a bit ambitious for a Devonshire Folk band (winks). Haha!

What advice would you give to new artists coming through?

Believe in yourself. Invest in your own confidence. Work hard. Keep going!

PHOTO CREDIT: Matt Austin

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

Yes. All dates on our website at www.velvetstonemusic.com/gigs.

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

A journey from beautiful, haunting soundscapes through to foot-stomping Folk-Rock and some great musicianship!

 IN THIS PHOTO: Maggie Rogers/PHOTO CREDIT: Michael Buckner/Variety/Rex

Are there any new artists you recommend we check out?

I’m loving Maggie Rogers’ new album! Light On is the best. What a feelgood track!

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

Kat and I both work full-time and juggle it with Velvet & Stone. So, in many respects, music is our way to unwind and stay sane! Other than that, living in Devon is great - and escaping to the moors and beaches is the best way to chill out.

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’ve only just discovered Anais Mitchell and think she is the BEST SINGER-SONGWRITER EVER! Any Way the Wind Blows, Now You Know and Why We Build the Wall are all incredible. Oops that’s three!

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Follow Velvet & Stone

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FEATURE: Raw, Blank and Broken: Neneh Cherry at Fifty-Five: The Playlist

FEATURE:

 

Raw, Blank and Broken

IN THIS PHOTO: Neneh Cherry/PHOTO CREDIT: David Burton for W Magazine  

Neneh Cherry at Fifty-Five: The Playlist

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I do not mark every big birthday in music...

 IMAGE CREDIT: Spotify

but I felt I had to pay tribute to Neneh Cherry. Her fifty-fifth birthday is today and I think back to when I first discovered her music. I was six when Raw Like Sushi, her debut album, came out and songs like Buffalo Stance and Manchild struck my mind. On that album, Cherry talks about motherhood, her upbringing and education - and it resonated with critics. Not only were the lyrics mature and different from what was being produced in Pop – aside from peers like Madonna (who released Like a Prayer a few months before) – but the clash of genres throughout the album was incredible. There were a lot of great songs from Raw Like Sushi and (the album) was a bold introduction from a unique talent. Critics and fans fell for Cherry and, whilst she did not enjoy the same success as bigger mainstream stars, her debut proved she was something special. In this retrospective review, AllMusic assessed Raw Like Sushi in these terms:

“Those arguing that the most individualistic R&B and dance music of the late '80s and early to mid-'90s came out of Britain could point to Neneh Cherry's unconventional Raw Like Sushi as a shining example. An unorthodox and brilliantly daring blend of R&B, rap, pop, and dance music, Sushi enjoyed little exposure on America's conservative urban contemporary radio formats, but was a definite underground hit. Full of personality, the singer/rapper is as thought-provoking as she is witty and humorous when addressing relationships and taking aim at less-than-kosher behavior of males and females alike... 

Macho homeboys and Casanovas take a pounding on "So Here I Come" and the hit "Buffalo Stance," while women who are shallow, cold-hearted, or materialistic get lambasted on "Phoney Ladies," "Heart," and "Inna City Mamma." Cherry's idealism comes through loud and clear on "The Next Generation," a plea to take responsibility for one's sexual actions and give children the respect and attention they deserve”.

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 IMAGE CREDIT: Spotify

Future albums would see Neneh Cherry explore new ground and, on 1992’s Homebrew, she stepped up another gear. Alongside co-writer Cameron McVey – there were a couple of other writers/producers but they were the core – the album, again, gained great reviews but didn’t catapult Neneh Cherry into the mainstream fully. Maybe, with bigger peers around her releasing huge albums, it was hard for her to gain new ground. The three-year gap between albums was seen as a bit too long following a promising debut but Cherry was busy crafting new sounds and finding fresh inspiration. Documenting everything from mainstream evil to the toughness of the inner-city, it was another tough, intelligent and varied record. After the success of 1996’s Man – boasting songs like Woman and 7 Seconds (with Youssou N’Dour), Cherry took another step. Although Cherry has only released five albums since 1989, every one of them has been a cracker. 2014’s Blank Project marked her longest period between records (eighteen years). A lot of the material was a reaction to her mother’s death in 2009 and, as such, there is a sparser sound compared to her previous records – a change of tone that did not compromise reviews and sales. A more challenging listen with fewer big mantras and rebellious anthems – there was more spirituality, mournfulness and less-colourful compositions.

 PHOTO CREDIT: Mehdi Lacoste for the Evening Standard

Last year’s Broken Politics followed similar compositional lines to Blank Project. I have mentioned this before but a lot of the lyrics were, again, compelled by personal aspects. If Blank Project was, in part, inspired by her mother’s death than her father’s death in Sierra Leone compelled some of Broken Politics’ songs. Cherry also looked at modern politics and tried to make sense of decreasing community and greater fear. Reviews were good – as one would expect – and it is amazing to think that every album Cherry has released has been met with warm acclaim. In the review from The Guardian, Laura Snapes had this to say:

“Poignancy has accumulated at 54 – an age her voice carries beautifully. “Don’t live for nostalgia, but the impact of everything resonates,” she sings on Synchonised Devotion. Cherry still has “an allergy to my realness, like my own self-worth”, she sings on Natural Skin Deep – a simmering, almost angry outlier – but refuses to give into it: “Don’t have anywhere to go / Nowhere to hide / All of me is now.” Cherry’s sage perspective weaves through these tender, bristling tracks, and elevates Broken Politics from being simply a beautiful record to a revelatory one. “Just because I’m down, don’t step all over me,” she warns on Fallen Leaves, and promises to remain open to risk and common sense: an admirably holistic approach to a shattered world”.

She is a constant inspiration and, in these broken times, the music of Neneh Cherry is a source of comfort, inspiration and education. She is fifty-five today and I know there are many more musical years in her. Let’s raise a glass and celebrate the music of…

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IMAGE CREDIT: Spotify

THE peerless Neneh Cherry.

FEATURE: Irregular Einsteins: The Brilliance of the Single-Take Video

FEATURE:

 

Irregular Einsteins

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PHOTO CREDIT: @jmuniz/Unsplash

The Brilliance of the Single-Take Video

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THIS might not be the most obvious...

 PHOTO CREDIT: @jakobowens1/Unsplash

area for discussion - but how often does one see music videos talked about?! I do think that, the more common videos become, the less inventive they are. Maybe there is not the same appeal making a video that is unique and blows the mind. Artists are not featured on MTV the same way and a lot of viewing figures on YouTube comes from the popularity of the artists rather than the quality of the video. Every year brings great videos and, whether low-budget or big and flash, there are still some pretty damn good directors pushing things and doing something different. I am interested in all types of videos and there are so many styles and perspectives that can get under the skin. The reason I wanted to look at the single-take video (or the one-shot, if you want to call it that) is because of the sheer ambition and risk. I will look at more modern artists who are doing the single-take but, when it comes to the classics, you cannot beat Lucas with the Lid Off!Most people will raise their eyebrows and look confused – when the hell did that song come out?! The video for Lucas’ song arrived in 1994 and was directed by the incredible Michel Gondry. He is my favourite director because, at every stage of his career, he has pushed that a director can do in that medium and shows such imagination.

I have a definite top-five when it comes to Gondry’s videos but the top of the pile one would Lucas with the Lid Off. There was an alternative pitch for the video where the camera kept panning right and Lucas was on a train; he would exit from one side of the frame and keep reappearing in the shot as we moved between carriages. That sounds pretty interesting but nothing matches the complexity and execution of the original video. As you can see from the video, it is all done in a single take and shot in black-and-white. I am not sure how many takes were attempted but I know Lucas himself was injured during various takes because he was rushing between sets and bumping himself. The fact that Gondry and his crew managed to pull something like that off in 1994 is amazing. There were definitely not many examples of a single-take video up until then and, whilst other artists have topped it in terms of scope and ambition, the 1994 video was definitely unusual. It is risky for any big artist to try a one-take video so Lucas, a relative unknown, did not have to worry. I feel if it was attempted with a major artist at the time then the concept would have to be huge and pulling off a successful take would be tricky.

Gondry created this world where we saw the production and progress of a song – the song we hear in the video. It is quite meta and clever and there are a couple of shots that I cannot figure how it was done; how they managed to get that effect – considering there were no cuts and edits. It is understandable there was no a huge rush regarding directors trying to best Michel Gondry’s effort – aside from the man himself! Gondry would helm at least three other videos that relied on the one-shot technique – including Radiohead’s Knives Out and Cibo Matto’s Sugar Water – but I think Gondry definitely helped popularise the technique. There were some less-ambitious single-take videos in the 1980s – including Peter Gabriel and Kate Bush’s Don’t Give Up and Shakatak’s Down on the Street – but Gondry’s work with Massive Attack (Protection, 1994) and The White Stripes' (The Denial Twist, 2005) helped up the game and, essentially, see a lot more movement from the camera. In effect, the single-take changed from a more static, theatrical look to something more cinematic and fluid. Modern examples like Betty Who’s Ignore Me showcase trickery, dance choreography and extras and you are still amazed how it all came together. Even the slightest stumble or wrong move would mean starting from scratch and doing it all over again. I have talked about Gondry spearheading the one-take video but, in terms of ambition, that might have been the case.

If you want to look back at the first video that mixed the single-take approach with something quite ambitious then you could go back to Massive Attack’s Unfinished Sympathy back in 1991. Baillie Walsh directed that and, although most of the video is a singer walking down the street, it is still arresting to see. We never cut away and get that single point of focus. Mixed with people on the street and life passing by, it is amazing to watch. Not many films in general keep on the same shot for four or five minutes and, given the time it takes to shoot a scene with multiple takes, it is not an advised move. 1994 was a big year for big artists doing the single-shot thing. They ranged in terms of impressiveness and ambition but, among them, we had Weezer’s Undone – The Sweater Song (Spike Jonze); Nine Inch Nail’s March of the Pigs and Lisa Loeb’s Stay (I Missed You) – directed by Ethan Hawke. I feel like, as MTV started to explode more and there was this zeal to create something genuinely different, these one-shot videos became even more intense. Consider the man-alight-running-down-the-street video for Wax’s California in 1995; the Spice Girls running amuck in 1996’s Wannabe and Garbage’s Milk in 1996. It was all well and good seeing the more traditional video on MTV but there was something about the excitement and rush of a one-shot video that captivated.

I still look back at those frontrunners from the 1990s and am amazed by the techniques. Technology has moved on to the point where you could simulate and replicate a one-shot video without actually doing that but there were fewer crutches back then. Even a simpler and less extravagant single-shot video like Fiona Apple’s Never Is a Promise forces you to focus on the singer and concentrate. If there were multiple cuts and flashy scenes then it would detract from the purity of the song. In many ways, the one-take/single-shot video shines because you can either have the singular and simpler style that relies om a fluid movement or one with more props and people that has this different aspect. If a lot of the 1990s’ best one-take videos were being made by alternative artists in genres like Trip-Hop and Rap, more Pop artists were stepping into this realm by the turn of the century. There are a lot of great single-take videos that happened in the first decade of the 2000s but I feel two of them stand out: Feist’s 1234 in 2007 and OK Go’s Here It Goes Again the year before. By this time, MTV was almost a spent force and there was not quite the allure of getting onto the screen. Maybe that is why we saw a transition to Pop artists. Maybe there was less risk and commercial judgement if they went a bit arty and off the wall.

Artists like Feist would do the one-shot video again but OK Go are the band who sort of popularised the one-take video for the modern day. Here It Go Again remains their most dazzling work. The fact there is perfect choreography and so much going on in a video makes it remarkable it got filmed at all – let alone in a single shot! Vampire Weekend created two great 2008-released single-takers: A-Punk and Oxford Comma are both different but the effects are wonderful. I think the biggest transition from the 1980s and 1990s to the new century revolved around ambition. Greater technological advance meant that there was the chance to evolve and produce something truly staggering. A lot of the best single-take videos rely on the perfection of great choreography and having these busy scenes. Having the camera tracking through these colourful and complex scenes without breaking away stunned people. Maybe it is that dance element and the fact it is like watching this rather strange ballet that appealed to artists and directors. What of the 2010s, then?! If anything, a great variety of artists have tried out the single-take video. In 2010 alone, there were at least a couple of dozen single-take/shot videos. OK Go were back at it with White Knuckles; we had Kelis’ Brave and FKA twigs’ Two Weeks. In some cases, we need to mark a difference between a one-shot and single-take.

Maybe the terminology needs to be ‘continuous track’ and ‘one-shot’. There have been videos where the camera has focused and we have not panned away and moved at all. There could be several visuals presented but, in these cases, there are edits and it is not, technically, a single-take video as there are edits and effects added in. The best of the breed are the ones where the camera never breaks away and we keep with the same scene – there are no edits or any sort of visual effects added. A lot of artists, even now, are sticking with a simple concept that involves dancing and movement but I like where artists take more of a risk and see how complex they can get. That fear still remains regarding the precision needed to execute a single-take video where everything needs to go to plan! Tove Lo’s True Disaster (Part of Fairy Dust) is what I am talking about! That video was released in 2016 and sees this quite haunting scene of a car burning and a would-be attacker. The camera never breaks away but, instead, moves around the singer and tracks back. This means we get various emotions and expressions and there is this feeling of constant movement. The choreography is not too complex and intricate: instead, there are bigger gestures and moves that mean the camera has to adjust and keep moving to allow everything to remain in the same shot.

Although very few of the mainstream’s biggest names attempt the single-take video – they have bigger budgets and one suspects their patience would not hold that long! – it is interesting seeing artists try the technique more and more. Arcade Fire and HAIM attempted their versions in 2017: Creature Comfort and Want You Back respectively. HAIM’s video saw the band moving down a street and the camera sort of panning in and out. Various members come in and out of shot and you get that constant flow. Creature Comfort is a studio-based live gig sort of feel where there are words scrolling at the bottom of the screen. I think more big mainstream artists need to break from the big-budget attempts and take a chance with the single-take. Pop newcomers like Billie Eilish (when the party’s over) and Halsey produced great one-shot/single-take videos last year. Look at Eilish’s and, although the set is quite simple – her on a chair and a glass of drink – the way the camera moves and the fact it was all created in a single take makes it quite remarkable. Halsey’s Sorry is more ambitious regarding money and set. Halsey walks through rumble and carnage as we see bodies on the ground and, again, this is an example of the variations with the single-take. Billie Eilish can grip you with something simple: holding a glass and sitting on a chair; the potency of the lyrics matched with the visuals works wonderfully.

On the other hand, you have Halsey who is in this film-like wreckage and the camera follows her and the most impressive thing is the fact there are extras (playing corpses) and fires burning. This is not the sort of video you can afford to shoot too many times so it would be interesting to know whether they nailed it on the first run-through. Although there have been some clear examples of the single-take video through the years, there are a few that have been discredited as one-shot/take. Jamiroquai’s Virtual Insanity – directed by Jonathan Glazer – sees the camera tilts a few times and transitioning to a different shot; The Verve’s Bittersweet Symphony has a few cuts and reverse angles; Beyoncé’s Single Ladies (Put a Ring On It) looks one-take but is not; Dua Lipa’s IDGAF has an editing process like Virtual Insanity but, again, is not a single-shot/take video. In fact, even though OK Go created some pure one-shot videos, a few were actually miscreited as such. This Too Shall Pass (2010) sees a cut at 2:27; Upside Down & Inside Out (2016) required a little bit of trickery and The One Moment (2016) had to use multiple shots spliced together because of the high-speed nature of the video and the complexity of capturing it all in a single take. Kanye West’s 2012 video, Mercy, looks like a single-take video but there are multiple long takes superimposed over the other.

It is great that people are attempting to make a video look one-take: it is clear the form is challenging and provides real sense of excitement for artists big and smaller. Whether you plump for Taylor Swift’s We Are Never Ever Getting Back Together or Destiny Child’s Emotion – relying on the screen being split into three and there being three different one-shot stories; Michel Gondry did this a few times too – there are lists like this that countdown the very best. Lists like this take on a different view regarding the finest and, whilst OK Go can be seen at the top of many lists, there are videos you half-forgot that come back to mind! Older-days classics like Bob Dylan’s Subterranean Homesick Blues and newer inclusions like Lorde’s Tennis Court can be seen on this list but it seems like nobody can defeat the current frontrunner, OK Go’s The Writing’s on the Wall! In a way, there is a challenge for musicians to try and top that. Could we ever see someone like Kendrick Lamar creating a one-take video with a big and extroverted pitch?! Might we see a new band emerge that do a great one-shot that parodies famous T.V. shows, films and moments in a continuous flow?! Maybe someone big like Jack White will team up with Michel Gondry again (as he did as part of The White Stripes) and really push boundaries.

This year, to the best of my knowledge, has not seen any single-take videos but I am sure they will come through. I started with Michel Gondry’s Lucas with the Lid Off because, in 1994, it was rare for a director to do a single-take video where the camera not only kept moving but the actual concept has intricacies and trickier times. I feel there is nothing wrong with a bare scene where there is dancing and few additions but I like when you get something incredibly challenging like OK Go’s The Writing’s on the Wall. It might have been frustrating to film but it mixes the live feel of theatre with the ambition and visuals of film. I would love to film a one-take video that would seem impossible to realise. I have a few concepts but the one that seems most ambitious starts with two beating hearts in jars on a table – stay with me! There would be a screen in the back of shot that would show a split screen. One side would see a man going about his day and the other would see a woman doing the same. Like some of Michel Gondry’s work, one story would work forward (in colour) and the other would be backwards in black-and-white (maybe a bit like Christopher Nolan’s Memento). The camera would never cut but, instead, we would pan in on the screens and the hearts would remain in shot – being seen as part of different scenes (on the screen) and seamlessly integrated from the live action to the pre-filmed narrative.

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 PHOTO CREDIT: @daryan/Unsplash

The story would continue and there would be this sort of mystery and drama that would unwind. Clues and little visual tips would appear in each story so that you’d need to play the video a few times to understand what happened. The apex would be a car crash where the man and woman, one having a good day and one a bad, collide and there the film goes from normal speed to slow-motion. The hearts would zoom into the bodies and then, as the cars collide and that impact happens, we would then transition to hospital beds where they are being operated on. Again, without a cut, there would be the final moments where the two would be declared dead and there would be twists right at the end – how did they know each other and was there a third party responsible for the crash? You would be guessing right until the end but the final shot would see the autopsy and the camera panning into the bodies as the screen goes black. The hearts would remain in jars and they would stop beating as the final shot sees someone come in and unplug a machine keeping the hearts beating; the lights would be turned out and that would be it. I think THAT could beat the OK Go’s milestone - but f*cked if I know how to realise it!

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 PHOTO CREDIT: @matheusferrero/Unsplash

That video has been in my mind because nobody would believe it is a single-take video and, instead, it relies on some clever camera angles/pans and incredible pre-shot scenes. That would not be betraying the format at all: a one-take video can use pre-filmed bits so long as they remain one-shot themselves. It is complex in terms of semantics but I feel a pre-filmed segment with cuts used in a live-action one-shot would, technically, still be a one-shot video – as there would be this main camera/cameras that films everything together; if they do not cut then that all counts, right?! Maybe Bob Dylan is the earliest example of a one-shot video with Homesick Subterranean Blues in 1965; there was this sort of new explosion from 1994 and, in 2006, OK Go released Here It Goes Again – that has not really been topped in nearly thirteen years! I love the fact everyone from Indie bands to Pop artists are trying to create something iconic and not having to rely on cuts, editing and trickery to create these videos. I love the rush and skill involved with getting a single-take video done and not messing it up too often! The frustration of having to reshoot the video if you mess up a few seconds before the end would kill you but that is the beauty of the format. Look at the videos I have mentioned but do a bit of research and have a look at others not included. If you are a music video director and want to try a one-take video, you do not need a huge budget and loads of crew. Even if it was a video racking through a busy street and filming a band coming in and out of shot, that could be realised with little money – although there would need to be a lot of pre-planning and rehearsals! If you are bored of the rather mundane and obvious music videos then spend some time looking at the very finest...

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PHOTO CREDIT: @rawpixel/Unsplash

SINGLE-TAKE videos ever.

FEATURE: Alternative Classics: Beck - Guero

FEATURE:

 

Alternative Classics

IMAGE CREDIT: Spotify 

Beck - Guero

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I will include some female-made albums...

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 IN THIS PHOTO: Beck in Paris in 2005/PHOTO CREDIT: Autumn de Wilde

in this feature but, right now, there is a particular album on my mind – I might include an overlooked Joni Mitchell record in the next instalment. This time around, when thinking of albums that can be seen as alternative classics – the lesser-loved ones that, I feel, are stronger than the best from that artist -, I am compelled to head the way of Beck. When we think of the classic Beck albums then, invariably, we head to Odelay or Sea Change. The former was released in 1996, the latter in 2002: a productive run from Beck where he was not only hitting his stride but able to change course and create albums that sounded different and diverse. When I started this feature, I began by looking at Radiohead and how I feel their album, Hail to the Thief, should be regarded as highly as OK Computer and Kid A. I look at Beck’s career and there is no predicting the man! He has produced recent albums that have switched from the mellower and more relaxed (Morning Phase) to the bright and bold (Colors). There is only three years between the vivacity of Colors (2017) and the epic Morning Phase (2014). I look back at his back catalogue and there hasn’t really been a long period of time where he has produced average albums: everything Beck comes up with is interesting and deserves merit. Sea Change received a lot of praise when it arrived in 2002 because it was not as experimental and wild as Odelay and saw Beck step into new territory.

 IMAGE CREDIT: Spotify

Guero arrived in 2005 and, once more, was another change of direction. Maybe it was the shape-shifting and unpredictable nature of Beck that caught some critics off by the time Guero rocked around. When we think of Beck at his polemic best, we look at the vivid and insane movements of Odelay and then contrast those with Sea Change and Morning Phase. I would contend that, if you want the best of Beck’s diversity in a single album then you need to consider Guero. It is never regarded as highly as the critically-esteemed and many overlook it altogether. When it was released, Guero was met with praise because it was a sort of return to the sounds of Odelay. Some have been a bit lukewarm and consider it inferior to Odelay. Dust Brothers (The Chemical Brothers) helped produce alongside Tony Hoffer and, right throughout, you get this clash of styles. There is Brazilian influence – we had heard some of this in Mutations (1998) but there was Hispanic lust and language; Electronic stabs and Country-tinged mournfulness. Some might feel an album so varied and eclectic might lose focus but, rather than push too much into single songs, it is the album as a whole that is varied. You get different shades in individual numbers but you are never struggling to keep up and take it all in. Urgent singles like E-Pro saw Beck ride this guitar crunch and wave; Girl has looping and swooping guitars whereas Hell Yes is a sort of oddity that one would imagine coming from the future – one of the most interesting songs he has produced to date!

After the rush and pummel of E-Pro comes Qué Onda Guero. There is such a shift in sound between the two songs that it is like stepping into another world! It is great to see Girl has gained such a big reputation. Beck has performed it countless times and it often appears in his sets. It basically relies on acoustic guitars and drums but it is the way the sounds clash and the composition of the song that really gets to me. The track stops and starts; it swoons and flies and has this real hypnotic charm. The accompanying video gives the song new life and layers and it is definitely one of the standouts. After three songs, we have experienced three completely different pieces but, as a whole, they hang together well. Missing, like Earthquake Weather and Farewell Ride, is Beck at his more contemplative and mature. These slower and more meditative songs hold enormous power. My favourite of the trio is Earthquake Weather because I adore the composition and think it is this cinematic piece that truly immerses you. I know Odelay had some slower and different-paced numbers but Guero is perfectly planned and programmed so that you get these natural emotional shifts. After the haunt and emotion of Missing, again, we get another angle: the shimmering and shaking Black Tambourine. I am not sure whether there is deep meaning in the song – aside from Beck rattling his tambourine – but is a truly spellbinding number that gets you wiggling!

I love the groan and dance of the track but, as you’d expect, there is another sonic evolution when we reach Earthquake Weather and Hell Yes. By the time you get to the middle of the album, so much has been presented and so many different sounds have emerged! Earthquake Weather is, to me, one of the best things Beck has done. I love everything about it and would encourage people to seek it out. Beck didn’t plan on doing any rapping on Guero but the Dust Brothers encouraged him. It is sort of tongue-in-cheek and is filled with the usual array of weird and wonderful images. It is beck’s lyrics that truly make every song shine. The production is wonderful and assured throughout but Beck creates, on Guero, his most assured, rich and interesting set of songs. I love his classic albums but feel Guero is the man at his very peak. Even if Guero is a little top-middle-heavy, you cannot fault a few of the later tracks. Broken Drum is another one of those stormy tracks that is different to anything else and helps tell this bigger story. One of the standout moments from Guero is Jack White playing bass on Go It Alone. His melody, rhythm and power elevates the track and, with a fine vocal from Beck, we get this incredible song that could only come from the master. Words flow like a waterfall and it is dizzying taking everything in!

If the hero of the album, the pale-skinned, blonde Beck (that is what guero translate into English as: a pale-skinned/blonde-haired person; a slang term) was breaking away from a golden period and distinct style, he was taking risks and making some of the best music of his life. Following albums, The Information (2006) and Modern Guilt (2008) were packed with hits but didn’t resonate with critics as hard as the golden Beck albums such as Odelay and Mutations. I mentioned how there was some positivity and, largely, there was warmth thrown the way of Beck. The musician was definitely entering a new phase of life but, as AllMusic point out here, his vision and talent was as strong as ever:

“Instead, it sounds as if Beck, now a husband and father in his mid-thirties, is revisiting his older aesthetic and sensibility from a new perspective. The sound has remained essentially the same -- it's still a kaleidoscopic jumble of pop, hip-hop, and indie rock, with some Brazilian and electro touches thrown in -- but Beck is a hell of a lot calmer, never indulging in the lyrical or musical flights of fancy or the absurdism that made Mellow Gold and Odelay such giddy listens. He now operates with the skill and precision of a craftsman, never dumping too many ideas into one song, paring his words down to their essentials, mixing the record for a wider audience than just his friends...

PHOTO CREDIT: Getty Images 

Consequently, Guero never is as surprising or enthralling as Odelay, but Beck is also not trying to be as wild and funny as he was a decade ago. He's shifted away from exaggerated wackiness -- which is good, since it wouldn't wear as well on a 34 year old as it would on a man a decade younger -- and concentrated on the record-making, winding up with a thoroughly enjoyable LP that sounds warm and familiar upon the first play and gets stronger with each spin. No, it's not a knockout, the way his first few records were, but it's a successful mature variation on Odelay, one that proves that Beck's sensibility will continue to reap rewards for him as he enters his second decade of recording”.

Pitchfork were a little less sure and convinced that Beck has created something masterful. They note a sense of calculation and identity crisis, perhaps:

“All in all, my assessment of the patient's recent advances is a mixed one. Mr. Hansen has certainly attempted to follow the regimen recommended to him, and has done his best to recapture earlier moments of lucidity and unity, but in many ways the final result feels rote and calculated. It seems likely that what worked for the subject almost ten years ago may not be appropriate at this later stage; in today's landscape, the methods seem a bit obsolete and over-prescribed. Mr. Hansen may have given us what we demanded, but, at this juncture, we should consider that his personalities have drifted so far apart that they are better left that way”.

I agree there is less surprise and organic-ness than there was on Odelay but I cannot agree Guero is rote and calculated. I think Beck was changing and growing older but he was not going to abandon his sense of wonder and the spectacular to calm things right down. He does balance the youthful and mature but there is never a sense it is forced and trying to please everyone. Guero, I feel, is as strong as Odelay because there is so much to discover and you never quite know what you’re going to get! There was no predicting Beck and, as this Udiscovermusic piece showed, Guero fared well and can hold its head high:

“To this day, the record remains the artist’s highest-ranked album on the Billboard 200, where it debuted at No. 2. It arrived some two and a half years after the emotionally introspective Sea Change, Beck’s second collaboration with British producer Nigel Godrich. After that, a line was drawn in the sand: now he was ready for another musical shift of gears, and for something that sounded both gregarious and grown-up. 

Emphasising how Beck’s popularity had now spread far and wide around the world, Guero hit the top five in Denmark and Norway, the top 15 in the UK and Australia, and made healthy chart showings everywhere from Finland to France. Guero went on to double platinum status in the US, and gold in Canada. 

 

Countless other publications sang the album’s praises. “A mouth-watering feast of beats and grooves,” purred the UK’s Uncut magazine. “As welcome as anything he’s done.” Stylus raved: “We have our urban craftsman back, to stir the dust in sampled record grooves and unearth for us, again and again, the new in the old and vice versa.”

The New York Times sensed the maturity developing in this set of songs when it avowed that “Where his previous albums have seesawed between comedy and despair, Guero comes closer than ever to merging them.” The NME wrote that Guero represents a very clever man being clever enough to recognise what he’s good at,” and Rolling Stone were even more succinct, calling the record “his liveliest and jumpiest music in years.”

For his own part, Beck played down the element of creative unpredictability. “I just go in with some vague idea or no idea at all,” he told Billboard. “You’re just putting yourself on the spot on a daily basis”.

Maybe most people do not think of Beck’s Guero as a classic. I feel, like Radiohead’s Hail to the Thief, we need to look at the album with fresh ears and give it fresh appreciation. Very few of the thirteen tracks fail – maybe the final, Emergency Exit – and there are so many different sounds and genres working together. If you want a more mature and controlled Beck then there are at least four or five songs that do that; if you want more electric and out-there songs then there is enough in there. I guess Guero is not a concept album but you can detect recurring themes a general arc. It is a bold and brilliant album that, nearly fourteen years after its release, sounds completely fresh and revealing. If you have not heard the album before then make sure you rectify that and discover Beck at...

PHOTO CREDIT: Autumn de Wilde

HIS absolute best.

INTERVIEW: Taylor-Louise

INTERVIEW:

Taylor-Louise

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THE terrific Taylor-Louise...

has been telling me about her new track, Blessed with a Curse, and what it is all about. I ask her how music arrives in her mind and what her process is; how her current material differs from her earliest work and what the next steps are.

Taylor-Louise reveals a few albums that mean a lot to her and recommends some rising artists to follow; how she unwinds away from music and what music she grew up around – the songwriter selects a great track to end the interview with.

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Hi, Taylor-Louise. How are you? How has your week been?

Hello, I'm very well, thank you - I hope you’re okay too. My week has been busy! I love being productive…

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

Absolutely. I’m a singer-songwriter who has been recording and releasing music for, just coming up to eight years. However, I have been playing and writing for around ten.

Blessed with a Curse is your new single. Is there a story behind it?

Blessed with a Curse is the first song of its kind for me. I realised that writing music didn’t make me become who I am: it’s who I already was. I can never change that no matter where I go, what I do or who I meet…or how much I try to normalise my life and confirm to society, I will always be pulled back to the music.

As the lyrics in this song specifically emphasise, it’s “something I have to do”. It’s the only song I have written about my relationship with music, although it definitely comes with many sacrifices and hurdles that others may not be aware of. Being able to write, sing and hear music inside my head constantly is a major ‘blessing’ or ‘talent’ as some may describe - but it’s also a very isolated place at times.

How do you think your new single differs from your earliest work?

In terms of production, it still has elements of past works. I was very open-minded with my other releases which led me to experiment with different sounds and genres/styles. I haven’t changed in this sense but now, when I have written a song, I can almost feel the style that would best suit it. This track has a more Rock essence, which I think really highlights and supports the mood of the lyrics.

How does music come to you? Do you find it easy to come up with song ideas?

If I feel a lot of emotion come over me, it will pour itself onto paper or just linger in my mind; sometimes it can be so intense that a song can be written within the hour. The majority of the time it doesn’t happen during the same day, week or month of a situation but, once I’ve realised the feeling, it just manifests.

Writing is my coping mechanism for a lot and it’s driven by the need to share with others so that nobody feels alone with anything they’re going through. Music is the best language on the planet - it connects everybody. I recently read a quote that “music is the decoration of time”.

Might we see more music later in the year?

Yes, absolutely. I have a lot more on the way - and I’m so excited to put them out.

What sort of music did you grow up around as a child?

I actually grew up around a lot of R&B, Soul and Reggae. But, I’m in a very open-minded family so we always listened to everything; no genre-waster judged. This meant I was able to listen to a good mixture dependent on my mood! I think it’s good to not get yourself ‘stuck’ in one place.

As a new artist, what are the best aspects of being in the music industry?

Meeting new people and connecting with lots of like-minded people is amazing. Being able to listen to initial opinions from people who have never heard of me before is a great way to either evolve and grow or know I’ve positively affected someone; I think, sometimes, this can become a blurry journey for bigger artists.

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

Any time that I am on a stage and can see the audience involved in the moment stands out. There’s no better feeling than a crowd being able to feed back the energy that I’m giving.

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

This is a tough one, it really is. I think the albums that helped/shaped me through tough points in my life have to be the most important (keep an open mind): Black Veil Brides - We Stitch These Wounds, Set the World on Fire and Wretched and Divine. (Yes, I’m afraid they’re all from the same band!). The meaning behind it is a lot deeper/dark but I really connected with these albums and songs at the time and I’ll always carry a part of that with me. Something resonated and still does; I go back to these occasionally.

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

Billie Eilish. Every track is unique. She isn’t afraid to stick to one sound/genre. And that exactly what I’m all about. I’m terrible with riders; I’m so easy going. As long as I have some water, I’m happy.

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Might we see you on tour in 2019?

I definitely want to arrange this in the near-future…

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

Performing live is everything - it’s an extension of the art. If an artist sounds great in a studio but can’t perform live they won’t capture my attention. If you don’t seem like you feel or connect with the words you’re writing or singing about, it leads me to ask if those emotions were ever even ‘real’. Personally, I will always prefer performing live and its entire exhilarating buzz. Its raw and no one time is ever the same as the last.

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 IN THIS PHOTO: Grace Carter

Are there any new artists you recommend we check out?

I don’t know if these are new to you but I’m currently loving LP, Billie Eilish; Grace Carter and Lewis Capaldi.

IN THIS PHOTO: Lewis Capaldi

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

I make sure of it. I was such a workaholic in my teenage years that I would get ill and burn out quite a lot. Now, I’m in a much more balanced place, dividing my time between music and my passions with meditation/yoga; crystal healing and general health/wellbeing. I’m massively into the gym and weight-lifting and pushing my body to do things that I may never of known was possible. Feeling strong is such a reward.

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).

LP - Tokyo Sunrise

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Follow Taylor-Louise

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TRACK REVIEW: Freya Roy - Midnight Train

TRACK REVIEW:

 

Freya Roy

Midnight Train

 

9.4/10

 

The track, Midnight Train, is available via:

https://open.spotify.com/album/0M1F9DrXDSRswti9VV3Ni1?si=OvCDpK-aRS-HMr2W-U57ag

ORIGIN:

Norwich, U.K.

GENRES:

Neo-Soul/Jazz

RELEASE DATE:

20th February, 2019

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ON my Sunday review...

I step away from the mainstream and the bigger artists and look at an act that is rising and approaching the bigger leagues. On this occasion, I will speak about Freya Roy and her latest single, Midnight Train. I want to discuss female artists and their potential after International Women’s Day and the discussions we saw; artists based outside of the capital and, again, why ears should be more ambitious; styles like Neo-Soul and Jazz; taking a gap from music and recharging; receiving funding and using crowd-funding – I will end by talking about Roy and where she can head in the coming year. We have just celebrated International Women’s Day and, aside from sneering men wondering when they have their own special day – there is actually an International Men’s Day! – it was a good opportunity to talk about women in music and why we need to see change happen faster. I agree, as I keep mentioning, there is progression but I think there are fantastic women making great music not quite getting the same acclaim as their male peers. Freya Roy has been a little quieter than normal the past few years but look at the strength of her work and how she continues to press forward. She is a talented producer too and I think that is one area where we could focus. A lot of artists self-produce but we do not often have discussions about women as producers. The studios are still quite male-heavy and I think a lot of women are not being encouraged in. Maybe it is education and the fact we need to start at school-level; I know there are great female producers around who do not get the same focus as the men. In the case of Freya Roy, she is a fantastic artist and someone who is planning her next steps. It is hard to keep an eye on all artists and celebrate all the fantastic examples but there are so many male bands and solo artists who get pushed along and so many female artists overlooked.

It is a subject I raise quite a bit but I think that, following International Women’s Day, we need to take a look at how we judge women in music and whether there is enough improvement. From the stage to the studio; the radio through to the boardrooms – are we creating enough awareness and trying to redress imbalance? I don’t know but I feel like there is this crop of extraordinary female artists coming through that will take longer to get to festivals and headline stages because many promoters do not consider them. I think Freya Roy is the complete package and someone who is growing and blossoming. Maybe a few more photos would be cool… – she has a great style and look and could come up with a few neat concepts – and that would add to her terrific music. The photos out there are great but I know the visual side of music is important. Freya Roy, as I shall explore, has had a changeable few years and has taken a bit of a step back from the music industry. She is definitely back in force and I feel, very soon, she is an artist we need to talk about in very fond terms. I feel the style of music she is playing separates her from the pack. I do like Pop and Folk artists but it can be quite samey and there is not a lot of difference to be found – that is my impression. I do feel that, after International Women’s Day, we need to correct our visions and take more time to respect and appreciate the great female artists and those who make the music industry shine. I shall move from this subject but I feel it is important to mention it once more. One of the things that attracted me to the music of Freya Roy was the fact she is not based in London. I am always curious whether we give enough focus to those who are not in the capital.

Freya Roy is Norwich-based and many might feel there is not a lot going on outside of the capital. Norwich has The Waterfront and Karma Kafe and it is actually a city that gets overlooked. Maybe one would assume that Norfolk is a bit uncool but, in fact, Norwich is a very diverse and fascinating part of the U.K. I am not sure whether Roy will be moving to another part of the country in time but I think she is in a great place. If people like Stephen Fry rave about Norwich then it is good enough for me! I have not been myself but I know there is actually a rising music scene and a lot of great artists based there. I think Norwich is somewhere that promotes diverse music and true characters. Let’s Eat Grandma are the teenage duo who released their sophomore album, I’m All Ears, last year. They were overlooked for wayward and I feel they deserved a lot better. Rosa Walton and Jenny Hollingworth are fantastic and create such buzzing, colourful and exceptional music. It is Pop but not like you have ever heard. Maybe there are few pressures living outside London and busy cities and artists are not as likely to be stifled and restricted. I feel the best music coming from London right now is Rap and Hip-Hop and, looking at somewhere like Norwich, there are different styles and genres being fused. I shall come to that a little bit later. What I wanted to discuss was artists based away from the major cities and how they are perceived. I stated (or speculated) Freya Roy might relocate but I feel there is no need. I do feel like there is this tendency, as I have talked about in the past, for artists to come to London or Manchester because they feel they are going to be ignored. Maybe that was the case a few years ago but the rise in digital blogs and websites means that there are networks and ears all over the place.

I do think the mainstream media needs to do more and have a look at the rich and stunning music being made all around the U.K. Freya Roy is someone who will definitely be in the minds of many pretty soon and I kind of like the fact she is in Norwich and not in London. That is not to say she is not welcome here: I feel her career and sound could be taken to heart by the people of the capital. What I mean is she has a different landscape and scene around her. I do feel like it is hard to shine in cities that are packed and, even though there are loads of great venues, there is so much competition that it can be daunting. Instead, being based in a city that is not quite as ram-packed might be a bonus. Consider the fact areas like Norwich are producing great new acts and they have a variety of venues to support those coming through. Maybe there are not that many classic acts we associate with Norwich but the new breed such as Freya Roy and Let’s Eat Grandma suggests there is plenty of unique talent to be discovered. I think we need to be a bit more ambitious with our tastes and look beyond the obvious. It is tricky to get a handle on all the great music around – one of the burdens of the modern age and streaming culture – but the East of England does not get as much love as it deserves. I can sense a change and, as I say, there are a lot of new blogs where writers can report from all over the U.K. and bring the world these awesome acts. Let’s have a look at Freya Roy and her last few years. I will talk about genres and the style she plays but I wanted to look at how she has come back into music and where she will go.

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After a five-year hiatus from music, Freya Roy is stepping back into music with the crowd-funded album, AHLKE, and has a new track out. Roy has been honing her craft and working on her music through the years. Even though she actually has another single coming soon, I wanted to look at Midnight Train and what it is all about. As Freya Roy says herself; it has been a bit of an odd time in many ways:

“I was always creating new music but I felt that there was still more I could do to everything I made. I needed the time to experiment and develop my writing and thankfully being in the college-bubble enabled me to safely create and do just that. I decided to take down all my previous releases and start afresh as an artist. I was lucky enough to be tutored by Abstract Orchestra’s musical director, Rob Mitchell, and he gave me the space to really explore the hip-hop and contemporary R&B elements of my sound, whilst maintaining a strong focus on melody and jazz harmony. During the very beginning of this journey, I did, however, experience trauma to my wrist and had to take time out from studying, playing and everything in between. So for a good few years, I pretty much went silent on the music front and people thought I had given up on the idea. I am back on track now, but unfortunately, I have had to take a step away from the physical intensities of jazz guitar training, putting my energy into other creative spots such as my production and my label, FCR Music. It’s not until now that I have found a balance between all of these things, whilst still feeling creatively fulfilled, enabling myself to move towards getting this whole album project off the ground – something I didn’t think would be possible a few years ago. I really do think this whole process has been nurturing and has played a huge role in shaping and developing my sound and as an artist”. Those quotes are from her press release and, why I do not usually copy them into reviews, it was essential to tell her story and get word from her mouth directly.

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Now that she is back, we can see the sort of music coming through and its fantastic blends. I am more used to reviewing genres like Pop and Alternative but it is great to discover something that has some Soul and Jazz elements. There is a sort of Pop breeze in Midnight Train but a sense of freedom and expression you do not get in Pop. Listening to Freya Roy sing and her voice is more nimble and breathy; it has such power and it reminds me of the great artists of Neo-Soul. You do not hear it too often in the mainstream and maybe that is a good reason why we should look at cities like Norwich and ask whether the best out there are from outside of London. I do love Jazz and Neo-Soul because there is that sublime balance of textures. It is hard to describe but I love the fact artists such as Freya Roy paint these incredible pictures and do so in such a dreamy and calming way. There is power to be found but the music has this relaxing effect and gets right into the bones. I do feel like a lot of Pop either has too much force and is over-produced or it lacks any real soul and depth. With Freya Roy, you get someone who can translate into the forefront of music and be a success but has this more diverse and appealing blend. I love what she is doing and cannot wait to hear her album. It is wonderful hearing this great artist growing and producing music this way. I am not sure what Roy’s influences are but I get a hint of the Neo-Soul legends but, really, it is her own voice that bursts through. I do wonder whether the mainstream is a bit rigid and we are not exposing genres like Neo-Soul. Perhaps this is what is commercial right now and Pop is what sells. I do think there is a lot more nuance and brilliance to be found in other areas of music. Freya Roy is an example of a young artist who can write songs that, lyrically, are quite similar to a lot of what is around already but deliver it in a very original and enticing way.

I shall move on from that subject because I will talk about it more when reviewing Midnight Train. There has been this hiatus and it is good to see Freya Roy back. She was definitely not wasting her time away and has been busy crafting and working on the next steps. She raised over a grand through crowd-finding and was one of twenty artists to receive support and round-two funding from the MOBO’s Help Musicians Fund. Although she is based in Norwich – she marks her current location, on social media, as Suffolk so might have moved since – she has spent time in Leeds’ thriving Jazz scene and got involved with what is happening in Yorkshire. She releases her album under the independent label, FCR Music, and it is one she founded in 2012. The idea of the label was to create awareness and highlight women and minorities. This is impressive to see and I would like to see more artists set up labels for this reason. Maybe there are some out there but Roy has just released, for International Woman’s Day, the documentary, FCR Music Presents: Women & the Creative Industry. It is impressive to see a young artist with that business mind and somebody who has set up this great label. It will help expose and promote great artists that might not otherwise get such a platform. It will be interesting to see how it progresses and whether it brings other artists onto the roster. The fact Roy’s upcoming album has been crowd-funded and received support brings me to that issue of finance. I think it is really tough in music and can be difficult getting something off of the ground. Consider the fact you might need to hire musicians and the studio; there is a lot of work that needs to be done and, before long, you have quite a big bill. I think many are being put off from recording albums because of the sheer cost and realities.

Roy releases the album in April and there is another single in the next couple of weeks – keep an eye out for that. I do feel like music is becoming more expensive, even though there is more technology and the potential to be D.I.Y. Even if you record at home, there are still costs involved and it is quite hard to record something quite cheaply. I have seen cases of crowd-funding and artists getting that boost and I think it is a wonderful thing. Some say artists should fund themselves and not rely on crowd-funding but I disagree. If people are happy to back an artist and help get an album to fruition then it is a very positive thing and can bring people together. It is clear Roy has backing and fans behind her and is getting nods from bigger names in the industry. She has worked hard on her music and, whether she is based now – whether she is in Suffolk, Norfolk or just down the road from me! – she has produced something truly special. We have Midnight Train out here now but lots is coming in the next month. I am excited to see where she can head and what her album will contain. She has learnt a lot from Jazz musicians and immersed herself in that scene. You can tell her musical upbringing was exceptional and I guess she would have been raised on some truly diverse artists. You can hear a curiosity in what she does and how her music connects with people. It is hard to stand out from the pack in modern music and it can be tricky remaining. That is just the reality of things. I have seen a lot of great artists fade but that will not be the case with Freya Roy. She has spent a long time working on AHLKE and I will be curious to see what the other tracks on the record sound like. Let us move onto Midnight Train and get to grips with its meanings and shades.

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There is a lot of activity and energy in the opening moments of Midnight Train. We hear some percussion clatter – almost like a hollow tree being hit – and there is this great balance of sounds. Things are never too heavy and intense but we get this nice sense of dance and movement. I like how artists operate in Jazz and Neo-Soul because you get something truly different. There is a groove and locomotive thrill that opens the eyes and makes you curious where the song is head. The heroine comes to the microphone and talks about being awake in the middle of the night. One wonders what keeps her awake. Maybe there is this restlessness that is plaguing her mind but she is awake and it is too dark to see the time. Her heartbeat keeps her alive and awake and that is something that gets to me. Maybe there are anxieties around her mind and she is being troubled by something. Rather than a literal image of a train, I get the sense the heroine is wrestling with doubts or she has someone on her mind. Roy is backed by that hollow percussion sound and her beautiful voice paints images in the mind. I have heard a lot of great singers the past few months but there is something in Freya Roy that stands aside. She has a way of delivering words that gets under the skin. Again, it is hard to explain but I love her voice and how it makes one feel. Roy talks about something being one-hundred miles wide and I wonder if there is this image of a gulf or piece of geography. It is great there is this oblique nature where you are not quite sure if we are seeing a physical movement and the heroine on a train or whether she uses these images to talk about emotions and struggles. The midnight train is about the pass by and, whatever your perceptions, it is definitely an arresting song.

I was thinking more about emotional unrest and being kept awake by something troubling. There is this sense of being lost or needing answers but the midnight train in question might be answers and a sense of safety. The heroine, as she says, carries these colours of happiness and they are kept with her; she carries them with dignity and I get the feeling the midnight train is less an expression of doubt and just a general waking feeling. I would love to know the exact origins of the song but I hear a sense of heart and hope in her voice and that changes my perception. A beautiful and velvet-smooth incorporation of horns – apologies as I do not know the name of the trumpet player – adds this sort of dreamy and entrancing quality and adds new layers to the song. Many Pop songs might add processed beats and too much force but here we get a relaxed and very well-composed song. You have this rather sleepy feel but there is definitely passion and potency coming from Freya Roy’s voice. There is a solo from the brass; a clattering beat coming through and some soothing electronics. It is a rich blend and, coming in are some subtle guitar strings. It is a wonderful cocktail that adds as a pause and transition. As I hear the brilliant composition and all the colours entwine, I wonder whether this feeling that keeps her away is a sense that bad things are exiting and there is more positivity coming through. Things are passing by – that becomes a mantra – and you feel like there is this evolution from the darker days and struggles to something more hopeful. Maybe I have completely misread but one hears Midnight Train and, after some initial doubts, there is this uplift and movement. I love everything about the song but it is the way the composition and vocals mingle to create this sumptuous, evocative and exceptional song. The lyrics are brought to life fully and there is room for interpretation. I feel, if other songs on AHLKE are like Midnight Train, it will be an album you definitely do not want to miss out on! It is great to have Freya Roy back and I hope lots and lots of people get to see her perform live very soon. She is one of those artists who does things her own way and can create the sort of music nobody else is. Keep your eyes out for this very talented, exciting and fresh artist. I will be sure to follow her progress and see how far she can go. I know Freya Roy has a very bright future ahead of her.

Freya Roy is, as I have said a few times, going to launch the AHLKE and she will have tour dates as well. Keep an eye on her social media channels but she has dates confirmed in Leeds, Sheffield; Manchester and Suffolk and it will be a chance for people around the country to hear her music. I think the Leeds and Manchester dates, especially, will be cool but it is great see gets to take her new material on the road. She will be touring solo and with a band and it will be intriguing to see how the two different sets sound. To conclude the tour, Roy has a headline set at London’s Servant Jazz Quarters on 23rd May and it will be a big chance for possible labels and backers to see her in the flesh. It is definitely a very exciting and busy time – coming from a bit of a hiatus, I bet Freya Roy is pleased to be back and active! She has spent time crafting her album and I would recommend people try and catch her on the road if you can! I love her sound and it will be interesting to see the differences between her playing solo and what a band brings to the table. In any case, there are many reasons to back Roy and what she is doing right now. Here is a wonderful young artist who has her own label and is always looking to help other musicians. She has a very determined, ambitious and compassionate mind and that sort of blends into her music. So rich and rewarding is the listening experience that you will come back time and time again to get that sweet hit. I shall end things in a bit but keep a look out for new Freya Roy news and go and get her album when it comes out in April. She is hitting the road – so you might catch her there – and I wonder where she will head next. It is clear she is back with us and determined to make music on a more regular basis. Maybe there will be tour dates further afield or she might need some time to recharge before embarking on any new quests. Get behind this great artist and witness music that can get into the brain and...

TRANSPORT you somewhere wonderful indeed.

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Follow Freya Roy

FEATURE: Albums of the Decade: Part II: 2013-2015

FEATURE:

 

Albums of the Decade

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IN THIS PHOTO: Kendrick Lamar/PHOTO CREDIT: Getty Images/Press

Part II: 2013-2015

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

 IN THIS PHOTO: Laura Marling/PHOTO CREDIT: Getty Images

and I am pretty sure there will not be many contenders that will challenge this list. Speculated albums from Madonna and The 1975 might be in with a shout of being the albums of the decade - but I am continuing this rundown with a look at the best albums from the three-year period that covered 2013 to 2015. Every decade boasts terrific records but this decade has been really strong and seen some truly unexpected revelations. Here are the fifteen albums that defined and owned the years 2013 through to 2015. Future parts will bring us right up-to-date but here, in this second part, we can see albums that helped make this decade...

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 PHOTO CREDIT: The New York Times

SUCH a strong one.

ALL ALBUM COVERS: Spotify/Getty Images

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2013:

Kanye West - Yeezus

Release Date: 18th June, 2013

Label: Def Jam Recordings

Producers: Various

Key Cuts: New Slaves/Blood on the Leaves/Bound 2

Standout Track: Black Skinhead

Review:

“...Despite that, Yeezus never sounds self-indulgent. The sonic chaos behind the words seems very precisely rendered, it's an album that's clearly been tightly edited: it clocks in at 40 minutes, which by the standards of your average hip-hop album, makes it the very model of brevity. It all feels intended, which gives further lie to the notion that its maker is either dumb or nuts. Perhaps he just understands better than most of his peers that musical stars are meant to be extraordinary, provocative, divisive, controversial figures. Noisy, gripping, maddening, potent, audibly the product of, as he put it "giving no fucks at all", Yeezus is the sound of a man just doing his job properly” – The Guardian

Vampire Weekend – Modern Vampires of the City

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Release Date: 14th May, 2013

Label: XL

Producers: Rostam Batmanglij/Ariel Rechtshaid

Key Cuts: Unbelievers/Finger Back/Ya Hey

Standout Track: Diane Young

Review:

“The flip side of “Ya Hey” is “Diane Young,” a psychotically Auto-Tuned, twisted rockabilly song that’s a play on “dyin’ young.” Koenig sings about a well-lubricated Irish girl with the “luck of a Kennedy” (uh-oh) who ends up torching a Saab. Koenig doesn’t judge her, but he sure as hell doesn’t get in the car – it’s almost like he’s torching that whole Cape Cod thing, once and for all, saying goodbye to young adulthood as his band is pushing into awesome new directions. The gloves are off, the wisdom teeth are out. But the kids stand a chance” – Rolling Stone  

Laura Marling – Once I Was an Eagle

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Release Date: 27th May, 2013

Label: Virgin

Producer: Ethan Johns

Key Cuts: I Was an Eagle/Devil’s Roasting Place/Love Be Brave

Standout Track: Master Hunter

Review:

“I can’t quite pin down this album and that is one of the most appealing things about it. Her songs are liquid and amorphous, prone to shape-shifting, rarely offering up an obvious verse and chorus symmetry, or easy interpretation. Marling is never likely to be a fixture of the pop charts. But Once I Was An Eagle is a masterpiece, and, at 23, she’s still only getting started” – The Daily Telegraph   

David Bowie – The Next Day

Release Date: 8th March, 2013

Labels: ISO/Columbia

Producers: David Bowie/Tony Visconti

Key Cuts: The Next Day/Love Is Lost/Valentine’s Day

Standout Track: Where Are We Now?

Review:

“Tony Visconti says that while making ‘The Next Day’, Bowie was smiling all the time, happy to be back in the studio, and had told him “‘I just want to make records’”. This album is, foremost, about songcraft. Rather than reinventing Bowie, it absorbs his past and moves it on, hungry for more (and indeed, Visconti has hinted that more is to come). It demands that you listen to it in this moment, not that you give it an easy ride because this is the man who made ‘Heroes’; and its songs more than live up to the demand. With Bowie sounding like he’s too busy and having too much fun to worry about the dying of any light, it seems like there’s many more next days to come” – NME

Janelle Monáe – The Electric Lady

Release Date: 6th September, 2013

Labels: Wondaland Arts Society/Bad Boy/Atlantic

Producers: Janelle Monáe/Roman GianArthur/Wonder & Lightning/Nate ‘Rocket’ Wonder

Key Cuts: Q.U.E.E.N./PrimeTime/Dance Apocalyptic

Standout Track: Electric Lady

Review:

“The enraptured liquid glide of "Dorothy Dandridge Eyes," featuring Spalding, recalls "I Can't Help It," co-written by Stevie for Michael Jackson's Off the Wall. Earlier, on "It's Code," Monáe channels the yearning Jackson 5-era MJ. "Can't Live Without Your Love," presumably a paean to human love interest Anthony Greendown has Monáe -- or Cindi Mayweather, aka Electric Lady Number One -- yearning like never before. The album is sure to astound Monáe's sci-fi/theater-geek following. Its second half cannot be denied by those who simply value creative R&B that owes to the past and sounds fresh. Anyone can appreciate the phenomenal interludes, which are close to 3 Feet High and Rising level. Power-up to the Droid Rebel Alliance and the Get-Free Crew indeed” – AllMusic

2014: 

FKA Twigs – LP1

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Release Date: 6th August, 2014

Label: Young Turks

Producers: Various

Key Cuts: Hours/Pendulum/Video Girl

Standout Track: Two Weeks

Review:                                                                                   

“After all, this is an artist whose name itself suggests a fundamental displacement. Spelled out, it's "Formerly Known As twigs," (no) thanks to the lawyers of some other artist named Twigs. (Barnett earned her nickname from her habit of cracking her joints like dried sticks; is it any wonder her beats are so brittle?) That "FKA" is a way of masking the bigger question mark. Formerly known as, sure. But who is she now? Are you that girl from the video? "I can't recognize me," she sings at the close of "Video Girl", but for the rest of us, with LP1, she's zooming into vivid focus, and it's impossible to look away” – Pitchfork  

St. Vincent – St. Vincent

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Release Date: 24th February, 2014

Labels: Loma Vista/Republic

Producer: John Congleton

Key Cuts: Birth in Reverse/I Prefer Your Love/Regret

Standout Track: Digital Witness

Review:                                                                                   

“St Vincent's 40 minutes offer an embarrassment of fantastic songs: the electronic judder of Psychopath, the sumptuousness of I Prefer Your Love. It feels emotionally lighter than its predecessor – last time around there was a lot of sex, some of it a bit painful in every sense, whereas this time there's a lot more love – but Clark still comes up with some startling lyrics. Floating along on a kind of synthesised spectral chorus and blessed with the kind of tune you just want to wallow in, Prince Johnny is a fascinating puzzle: it's hard to work out whether the titular character is male or female, whether or not the song's narrator has slept with him or her, or how much their affection is tinged with contempt. In fact, the words are often ambiguous – Digital Witness isn't the only song about the disparity between public image and reality – but they're the only thing here that is: bold, poised, precise without sounding sterile, St Vincent seems to be a straightforward triumph” – The Guardian   

D’Angelo and the Vanguard – Black Messiah

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Release Date: 15th December, 2014

Label: RCA

Producers: D’Angelo/Alan Leeds/Kevin Liles

Key Cuts: Ain’t That Easy/Really Love/Back to the Future (Part I)

Standout Track: 1000 Deaths

Review:                                                                                   

“Black Messiah clashes with mainstream R&B trends as much as Voodoo did in 2000. Unsurprisingly, the artist's label picked this album's tamest, most traditional segment -- the acoustic ballad "Really Love" -- as the first song serviced to commercial radio. It's the one closest to "Untitled (How Does It Feel)," the Voodoo cut that, due to its revealing video, made D'Angelo feel as if his image was getting across more than his music. In the following song, the strutting "Back to the Future (Part I)," D'Angelo gets wistful about a lost love and directly references that chapter: "So if you're wondering about the shape I'm in/I hope it ain't my abdomen that you're referring to." The mere existence of his third album evinces that, creatively, he's doing all right. That the album reaffirms the weakest-link status of his singular debut is something else” – AllMusic

Jack White – Lazaretto

Release Date: 10th June, 2014

Labels: Third Man/XL/Columbia

Producer: Jack White

Key Cuts: High Ball Stepper/The Black Bat Licorice/Want and Able

Standout Track: Lazaretto

Review:                                                                                   

“But then you hear That Black Bat Licorice, an unhinged Nietzsche-referencing folk-funk song about a maddening lover who makes his fingers “histrionic”. White demonstrates the effect this woman has on him by playing thrillingly deranged guitar.

The song is laden with strange effects. It opens with a chilling warped cackle, and whispered female voices throughout urge him to behave himself. It’s exhausting but it’s also exhilarating.

Hidden details reveal themselves on repeated listens. Crane your ear during the last minute of I Think I Found the Culprit and you will hear the most soaring operatic backing vocal since Pink Floyd’s The Great Gig in the Sky.

Lazaretto is an adventurous album laced with menace.

You suspect that getting on the wrong side of White would be inadvisable. Thankfully, he has channelled his demons in Lazaretto to create one of the great break-up albums of recent years” – The Daily Telegraph

Run the Jewels – Run the Jewels 2

Release Date: 24th October, 2014

Label: Mass Appeal

Producers: El-P/Boots/Little Shalimar/Wilder Zoby

Key Cuts: Blockbuster Night, Pt. 1/Lie, Cheat, Steal/All Due Respect

Standout Track: Oh My Darling Don’t Cry

Review:                                                                                   

“RTJ2 is a steamroller of an album, packed with enough assonance and alliteration to school an AP English literature class. No punches are pulled, because when Mike incites a prison riot on “Close Your Eyes,” he’s committed to righteous violence: “And even if some good ones die, fuck it, the Lord’ll sort ’em.” El-P’s production breaks up the overwhelmingly ominous tone with an allowance of colorful details, including Matt Sweeney’s squealing guitar on “All My Life,” sound-effects master Michael Winslow’s cartoonish robot voice on “Oh My Darling Don’t Cry,” and Travis Barker’s breakbeats on “All Due Respect.” RTJ2 is the rare sequel that bests the beloved original in almost every facet” – SLANT

2015:

Kendrick Lamar – To Pimp a Butterfly

Release Date: 15th March, 2015

Labels: Aftermath/Interscope/Top Dawg

Producers: Various

Key Cuts: King Kunta/Hood Politics/The Blacker the Berry

Standout Track: Alright

Review:                                                                                   

“To Pimp a Butterfly pivots on the polarizing lead single, "i". Upon release last autumn, the sunny soul pep talk came off lightweight and glib. When it appears deep in the back end of Butterfly, though, "i" plays less like the jingle we heard last year and more like the beating heart of the matter. To push the point, the album opts for a live-sounding mix that ditches out midway through, giving way to a speech from the rapper himself. In tone, the speech is not unlike the legendary 1968 concert where James Brown waved off security and personally held off a Boston audience’s fury after news broke that Dr. Martin Luther King Jr. had been assassinated. "How many niggas we done lost, bro?" Kendrick shouts over the crowd. "It shouldn’t be shit for us to come out here and appreciate the little bit of life we got left." Underneath the tragedy and adversity, To Pimp a Butterfly is a celebration of the audacity to wake up each morning to try to be better, knowing it could all end in a second, for no reason at all” – Pitchfork

Courtney Barnett – Sometimes I Sit and Think, and Sometimes I Just Sit

Release Date: 15th March, 2015

Labels: Marathon Artists/House Anxiety/Mile Records!/Mom + Pop Music

Producers: Courtney Barnett/Buke Reid/Dan Luscombe

Key Cuts: Elevator Operator/Dead Fox/Nobody Really Cares If You Don’t Go to the Party

Standout Track: Pedestrian at Best

Review:                                                                                   

“When called upon, Barnett and her band can be furious -- "An Illustration of Loneliness" and "Kim's Caravan" both work themselves up to a knotty, gnarled head -- but they can also slip into a soothing sadness ("Depreston," "Boxing Day Blues"). Usually, they're punchy but not precise, hammering the hard hooks of "Aqua Profunda!" and "Nobody Really Cares If You Don't Go to the Party" into place, giving "Elevator Operator" and "Pedestrian at Best" an urgency that mimics Barnett's cloistered, clever words. There are no frills here but there is a distinct, compelling voice evident in Barnett's songs and music alike. That's what makes Sometimes I Sit and Think, And Sometimes I Just Sit. so invigorating: it may have roots -- perhaps even some inadvertent ones -- but it's music that lives thoroughly in the moment” – AllMusic

Tame Impala – Currents

Release Date: 17th July, 2015

Labels: Modular/Universal (Aus.)/Fiction (Europe)/Interscope (U.S.)

Producer: Kevin Parker

Key Cuts: Let It Happen/The Moment/Cause I’m a Man

Standout Track: The Less I Know the Better

Review:                                                                                   

“...This is why "Let It Happen" leads off Currents rather than serving as its climactic laser-light show. It's a dazzling, impossibly intricate song about resisting the temptation to micromanage your life. And it may be a companion piece to "Feels Like We Only Go Backwards". Notice that Parker presciently phrased the lyric with *we—*whether it's about a partner, a fanbase, or just the construct of one's self, there's always the tendency to seek comfort and stability rather than dealing with the dissonance between two entities that are inevitably subject to changing at different frequencies. The kicker was even more prescient—"Every part of me says, 'go ahead'." And so Currents ends up being Parker's most convincing case for solitude yet—he knows that perfection can only be achieved inside the studio and progress is the ultimate goal outside of it” – Pitchfork      

Grimes – Art Angels

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Release Date: 6th November, 2015

Label: 4AD

Producer: Grimes                                    

Key Cuts: California/Pin/Realiti

Standout Track: Flesh Without Blood

Review:                                                                                   

“Or SCREAM, which pits a whispered-punchy Taiwanese rap against a springy nu-metal groove and ends with military drums. This may make it sound like a difficult record, but the perfect polish of  Grimes' s production enables listeners to surf her quick-fire tangents as easily as an aural internet.

As she opens windows of sound and then clicks them closed before boredom has a chance to settle in, you catch snatches of Taylor Swift, Madonna, Nicki Minaj, Prodigy, Aphex Twin and many, many more scudding past.

All the while, she is delivering her own big, melodic hooks (Flesh without Blood) and club bangers like feminist Venus Fly (featuring Janelle Monáe) with its haunting, gallic instrumental break. all adds up to a fearless and fascinating record” – The Daily Telegraph

Björk – Vulnicura

Release Date: 20th January, 2015

Label: One Little Indian/Megaforce/Sony

Producer: Björk/Arca/The Haxan Cloak 

Key Cuts: Lionsong/Black Lake/Mouth Mantra

Standout Track: Stonemilker

Review:                                                                                   

“"Lionsong" brilliantly captures the nauseating anxiety of an uncertain relationship, its warped harmonies and teetering strings evoking a high-stakes game of "he loves me, he loves me not." Even though Björk crawls out of the abyss on the album's final third, which culminates with the relatively hopeful "Quicksand," that agonizing middle section is Vulnicura's crowning achievement and crucible. The ten-minute "Black Lake" allows Björk the space to let everything unravel, and as the strings drone and the beats tower and topple, her straightforward lyrics ("You have nothing to give/Your heart is hollow") perfectly distill the moments of purging and clarity that eventually point the way out of heartache. Here and on "Family," where Haxan Cloak's claustrophobic production makes Björk's anguish (the way she sings "sorrow" contains multitudes) all the more wrenching, the purity of her expression is both highly personal and universal. Vulnicura honors her pain and the necessary path through and away from loss with some of her bravest, most challenging, and most engaging music” – AllMusic